Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 20946). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p070 LEFT — 27 lignes

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1 BRHADDEŚĪ page_header
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2 122 page_number
via heuristic_pagenum
3 [अनु॰ २०८] editorial_bracket
parent ligne 5
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4 अस्यार्थः - रूपसाधारितः षड्जग्रामसम्बन्धः षड्जमध्यमानिषाद-[वती]-सकाशादुत्पन्नत्वात्। editorial_bracket
parent ligne 5
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5 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । पञ्चमर्षभयोरल्पत्वम् । निषादोऽत्र काकली। main
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6 पूर्णश्चायम्। annotation_inline
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via heuristic_short
7 (पञ्चमर्पभयोरल्पत्वम्) annotation_inline
parent ligne 5
via heuristic_height
8 वीरकरुणेऽस्य प्रयोग: । वीरादिरस: । षङ्जादिमूर्छना । <sup>१०२</sup>आरोही वर्ण: । अलङ्कार: प्रसन्नमध्य: । दक्षिणे main
via surya_layout
9 कला, वार्तिक कला, चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः। main
via surya_layout
10 [६. गान्धारपञ्चम:] section_header
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11 गान्धारीरक्तगान्धार्योर्जातो गान्धारपञ्चम:। main
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12 गान्धारोऽस्य भवेदंशो न्यासो गान्धार एव च ॥३३८॥ main
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13 [अनु॰ २०९] section_header
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14 अस्यार्थ: – गान्धारपञ्चमो मध्यमग्रामसम्बन्धः, गान्धारीरक्तगान्धारीसमुत्पन्नत्वात् । यद्यपि main
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15 १॰३दुर्गशक्तिमते धैवतीसमुत्पत्रोऽसौ, तथापि पञ्चमस्य त्रिश्रुतिकत्वादुभयग्रामजातिजातोऽपि मध्य[म]- editorial_bracket
parent ligne 14
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16 सम्बन्ध एव । गान्धारोऽस्य ग्रहोंऽशो न्यासश्च, प्रयोक्त्रपेक्षया गान्धारो धैवतो भवेत् <sup>१०४</sup>। निषादोऽत्र काकली। main
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17 पूर्णश्चायम्। १०५अद्भुते विस्मये हास्ये चास्य विनियोगः। करुणो रसः। गान्धारादिमूर्छना सञ्चारी वर्णः । main
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18 र(स): annotation_inline
parent ligne 17
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19 अद्भुते( ऽस्य विनियोग:) main
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20 प्रसन्नमध्यमोऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चपुयदितालः। main
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21 [७. षड्जकैशिक:]<sup>१०६</sup> table
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22 .............. annotation_inline
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23 [८. पञ्चमषाडवः] editorial_bracket
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24 धैवत्यार्षभिकाजात्योर्जात: पञ्चमषाडव:। main
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25 (भी?भिका) annotation_inline
parent ligne 24
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26 ऋषभांशसमायुक्तो मध्यमो न्यास एव च ॥३३९॥ main
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27 <b>(</b>श) annotation_inline
parent ligne 26
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vol_II_p109 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 [Chapter V] section_header
via surya_layout
2 [Desī rāgas] section_header
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3 [Propitiation] section_header
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4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
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5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
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6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
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7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
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9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
parent ligne 12
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14 [Threefold desi ragās] section_header
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15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
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21 All rāgāngas are so called by the experts in music because they bear only main
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22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
parent ligne 22
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
parent ligne 26
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
parent ligne 29
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
parent ligne 32
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
parent ligne 32
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35 [1. Kacchelli] section_header
via surya_layout
36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
via surya_layout
37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
via surya_layout
38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
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39 movement of pa-ri (pañcama-ṛṣabha). main
via surya_layout
40 (353) annotation_inline
parent ligne 39
via heuristic_height
41 (vide) annotation_inline
parent ligne 39
via heuristic_height

vol_II_p081 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 ٠ page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 145 page_number
via heuristic_pagenum
4 performed as to involve mutual movement between rşabha-gandhara and main
via surya_layout
5 similarly <i>şadja-madhyama</i>. main
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6 <math>(52-53)</math> main
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7 Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā main
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8 dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā. main
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9 Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari main
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10 gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi] editorial_bracket
parent ligne 9
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11 Ambāherī is said to have madhyama as its amśa, ṣadja as its concluding note, main
via surya_layout
12 gāndhāra and dhaivata as profuse, incomplete in svaras, being always devoid main
via surya_layout
13 of pa (pancama), this bhāṣā is said to bear the name <math>desi^{20}</math> (regional). main
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14 (54) annotation_inline
parent ligne 13
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15 Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī. main
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16 Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā. main
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17 Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā. main
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18 Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā. main
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19 Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā. main
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20 Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii] editorial_bracket
parent ligne 19
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21 Being combined with sadja in the beginning and having madhyama and main
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22 dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is main
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23 sankīrņā (mixed) and hexatonic. There is (mutual) movement between the main
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24 svaras comprised of two śrutis each. main
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25 (55) annotation_inline
parent ligne 24
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26 Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā. main
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27 Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa. main
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28 Lalitā [xiii] editorial_bracket
parent ligne 27
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29 Combined with şadja as the initial and concluding note, omitting main
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30 pañcama, being devoid of the seventh (niṣāda), having the concert of main
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31 madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born main
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vol_II_p164 RIGHT — 41 lignes

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1 311 page_number
via heuristic_pagenum
2 VIMARŠA page_header
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3 22,23. Nāga and kinnara are names of ethnic groups. Our text is the list_item
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4 first one to mention ethnic names in the context of music. list_item
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5 24. Paurāla is not a known geographical name. One approximate list_item
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6 name is paurava, "a country on the eastern bank of the jhelam including the list_item
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7 Gujrat district, the original seat of the Purus, the kingdom of Porus who list_item
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8 fought with Alexander " (Nando Lal De). Purālī was an ancient name of list_item
via surya_layout
9 Travancore (ibid). list_item
via surya_layout
10 25. Harşapūra is not known as a geographical name. list_item
via surya_layout
11 26. <math>\bar{A}bh\bar{i}ra</math> is both a geographical and ethnic name. It is identified as list_item
via surya_layout
12 "the south-eastern portion of Gujrat about the mouths of the Narmada" list_item
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13 (Nando Lal De). list_item
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14 27. 'Samyoga' is another expression for sancara or sangati. list_item
via surya_layout
15 28. Kāmboja is identified as Afghanistan (Nando Lal De). list_item
via surya_layout
16 29. Sātavāhana or Sātavāha is "the name of a king fabled to have been list_item
via surya_layout
17 discovered, when a child, riding a Gandharva called Sāta, who, according to list_item
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18 one legend, was changed into a lion" (Monier Williams). Also known as list_item
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19 Sālivāhana, the Śaka ruler who founded the Śaka era i.e samvat. list_item
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20 30. Gāndhāra and niṣāda are implied. list_item
via surya_layout
21 31. Chāyā is used while describing the resemblance of one rāga with list_item
via surya_layout
22 another at a given point. list_item
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23 32. Kākalī is prescribed to be always sparse in the grāma system. The list_item
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24 prescription here of kākalī being frequent is a notable departure. list_item
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25 33. Again the ethnic name kinnara appears here. See notes 22,23. list_item
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26 34. The basic name is hindola or hindolaka meaning a swing; its list_item
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27 synonym is sometimes used to meet the exigency of metre. list_item
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28 35. See note 26. list_item
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29 36. Gāndharva is a rigorously guarded tradition. The inclusion of list_item
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30 bhāṣā in this corpus is incongruous, unless gāndharva is taken to stand for list_item
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31 music in general. list_item
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32 37. "Mangala - called also Mangali or Mangalapura, the capital of list_item
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33 Udyāna, identified by Wilford with Mangora or Manglora. Cunningham list_item
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34 thought it could be identified with Minglaur (Mangalore) " (Nando Lal list_item
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35 De). list_item
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36 38. The word samvāda has been used here again for sancara or sangati. list_item
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37 39. The origin of this vibhāṣā is traced directly to pañcama rāga, where list_item
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38 as it should really be related to a bhāṣā of that rāga. It is treated as a bhāṣā list_item
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39 in SR and S Rāj. list_item
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40 40. Gändhärapañcama has been mentioned here under pañcama. list_item
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41 41. "Dākṣiṇātya is identified with Deccan; that part of India that lies list_item
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
parent ligne 5
via heuristic_brackets
4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
parent ligne 5
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
parent ligne 11
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
parent ligne 13
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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167 lignes a valider — change uniquement les roles incorrects.