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 20953). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p062 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 107 page_number
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3 [Anu. 188] editorial_bracket
parent ligne 4
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4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
via surya_layout
5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
via surya_layout
6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
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7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
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8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
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9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
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10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
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11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
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12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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14 like caccatputa obtains in the songs comprised of svara and pada. main
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15 [3. Gaudakaisikamadhyama] section_header
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16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
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17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
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18 (318) annotation_inline
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19 [Anu. 189] editorial_bracket
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20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
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21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
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22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
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23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
via surya_layout
24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
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25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
27 obtains in the songs comprised of svara and pada. main
via surya_layout
28 [The assignment of gaudaragas to gramas] section_header
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29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
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30 grāmas- annotation_inline
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31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
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32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
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33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
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34 to vesarā gīti). annotation_inline
parent ligne 33
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35 (319) main
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36 (vide) annotation_inline
parent ligne 35
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vol_II_p010 RIGHT — 24 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 The Great Treatise on Desi Music section_header
via surya_layout
2 Composed by Śrī Matanga Muni section_header
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3 [ Chapter II ] editorial_bracket
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4 [ Jātis ] editorial_bracket
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5 [1. Their number, nomenclature and types] editorial_bracket
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via heuristic_brackets
6 [Number and nomenclature] editorial_bracket
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7 [Anu. 114] editorial_bracket
parent ligne 2
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8 Now he (the author)spoke (speaks) about the nomenclature of jātis at main
via surya_layout
9 the appropriate time and place. The jātis are only eighteen. These become main
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10 one hundred and forty in number according to all the variations of amsa main
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11 svaras. annotation_inline
parent ligne 10
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12 <math>\it J\bar{a}tis</math> are only eighteen as has been said earlier by Brahmä? I shall explain <math>^3</math> main
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13 them according to the distinction of their graha, amsa and the like. main
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14 (185) main
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15 [The jātis of şadjagrāma] section_header
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16 Ṣāḍjī and ārṣabhī and dhaivatī, then niṣādinī, ṣaḍjodīcyavatī and ṣaḍjakaiśikī main
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17 and ṣadjamadhyā (these are the jātis) based on ṣadjagrāma. main
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18 (186, 187) annotation_inline
parent ligne 17
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19 Thus end the seven (jātis) based on ṣadjagrāma . main
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20 [The jātis of madhyamagrāma] section_header
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21 After this, I shall speak of the jātis based on madhyamagrāma. main
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22 (188) annotation_inline
parent ligne 21
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23 Gändhäri, madhyamä and pañcami and similarly gändhärodicyavā and main
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24 gāndhārapañcamī, after that raktagāndhārī and similarly madhyamodīcyavā, main
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vol_II_p066 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 114 page_number
via heuristic_pagenum
3 [अनु॰ १९८] section_header
via surya_layout
4 षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । main
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5 धैवत ऋषभहीन( ध ?)मौडवितम् annotation_inline
parent ligne 4
via heuristic_height
6 <sup>८२</sup>सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना षड्जादि:। वर्ण आरोही। main
via surya_layout
7 ॰ना(दि) annotation_inline
parent ligne 6
via heuristic_markers
8 प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । main
via surya_layout
9 [७. टक्ककेशिक:] section_header
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10 धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: । main
via surya_layout
11 धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक: ॥३२६॥ main
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12 ॰एक annotation_inline
parent ligne 11
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13 [अनु॰ १९९] section_header
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14 धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:। <sup>८३</sup>ननु उभयग्रामसम्बन्धिन्यो- main
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15 (यस्याज? ठमय) annotation_inline
parent ligne 14
via heuristic_height
16 र्जात्योः समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः main
via surya_layout
17 र्जा(न्यो?त्यो) annotation_inline
parent ligne 16
via heuristic_height
18 (कथं) annotation_inline
parent ligne 16
via heuristic_height
19 पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध main
via surya_layout
20 (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) annotation_inline
parent ligne 19
via heuristic_height
21 एवायं राग:। ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। main
via surya_layout
22 <sup>८४</sup>कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य main
via surya_layout
23 विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छना। आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे main
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24 मध्यमादिधैवता(?) annotation_inline
parent ligne 23
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25 कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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26 [८. मालवकैशिक:] section_header
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27 ८५कैशिकीजातिसम्भूतः षड्जांशन्याससंयुतः । main
via surya_layout
28 दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥ ३२७॥ main
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29 <sup>८६</sup>पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । main
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30 हात्याद्याः + कर्मणि annotation_inline
parent ligne 29
via heuristic_height
31 गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥ main
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vol_II_p104 RIGHT — 32 lignes

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1 ŀ annotation_inline
parent ligne 4
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2 TRANSLATION page_header
via surya_layout
3 191 page_number
via heuristic_pagenum
4 [3. Now in mālavapancama] section_header
via surya_layout
5 Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the main
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6 six (bhāṣās) in mālavapañcama. main
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7 (14) annotation_inline
parent ligne 6
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8 Having pañcama as the initial and concluding note vibhāvinī is born of a main
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9 region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained main
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10 union with an amorous woman.<sup>12</sup> main
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11 (15) annotation_inline
parent ligne 10
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12 Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini main
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13 dhānīnīdhāmāpāpā. Vibhāvinī [i] editorial_bracket
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14 .....Paurālī [ii] editorial_bracket
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15 The auspicious vegavatī should be known to have pañcama as amsa, being main
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16 complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression main
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17 or affliction) is profuse. main
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18 (16) annotation_inline
parent ligne 17
via heuristic_short
19 Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā main
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20 dhāmā. annotation_inline
parent ligne 19
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21 Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] editorial_bracket
parent ligne 19
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22 Having pañcama as amsa and concluding note (and) being complete, main
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23 pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context main
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24 of) the song of (one with) a mature mind. 14 main
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25 (17) annotation_inline
parent ligne 24
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26 Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā main
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27 pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī main
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28 [iv] editorial_bracket
parent ligne 27
via heuristic_brackets
29 Having madhyama as amśa (and) pañcama as the concluding note, andhri main
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30 is a bhāṣā born in the Āndhra region, well-known among the people (and) main
via surya_layout
31 is sung in (the context of) those who are corrupted by disease. 15 main
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32 (18) main
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vol_I_p071 LEFT — 45 lignes

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1 124 page_number
via heuristic_pagenum
2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
parent ligne 2
via heuristic_brackets
4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
via surya_layout
6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
parent ligne 5
via heuristic_brackets
7 अभिप्रवीं (?) ,प्रयोगः main
via surya_layout
8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
parent ligne 7
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9 सोऽधःपाणिरुच्यते । main
via surya_layout
10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
parent ligne 12
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
via surya_layout
17 मागधी सम्भाविताः annotation_inline
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via heuristic_short
18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
parent ligne 19
via heuristic_brackets
22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
parent ligne 25
via heuristic_brackets
30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
parent ligne 33
via heuristic_brackets
35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
parent ligne 37
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
via surya_layout
40 •वयेन (?) unknown
via fallback
41 ,प्प, main
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42 .ला unknown
via fallback
43 या annotation_inline
parent ligne 41
via heuristic_height
44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
via fallback
45 <b>यरदेन</b> unknown
via fallback
168 lignes a valider — change uniquement les roles incorrects.