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 20977). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p058 RIGHT — 35 lignes

page vol_II_p058 RIGHT
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1 99 page_number
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2 TRANSLATION page_header
via surya_layout
3 [Jāti-bhinna] section_header
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4 Now he (the author) has spoken of the description of jāti-bhinna - main
via surya_layout
5 The amśa of jātis should be established and so should be the sparse and the main
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6 abundant. Sparseness and abundance come about on account of sparse and main
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7 abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma main
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8 (short and very short in time) and curved (phrases).<sup>50</sup> main
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9 (308) annotation_inline
parent ligne 8
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10 [Anu. 178] section_header
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11 This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. main
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12 Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being main
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13 born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up main
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14 of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short main
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15 in time) phrases, this is the import. Its description is thus - main
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16 [3. Bhinnakaisikamadhyama] section_header
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17 Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa, main
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18 <math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52} main
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19 (309) annotation_inline
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20 [Anu. 179] editorial_bracket
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21 This means-bhinnakaisikamadhyama is related to şadjagrāma on account main
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22 of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama main
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23 is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) main
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24 is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 main
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25 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja main
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26 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed main
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27 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
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28 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [Śuddhabhinna] section_header
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31 Now he (the author) has spoken of the definition of śuddhabhinna- main
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32 (The rāga) that bedecks itself with its own jāti (from which it is born) and main
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33 kula (family), leaving the other jāti and taking up (the qualities of) its own main
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34 family, is called <i>śuddhabhinna</i>. main
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35 (310) annotation_inline
parent ligne 34
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vol_II_p044 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
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2 70 page_number
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3 गां पा मां पा नी नी नी नी table
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4 (११) table
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5 (१२) table
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6 मापा मा परि गा गा गा गा table
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7 (१३) table
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8 नी नी पा धा नी गां गां गां table
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9 (१४) table
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10 नी नी नी नी नी नी नी table
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11 (१५) table
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12 मां मां धा नी सनि धा पा पा table
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13 (१६) table
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14 मां पां मां परिग गां गां गां गां table
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15 . ॥ [इति] गान्धारपञ्चमी ॥ editorial_bracket
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16 । म॥ annotation_inline
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17 [८, आन्ध्री] section_header
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18 १८३ आन्ध्र्यामंशा निरिगपा रिगयोर्निधयोस्तथा । main
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19 अन्ध्रया(मङ्गा ? मंशा) निरू main
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20 सङ्गतिन्यासपर्यन्तमंशानुक्रमतो व्रजेत् ॥२१॥ main
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21 षाडवं षड्जलोपेन मध्यमादिश्च मूर्छना । main
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22 १८४ दिस्तु annotation_inline
parent ligne 21
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23 पूर्वावत् तु कलातालविनियोगाः प्रकीर्तिताः ॥२२॥ main
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24 १८५ ॰काल॰ annotation_inline
parent ligne 23
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25 <sup>१८६</sup>अस्यामान्ध्र्यां गान्धारो न्यास: । अंशा एवापन्यासा: । <sup>१८७</sup>प्रस्तार: - main
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26 ॰ मन्ध्र्यां table
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27 (१) table
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28 गारी री री री री री री table
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29 री गारी गारी री री री table
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30 (२) table
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31 (३) table
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32 री री गा गा री री मा मा table
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33 (8) table
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34 री गा सा धनि नीं नीं नीं नीं table
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35 (4) table
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36 नीं रीं नीं रीं धनि धनि पा पा table
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37 (६) table
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38 मा पा मा रिग गा गा गा गा table
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39 (७) table
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40 री री गा सम मा मा पा पा table
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41 (८) table
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42 मा पा मा रिग गा गा गा गा table
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43 (9) table
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44 धा नी गा गा गा गा गा गा table
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45 (१०) table
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46 पा पा मा रिग गा गा गा गा table
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47 The same of the same of the same of the same of the same of the same of the same of the same of the same of the same of annotation_inline
parent ligne 25
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vol_I_p020 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
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2 22 page_number
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3 तदुक्तम्— main
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4 "कथं प्रतीतिश्च भवेदमुष्या main
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5 नादौ नभो व्याकुलितश्रुति स्यात् । main
via surya_layout
6 ुत्वा, । annotation_inline
parent ligne 5
via heuristic_height
7 रा annotation_inline
parent ligne 5
via heuristic_height
8 भवेदलक्ष्यावयवा श्रुतिस्तु main
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9 [ तेनैव ] नैवावयवा प्रतीता ।। editorial_bracket
parent ligne 8
via heuristic_brackets
10 ॰वी annotation_inline
parent ligne 8
via heuristic_markers
11 ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति । main
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12 तासा भवतीताः annotation_inline
parent ligne 11
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13 ती २ annotation_inline
parent ligne 11
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14 यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥ main
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15 श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥ main
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17 तस्या annotation_inline
parent ligne 16
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18 ুস্ annotation_inline
parent ligne 16
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19 मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥ main
via surya_layout
20 ٥٣, annotation_inline
parent ligne 19
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21 सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः। main
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22 [ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।। editorial_bracket
parent ligne 21
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23 ₀णः ₀न्तोऽप्या₃ annotation_inline
parent ligne 21
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24 ++++ main
via surya_layout
25 सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा । main
via surya_layout
26 ०णी तु annotation_inline
parent ligne 25
via heuristic_short
27 स annotation_inline
parent ligne 25
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28 विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥ main
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29 भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥ main
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30 किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः । main
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31 निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥" main
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32 अत्रोच्यते- annotation_inline
parent ligne 31
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33 अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा। main
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34 ₀প্লাপ্রউন<sup>87</sup> annotation_inline
parent ligne 33
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35 गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः main
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36 118311 main
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vol_II_p031 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 45 page_number
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3 the samvādī of the amsa. It becomes ṣāḍavā with niṣāda when (any one of) main
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4 madhyama, pañcama and dhaivata is the amsa. main
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5 [ Anu. 145] section_header
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6 When sadji is sung as suddha then upon sadja being the amsa, there is main
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7 abundance of the remaining svaras. Upon<sup>57</sup> the profusion of sadja and main
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8 pañcama, there are thirty amsas (?). With six, it (?) becomes fourteen-fold. main
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9 Gāndhāra is nineteen-fold (?) and madhyama is fourteen-fold (?) - main
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10 Taken together seven svaras become hundred and twenty-eight (?), main
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11 suffice to say that. main
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12 [11. The particular characteristics of jātis] section_header
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13 [ Anu. 146] section_header
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14 Now out of the ten characteristics he (the author) shows the respective main
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15 ones of each jāti.- main
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16 [1. Şādjī] section_header
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17 Ṣādjī that pertains to ṣadja-grāma has five anisas and grahas. That is thus- main
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18 ṣadja, gāndhāra, madhyama, pañcama, dhaivata are grahas and amsas. Gāndhāra main
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19 and pañcama are the two apanyāsas. It is ṣāḍavā by being devoid of niṣāda. main
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20 Ṣadja is the nyāsa. There is sangati (concert) between ṣadja and gāndhāra as main
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21 well as ṣadja and dhaivata. Gāndhāra is very profuse, in spite of its being main
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22 vivādī. Sangatī<sup>58</sup> means 'reaching out to each other', i.e. to and fro movement main
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23 between the two svaras concerned. main
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24 The movement in tāra (high register) extends up to five svaras. The main
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25 movement in mandra (lower register) extends upto şadja (the lower octave main
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26 of the amsa). The state of auduvita does not obtain at all. It is complete and main
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27 hexatonic. When it is sung in its complete form, then the sparseness of main
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28 ṛṣabha-pañcama and niṣāda-pañcama should be brought about. Why? - main
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29 "( The svara) without which the incomplete state (of a given jāti) comes main
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30 about, that (svara) is sparse in that (jāti, in its complete state)." main
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31 [Datti 61 ab] editorial_bracket
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32 - Because of the above statement. main
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vol_II_p054 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 91 page_number
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2 TRANSLATION page_header
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3 [Anu. 167] section_header
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4 This means – śuddhasādhārita rāga is related to ṣaḍjagrāma on account of main
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5 being born of şadjamadhyamā jāti. Tāra (high) şadja is the graha and amśa main
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6 and madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. main
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7 It is complete (with all the svaras). Its application is prescribed in the garbha- main
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8 sandhi. 39 Vīra, raudra and the like (perhaps adbhuta also) are the rasas. The main
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9 mūrchanā beginning with ṣaḍja obtains. Avarohin (descending) is the varṇa main
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10 and prasannānta the alarikāra. The kalā is formed in the dakṣiṇa (mārga), the main
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11 kalā obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). In the main
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12 song comprised of svaras and padas a tāla like caccatpuṭa obtains. main
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13 [4. Śuddhakaiśikamadhyama] section_header
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14 Suddhakaisikamadhyama is born of kaisikī and şadjamadhyamā. Şadja is its main
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15 amśa, madhyama the nyāsa and ṛṣabha – pañcama are omitted. main
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16 (302) annotation_inline
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17 [Anu. 168] section_header
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18 This means—the <i>rāga śuddhakaiśikamadhyama</i> is related to <i>ṣaḍjagrāma</i> on main
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19 account of being born of kaiśikī and şadjamadhyamā jātis. (Contention) Kaiśikī main
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20 ŧ annotation_inline
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21 is related to madhyamagrāma and ṣadjamadhyamā to ṣadjagrāma, hence this main
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22 (<math>r\bar{a}ga</math>) is related to both the <math>gr\bar{a}mas^{40}</math>. This is the implication. On account main
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23 of being devoid of ṛṣabha-pañcama, this is related only to ṣaḍjagrāma. In main
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24 madhyamagrāma, the omission of ṛṣabha-pañcama does not take place; this is main
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25 the implication. Tāra (high) ṣaḍja is its graha and aniśa. Madhyama is the main
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26 nyāsa. There is the weakness of niṣāda and gāndhāra. The omission of main
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27 pañcama and ṛṣabha obtains. Niṣāda is kākalī here. It is pentatonic. It is used main
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28 in the <i>nirvahaṇa (sandhi</i>).<sup>41</sup> The <i>mūrchanā</i> beginning with <i>ṣaḍja</i> obtains. main
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29 Raudra, vīra and the like is the rasa. Prasannānta is the alankāra. main
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30 .................. annotation_inline
parent ligne 29
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31 [5. Šuddhakaisika] section_header
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32 Kaišika has ṣaḍja as its amśa and pañcama as its nyāsa, is born of kaišikī jāti main
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33 and kārmāravī jāti and is with complete svaras. main
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34 (303) annotation_inline
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184 lignes a valider — change uniquement les roles incorrects.