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 21027). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p029 RIGHT — 18 lignes

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1 ş annotation_inline
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2 41 page_number
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3 TRANSLATION page_header
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4 "Şadjamadhyamā is not desired to be with six svaras when the seventh main
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5 (niṣāda) is the amśa, because of the non-omission of the samvādī (of the main
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6 amsa); similarly it is not desired to be so when gandhara (is the amsa). main
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7 In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava main
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8 (non-ṣāḍava) and in ṣaḍjā (jātī) the amśa gāndhāra should be known as such. main
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9 O twice-born ones! when dhaivata is the amśa in ṣadjodīcyā there is no ṣāḍava main
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10 (form) because of the non-omission of the samvādī. These seven (amśas) are main
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11 devoid of the state of making six svara forms. main
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12 In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh main
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13 (niṣāda) should be known to be such as disallowing the formation of main
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14 auduvita. annotation_inline
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15 In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, main
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16 similarly dhaivata in kaiśiki - these twelve should be avoided in making main
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17 pentatonic (forms). These jātis should always be treated as anauduvita (non- main
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18 pentatonic), when based on the above svaras. main
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vol_I_p044 LEFT — 33 lignes

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1 BRHADDESI page_header
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2 70 page_number
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3 अग्निचिद् द्वादशाहश्च उपाशुः सोम एव च। main
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4 <b>43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।।</b> main
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5 •ग्राहोद्वही• annotation_inline
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6 ॥ इति ऋषभहीनताननामानि ॥ editorial_bracket
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via heuristic_brackets
7 सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज्ञकः। main
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8 स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।। main
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9 ०श्च annotation_inline
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10 ॰पा annotation_inline
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via heuristic_markers
11 ুখৰ annotation_inline
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12 ।। इति गान्धारहीनताननामानि ॥ list_item
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13 ।। इति मध्यमग्राम एकविंशतिः षाडवताननामानि ।। list_item
via surya_layout
14 ।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।। list_item
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15 इडा पुरुषमेधश्च श्येनो वज्र•ः इषुस्तथा। main
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16 •इस्यः annotation_inline
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17 यज्ञ annotation_inline
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18 अङ्गिराः ४०कस्क्रुसंज्ञश्च षड्जग्रामेऽपि चौडुवाः ॥१११॥ main
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19 क्स. annotation_inline
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20 ॥ इति षड्जपञ्चमहीनताननामानि ॥ editorial_bracket
parent ligne 18
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21 अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः। main
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22 47ज्योतिः annotation_inline
parent ligne 21
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23 দূ annotation_inline
parent ligne 21
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24 अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥ main
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25 की लो annotation_inline
parent ligne 24
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26 ॥ इति गान्धारनिषादहीनताननामानि ॥ editorial_bracket
parent ligne 24
via heuristic_brackets
27 सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा। main
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28 ुक्ति annotation_inline
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29 भा annotation_inline
parent ligne 27
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30 काच annotation_inline
parent ligne 27
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31 वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥ main
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32 ।। इति पञ्चमर्षभहीनताननामानि ॥ main
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33 ।। इति षड्जग्राम औडुवितताननामानि एकविंशतिः।। main
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vol_I_p065 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
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18 another sthana (register). annotation_inline
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
parent ligne 28
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30 lower svaras. annotation_inline
parent ligne 28
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
parent ligne 37
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
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43 alankāras, they should not be used without varņa.118 main
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vol_II_p067 RIGHT — 34 lignes

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1 117 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [Anu. 200] editorial_bracket
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4 This means - Mālavakaišika is related to madhyamagrāma on account of main
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5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
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6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
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7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
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8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra. main
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9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
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10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
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11 songs comprised of svara and pada. main
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12 [The assignment of gramas to vesararagas] section_header
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13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
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14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
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15 one (grāma) called sadja. annotation_inline
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16 (329) annotation_inline
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17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
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18 of madhyamagrāma. annotation_inline
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19 (330) annotation_inline
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20 Thus have all the vesara(rāgas) been spoken of with their definitive main
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21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
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22 seen in them. annotation_inline
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23 (331) annotation_inline
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24 [ E. Sādhāraņa rāgas] section_header
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25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
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26 of. Now I will speak of the seven sādhāraņa ones. main
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27 (332) annotation_inline
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28 [Anu. 201] editorial_bracket
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29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
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30 come about? It is being answered. On account of being born of the gitis main
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31 pertaining to all the ragas that have been spoken of heretofore, there is their main
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32 sādhāraņatva (commonness); this comes about on account of their being sung in main
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33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
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34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
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vol_II_p123 RIGHT — 34 lignes

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1 TRANSLATION page_header
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2 229 page_number
via heuristic_pagenum
3 [2. Kāmalekhā] section_header
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4 Kāmalekhā is that where there are twenty-two<sup>60</sup> (dviguņita-rudra) mātrās in the main
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5 first (foot) and in the foot bearing an even number (second) the same (number main
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6 of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). main
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7 (445) main
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8 [3. Bāṇalekhā] section_header
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9 If in all the three feet, in a uniform manner there are double the number main
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10 of mātrās (obtaining in kāmalekhā) (and) where they are composed in main
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11 bāṇagaṇas,61 that is bāṇalekhā. main
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12 (446) main
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13 [4. Candralekhā] section_header
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14 Where there are three above forty (forty-three) mātrās in a couple of feet main
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15 i.e. the first two feet (and where) the number of mātrās is less by one (forty- main
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16 two) in the foot bearing an odd number (third foot), that is candralekhā. main
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17 (447) main
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18 Thus ends the fourfold mātrailā. section_header
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19 [C. The varieties of <i>Varnailā</i>] section_header
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20 There is no regulation of <i>tāla</i> here, none of <i>msa</i> and none of <i>rāga</i>; there is only main
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21 the regulation of syllables <math>^{62}</math> (in their number); hence it is called <i>varyailā</i>. main
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22 (448) annotation_inline
parent ligne 21
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23 Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) main
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24 kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). main
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25 (449) annotation_inline
parent ligne 24
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26 Beginning with eleven syllables and ending with seventeen (syllables in main
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27 each foot), these seven are sung in sequence, by the gandharvas with main
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28 beautiful padas (textual units) (and) good sounds. main
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29 (450) main
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30 [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] section_header
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31 That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all main
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32 long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always main
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33 profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). main
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34 (451) main
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162 lignes a valider — change uniquement les roles incorrects.