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 21028). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
via surya_layout
4 Ravicandrā [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
via surya_layout
6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
via surya_layout
7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
via surya_layout
8 (10) annotation_inline
parent ligne 7
via heuristic_short
9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
via surya_layout
10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
via heuristic_brackets
11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
via surya_layout
12 born of drāvida region is always sung in the (context of the ) search on the main
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13 part of one who has lost his way.8 main
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14 (11) annotation_inline
parent ligne 13
via heuristic_short
15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
via surya_layout
16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
parent ligne 15
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17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
via surya_layout
18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
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19 Umādevī.9 annotation_inline
parent ligne 18
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20 (12) main
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21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
via surya_layout
22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
via surya_layout
23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
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24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
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25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
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26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
parent ligne 26
via heuristic_short
28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
via surya_layout
29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
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30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
parent ligne 29
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31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
via surya_layout
32 the opinion of Śārdūla. main
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vol_I_p024 RIGHT — 35 lignes

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1 31 page_number
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2 TRANSLATION page_header
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3 It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the main
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4 undifferentiated state there is one svara; in the form of sadja and the like svara is main
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5 many. annotation_inline
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6 Similarly also said Kohala - annotation_inline
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7 "Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā main
via surya_layout
8 etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and main
via surya_layout
9 is to be combined with alankāra10 and (used in) rasas." 11 main
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10 (It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained main
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11 in or permeating everything). annotation_inline
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12 Similarly said Kohala - annotation_inline
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13 "By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all main
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14 'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka main
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15 (pervasive) (and) para (beyond).15 main
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16 (Anu. 17) annotation_inline
parent ligne 15
via heuristic_height
17 But how is the svaratva 16 of (svara-names) şadja and the like, on account of main
via surya_layout
18 their being consonants? If the svaratva of consonants is spoken of, then there main
via surya_layout
19 should be the svaratva of (consonants) beginning with ka? main
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20 Here it is being said (answered) that there is the svaratva of only şadja and main
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21 the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of main
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22 (consonants) beginning with ka. main
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23 But why (or how) is the uncommon or special nature of sadja and the like? main
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24 (Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones) main
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25 the asadharanatva (uncommonness, special nature) of svaras is there. main
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26 So did say Maheśvara<sup>19</sup> in Kohala — main
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27 "The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks main
via surya_layout
28 gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time main
via surya_layout
29 (common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy main
via surya_layout
30 season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same main
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31 way, the elephant always speaks niṣāda." main
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32 Or, only sadja and the like have uncommonness or special nature because of main
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33 their movement in upward sound, or şadja and the like are not svaras, only main
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34 (vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the main
via surya_layout
35 pronunciation of (vowels) beginning with ākāra, so (it is said). main
via surya_layout

vol_II_p017 LEFT — 42 lignes

page vol_II_p017 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 A TOPE STORY OF THE STORY unknown
via fallback
2 BRHADDEŚĪ page_header
via surya_layout
3 16 page_number
via heuristic_pagenum
4 बोद्धव्या पञ्चस्वरं यावत् तारावधिः। यथा गान्धार्यां निध निस इति । main
via surya_layout
5 वाशब्दात् annotation_inline
parent ligne 4
via heuristic_short
6 तारिवधिं main
via surya_layout
7 बोड्ज: annotation_inline
parent ligne 6
via heuristic_short
8 सा annotation_inline
parent ligne 6
via heuristic_height
9 सप्तस्वरस्यापि तारता भवति । त्रिधा तारगति: । तथा चाह भरत: - main
via surya_layout
10 चतुर्धा (... गी?ग) annotation_inline
parent ligne 9
via heuristic_short
11 ‘‘अंशात्तारगतिं विद्यादाचतुर्थस्वरादिह । main
via surya_layout
12 न्दिभि: unknown
via fallback
13 (गीतं? गतिं) main
via surya_layout
14 વ્ય main
via surya_layout
15 (vide) unknown
via fallback
16 आपञ्चमात् सप्तमाद्वा नातः परिमहेष्यते ॥'' main
via surya_layout
17 [ना॰ शा॰ २८.७०] editorial_bracket
parent ligne 16
via heuristic_brackets
18 [४. मन्द्रलक्षणम्] section_header
via surya_layout
19 [अनु॰ १२५] editorial_bracket
parent ligne 18
via heuristic_brackets
20 इदानीं मन्द्र उच्यते - main
via surya_layout
21 (ন?র) annotation_inline
parent ligne 20
via heuristic_height
22 मृदुस्वरो मन्द्रः। सा च मन्द्रगतिस्त्रिधांऽशपरा, न्यासपरा, अपन्यासपरा चेति । main
via surya_layout
23 .धा(आं?अं) annotation_inline
parent ligne 22
via heuristic_short
24 (तप? तत्प)रा main
via surya_layout
25 म(न्द:?न्द्र:) annotation_inline
parent ligne 24
via heuristic_short
26 अंशस्वर: परो यस्मादिति बहुव्रीहौ। तस्मात् पूर्वो य: स्वर: स मन्द्र:। यथा-धैवत्यां धाधा main
via surya_layout
27 श्स्वरस्य (य:स्या? यस्मा)दिति unknown
via fallback
28 घा annotation_inline
parent ligne 26
via heuristic_height
29 निध पध मा। मा मा। एवमत्रापन्यासस्वर इति, न्यासस्वरोऽप्येवमेव । main
via surya_layout
30 ज्यांकि <sub>ह</sub>ु main
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31 म annotation_inline
parent ligne 30
via heuristic_height
32 [५. षाडवलक्षणम्] section_header
via surya_layout
33 [अनु॰ १२६] editorial_bracket
parent ligne 32
via heuristic_brackets
34 इदानीं षाडवमुच्यते - main
via surya_layout
35 षट्स्वरं षाडवमिति चतुर्दशजातिविषयत्वाच्चतुर्दशविधम्, चतसृणां main
via surya_layout
36 जातीनां annotation_inline
parent ligne 35
via heuristic_short
37 <b>॰वि(धि॰? ঘ):।</b> annotation_inline
parent ligne 35
via heuristic_markers
38 ॰ रा४९ annotation_inline
parent ligne 35
via heuristic_markers
39 नित्यसम्पूर्णत्वेन तदभावाज्जात्यंशभेदेन तु सप्तचत्वारिंशत्प्रकारं च तद् भवति । तथा main
via surya_layout
40 चाह annotation_inline
parent ligne 39
via heuristic_short
41 ५०लचे(न) main
via surya_layout
42 भरत: - main
via surya_layout

vol_I_p062 RIGHT — 34 lignes

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1 107 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
via surya_layout
4 (129) annotation_inline
parent ligne 3
via heuristic_short
5 should be known in the avarohin (varna). main
via surya_layout
6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
via surya_layout
7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
via surya_layout
8 (130, 131) annotation_inline
parent ligne 7
via heuristic_short
9 alankāras are said to be based on all the varnas. main
via surya_layout
10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
via surya_layout
11 (132) annotation_inline
parent ligne 10
via heuristic_short
12 are said to belong to all the varnas. main
via surya_layout
13 These alankaras should be known by the wise to be subsistent in the seven main
via surya_layout
14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
parent ligne 14
via heuristic_short
16 excessive 'stretching' of syllables (of the text). main
via surya_layout
17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
via surya_layout
18 whichever others are (involved with stretching and) counter-stretching, they main
via surya_layout
19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
parent ligne 19
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21 their own measure (of extension). main
via surya_layout
22 135ab) annotation_inline
parent ligne 21
via heuristic_short
23 In the performance of dhruvās, ascending svaras should be used. main
via surya_layout
24 (135cd) main
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25 t annotation_inline
parent ligne 24
via heuristic_height
26 Because dhruvā that is formed in accordance with the (desired) meaning, main
via surya_layout
27 has to be made the communicator of meaning, in dhruvās the adequate main
via surya_layout
28 sparseness or thinness of varnas (patterns of melodic movement) should again main
via surya_layout
29 be brought about (lit. made). main
via surya_layout
30 (136) annotation_inline
parent ligne 29
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
via surya_layout
32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
parent ligne 32
via heuristic_short
34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
via surya_layout

vol_II_p050 RIGHT — 34 lignes

page vol_II_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
via surya_layout
5 to consist of a combination of the sound 'ha' and 'o'. main
via surya_layout
6 (277) annotation_inline
parent ligne 5
via heuristic_height
7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
via surya_layout
8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
via surya_layout
9 svara. annotation_inline
parent ligne 8
via heuristic_height
10 (278) annotation_inline
parent ligne 8
via heuristic_height
11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
via surya_layout
12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
via surya_layout
13 in the three registers. annotation_inline
parent ligne 12
via heuristic_height
14 (279) annotation_inline
parent ligne 12
via heuristic_height
15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
via surya_layout
16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
via surya_layout
17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
via surya_layout
19 (280) annotation_inline
parent ligne 18
via heuristic_height
20 Gaudī gīti is said to subsist without rest in the three registers. main
via surya_layout
21 (281) annotation_inline
parent ligne 20
via heuristic_height
22 [4. Rāga giti] section_header
via surya_layout
23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
via surya_layout
24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
parent ligne 25
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
parent ligne 29
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
via surya_layout
177 lignes a valider — change uniquement les roles incorrects.