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 21052). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p160 RIGHT — 42 lignes

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1 VIMARŚA page_header
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2 303 page_number
via heuristic_pagenum
3 lustre, splendour (Monier Williams). Maitrī Upaniṣad VI. 7 says "bha is so main
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4 called as it illuminates these worlds." It has been used in neuter gender main
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5 because it qualifies 'jyotis'. There is a sāman known as 'bhakāra' wherein all main
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6 the consonants are replaced with bh, keeping the vowels intact. That the main
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7 consonant 'bh' should have been selected for this purpose bears testimony main
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8 to the special importance of this consonant as it stands for light. main
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9 2. 'Hamsa' occurs in several Upanișads; the most relevant occurrence list_item
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10 is in Kathopanişad II.5.2, where hamsa is mentioned as one of the synonyms list_item
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11 of 'ātman'. list_item
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12 3. 'Bharata' here stands for ātman and not the sage Bharata. list_item
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13 4. Bhāratī is another name of Saraswatī and occurs in Rgveda (VIII. list_item
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14 6.9). list_item
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15 The verse containing the above four words is placed in the very main
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16 beginning of the chapter on raga. If it is taken to embody mangalacarana, its main
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17 relevance to rāga is not obvious (See Vol. III). main
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18 5. Here 'Bharata' stands for the sage who is the author of Nāṭyaśāstra. list_item
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19 6,7. 'Dhvani' basically means sound; a 'type of sound' or 'special list_item
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20 sound 'could mean 'a melodic form 'which is called 'dhun' in Hindi. list_item
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21 8,9. The general lakṣaṇa pertains to a category like jāti or rāga and list_item
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22 special lakṣaṇa pertains to the 'individuals' within a category. list_item
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23 10. A rūdha word is that where the etymological meaning is not list_item
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24 relevant; only the conventional meaning operates. list_item
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25 11. Aśvakarņa literally means 'the ear of a horse', but it is used for list_item
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26 a fracture of the bones that resembles the ear of a horse. list_item
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27 12. Yaugika means combinational. Mandapa is a compound list_item
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28 meaning one who drinks 'manda' or the scum of boiled rice or any grain, list_item
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29 stands for an open hall or pavilion. Really speaking, the list_item
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30 but it list_item
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31 combinational meaning does not operate here. list_item
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32 13. Yogarūdha is a type of word where both combination and list_item
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33 convention operate. The classic example is that of pankaja, which means list_item
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34 'that which is born in mud', but is restricted to lotus, although many other list_item
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35 things are born of 'mud'. list_item
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36 14. 'Sūkṣma' literally means small or subtle; here we have interpreted list_item
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37 it as being short in time, because 'small' in a temporal context would list_item
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38 naturally mean 'short in time'. list_item
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39 15. 'Kampa' has been translated here as shake according to English list_item
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40 idiom, although literally it could also be rendered as 'tremor'. list_item
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41 16. ' Pāṇi' means 'hand', but here 'hand' could not be relevant to the list_item
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42 context, not even the figurative usage of 'hand' in tāla as a synonym of list_item
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vol_I_p022 LEFT — 24 lignes

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1 26 page_number
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2 <b>BRHADDES!</b> page_header
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3 इदानी सम्प्रवक्ष्यामि मध्यमश्रुतिमण्डलम् । main
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4 ज्ञेयस्तिस्रो ह्यतिक्रम्य मध्यमोऽयं चतुःश्रुतिः॥४८॥ main
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5 श्रुतिद्वयमतिक्रम्य तृतीया पञ्चमो भवेत्। main
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6 ०यः annotation_inline
parent ligne 5
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7 ततस्तिस्रो ह्यतिक्रम्य चतुर्थी धैवतो भवेत्॥४९॥ main
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8 ॰र्यो annotation_inline
parent ligne 7
via heuristic_markers
9 ज्ञेयस्त्वेकामतिक्रम्य निषादस्तु द्वितीयिका। main
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10 •यकः annotation_inline
parent ligne 9
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11 श्रुतित्रयमतिक्रम्य ततः षड्जश्चतुर्थिका॥५०॥ main
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12 <b>ः</b>र्थकः annotation_inline
parent ligne 11
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13 ऋषभस्तु द्वयं त्यक्त्वा तृतीया परतो भवेत् । main
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14 • यः annotation_inline
parent ligne 13
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15 श्रुतिमेकामतिक्रम्य गान्धारः स्याद् द्वितीयिका॥५१॥ main
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16 •यकः annotation_inline
parent ligne 15
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17 [ तद्यथा — ] मध्यमग्रामे श्रुतिमण्डलम्— editorial_bracket
parent ligne 15
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18 म annotation_inline
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19 ग annotation_inline
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20 रि unknown
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21 स annotation_inline
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22 नि unknown
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23 [ अनु. १४ ] editorial_bracket
parent ligne 15
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24 भरतस्तु पुनऋषभादिश्रुतिमण्डलं दर्शयति। main
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vol_II_p061 RIGHT — 33 lignes

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1 1 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 105 page_number
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4 [C. Gauda rāgas] section_header
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5 [Anu. 186] section_header
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6 (Contention) Why are they known as gaudas? It is being answered, on main
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7 account of being related to gaudigiti. What is its description? It is being main
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8 answered. That is thus - annotation_inline
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9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
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10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
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11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
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12 (315) annotation_inline
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13 [1. Gaudapañcama] section_header
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14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
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17 pañcama. annotation_inline
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18 (316) annotation_inline
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19 [Anu. 187] section_header
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20 This means - gaudapañcama is related to sadjagrāma on account of being main
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21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
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22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
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23 hexatonic, being devoid of pañcama. Its application is prescribed in main
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24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
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25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
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26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
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27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
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28 the kalā 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 [2. Gaudakaisika] section_header
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31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
parent ligne 32
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vol_II_p044 RIGHT — 46 lignes

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1 TRANSLATION page_header
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2 71 page_number
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3 gā pā mā pā nī nī nī nī table
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4 (11) table
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5 mă pă mă pariga gā gā gā gā table
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6 (12) table
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7 ni ni pā dhā ni gā gā gā table
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8 (13) table
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9 nî nî nî nî nî nî nî nî table
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10 (14) table
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11 mã mã dhã nĩ sani dhã pã pã table
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12 (15) table
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13 mā pā mā pariga gā gā gā gā table
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14 (16) table
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15 Thusends gāndhārapancami. section_header
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16 [8. Āndhrī] section_header
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17 In <i>āndhrī, niṣāda, ṛṣabha, gāndhāra</i> and <i>pañcama</i> are the <i>aniśas</i>. There is main
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18 concert between ṛṣabha-gāndhāra and niṣāda-dhaivata. One should proceed main
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19 upto the nyāsa according to the order of the respective amsas. main
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20 (21) annotation_inline
parent ligne 19
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21 The hexatonic form comes into being with the omission of sadja. The main
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22 mūrchanā beginning with madhyama obtains. The kalās, tāla and viniyoga main
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23 (application) are said to be as in the previous one (gāndhārapañcamī). main
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24 (22) annotation_inline
parent ligne 23
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25 Gāndhāra is the nyāsa in this āndhrī. The amsas themselves are apanyāsas. main
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26 The <i>prastāra</i> is thus – main
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27 gārirīrīrīrīrīrī table
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28 (1) table
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29 rī gā rī gā rī rī rī rī table
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30 (2) table
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31 rī rī gā gā rī rī mā mā table
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32 (3) table
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33 rī gā sā dhani nī nī nī nī table
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34 (4) table
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35 ni ri ni ri dhani dhani pā pā table
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36 (5) table
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37 mā pā mā riga gā gā gā gā table
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38 (6) table
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39 rī rī gā sa ma mā mā pā pā table
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40 <b>(7)</b> table
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41 mā pā mā riga gā gā gā gā table
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42 (8) table
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43 dhā nī gā gā gā gā gā gā table
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44 (9) table
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45 pā pā mā riga gā gā gā gā table
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46 (10) table
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vol_II_p115 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 213 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [9. Dodhaka] table
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4 Having sung the (first) half, the latter half is comprised of a stretching of svaras. table
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5 (391) table
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6 [10. <i>Totaka</i>] table
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7 [11. <i>Vastu</i>] section_header
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8 Where there are pāṭas and tennas 16 and the rest is comprised of a main
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9 stretching (elaboration) of svaras, that is vastu<sup>17</sup> used in desī gītas as well as main
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10 in drama. annotation_inline
parent ligne 9
via heuristic_short
11 (392) main
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12 [12. Krauńcapada] section_header
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13 Krauñcapada is known to those proficient in gandharva as that which is main
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14 sung in pratitāla, being comprised of pada and svara. main
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15 (393) main
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16 [13. Haṁsapada] section_header
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17 Where there is one foot in Sainskṛta and the second (foot) is composed in main
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18 a regional (language) (and) which is sung with rhyme, that song is known main
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19 as hamsapada. annotation_inline
parent ligne 18
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20 (394) main
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21 [14. Śukasārika] section_header
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22 That which is combined with <i>tāla</i> (and) <i>pada</i>, bedecked with <i>pada</i> (and) main
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23 pāṭa (and) comprised of question and answer, is said to be śukaśārika. 19. main
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24 (395) annotation_inline
parent ligne 23
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25 That which is composed in the Karnāta language or is mixed (with other main
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26 languages) (and) is comprised of pada (text) embodying dialogue, is śukasārika. main
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27 (396) main
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172 lignes a valider — change uniquement les roles incorrects.