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 21120). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p008 RIGHT — 63 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 2
via heuristic_height
2 <b>ABBREVIATIONS</b> section_header
via surya_layout
3 Abhi main
via surya_layout
4 Abhinavagupta annotation_inline
parent ligne 3
via heuristic_short
5 Abhinava Bhāratī, Abhinavagupta's commentary main
via surya_layout
6 Abhi Bhā annotation_inline
parent ligne 5
via heuristic_short
7 on Nātya-Šāstra G.O.S., Baroda edition main
via surya_layout
8 Anuccheda, comparable to paragraph main
via surya_layout
9 Anu. annotation_inline
parent ligne 8
via heuristic_short
10 Bha Bhā main
via surya_layout
11 Bharata Bhāṣya of Nānyadeva published upto a main
via surya_layout
12 portion of Chapter VII in two volumes by Indira main
via surya_layout
13 Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) main
via surya_layout
14 and photostat of manuscript in the Deptt. of main
via surya_layout
15 Musicology, B.H.U. annotation_inline
parent ligne 14
via heuristic_short
16 Bha Ko main
via surya_layout
17 Bharata Kośa of M.R. Kavi main
via surya_layout
18 BrD annotation_inline
parent ligne 17
via heuristic_short
19 Brhaddeśi of Matanga Muni main
via surya_layout
20 C.r. annotation_inline
parent ligne 19
via heuristic_short
21 Cited reading main
via surya_layout
22 Dattilam of Dattila unknown
via fallback
23 Datti unknown
via fallback
24 Ed. main
via surya_layout
25 Pt. K. Sāmbaśiva Sāstrī, editor of Bṛhaddeśī, main
via surya_layout
26 published in Anantaśayana Sanskrit Granthāvalī main
via surya_layout
27 No. 94 (Trivandrum Sanskrit Series) in 1928 main
via surya_layout
28 <i>Kalānidhi</i> commentary of Kallinātha on main
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29 Kalā annotation_inline
parent ligne 28
via heuristic_short
30 Sangita-Ratnākara main
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31 Kalli annotation_inline
parent ligne 30
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32 Kallinātha main
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33 Lit. annotation_inline
parent ligne 32
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34 Literally main
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35 Mānasollāsa of Someśvara, Vol. III main
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36 Mānaso annotation_inline
parent ligne 35
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37 NŠ main
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38 Nātya Šāstra, G.O.S., Baroda edition, unless main
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39 otherwise indicated annotation_inline
parent ligne 38
via heuristic_short
40 NŠ Chau. main
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41 Nāṭya Śāstra, Chaukhambha, Varanasi edition main
via surya_layout
42 NŠ Kā Mā annotation_inline
parent ligne 41
via heuristic_short
43 Nāţya Sāstra, Kāvya Mālā edition main
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44 P.t. annotation_inline
parent ligne 43
via heuristic_short
45 Printed text of Bṛhaddeśi, Trivandrum edition main
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46 Ra Kau annotation_inline
parent ligne 45
via heuristic_short
47 Rasakaumudi of Šrikantha main
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48 Rā Vi annotation_inline
parent ligne 47
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49 Rāga Vibodha of Somanātha main
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50 Sam Sa Sā annotation_inline
parent ligne 49
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51 Sangīta-Samaya-Sāra of Pārsvadeva main
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52 Sam Ši Bhā Ka annotation_inline
parent ligne 51
via heuristic_short
53 Sangīta Siromaņi of Panditamandalī, main
via surya_layout
54 manuscript in Bharat Kala Bhavan, B.H.U., main
via surya_layout
55 transcript in the Deptt. of Musicology, B.H.U. main
via surya_layout
56 Sam Su P.L. annotation_inline
parent ligne 55
via heuristic_short
57 Sangita Sudhākara, Palm Leaf manuscript, main
via surya_layout
58 Saraswati Mahal Library, Tanjore, transcript in main
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59 the Deptt. of Musicology, B.H.U. main
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60 Simha annotation_inline
parent ligne 59
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61 Simhabhūpāla main
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62 SR annotation_inline
parent ligne 61
via heuristic_short
63 Sangita Ratnākara of Šārngadeva (Adyar edition) main
via surya_layout

vol_II_p114 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 211 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. <i>Gadya</i>] section_header
via surya_layout
4 That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of main
via surya_layout
5 description 10 (divine or human) and is sung as such, is said here to be gadya, main
via surya_layout
6 by the proficient ones in music. main
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7 (385) annotation_inline
parent ligne 6
via heuristic_height
8 [4. Daṇḍaka] section_header
via surya_layout
9 Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the main
via surya_layout
10 middle (and) again combined with pada, that song is known as daṇḍaka. main
via surya_layout
11 (386) main
via surya_layout
12 [5. Varņa] section_header
via surya_layout
13 Bedecked with birudas12 (eulogistic phrases) related to plenty, main
via surya_layout
14 renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math> main
via surya_layout
15 (387) annotation_inline
parent ligne 14
via heuristic_short
16 ******* annotation_inline
parent ligne 14
via heuristic_height
17 [6. Paddhaḍi] section_header
via surya_layout
18 Combined with svara (and) pāṭa and endowed with tāla, composed in any main
via surya_layout
19 language and combined with birudas is that paddhaḍī. main
via surya_layout
20 (388) main
via surya_layout
21 [7. Adilā] section_header
via surya_layout
22 Where there is the brilliant arrangement of svaras at the end of every foot, main
via surya_layout
23 combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name. main
via surya_layout
24 (389) annotation_inline
parent ligne 23
via heuristic_height
25 [8. Catușpadi] section_header
via surya_layout
26 Where the song is endowed with meaning in every unit of text (pada) main
via surya_layout
27 (and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m main
via surya_layout

vol_II_p106 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 195 page_number
via heuristic_pagenum
3 ......Mālavī [iii] editorial_bracket
parent ligne 5
via heuristic_brackets
4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
via surya_layout
6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
via heuristic_short
8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
parent ligne 9
via heuristic_short
11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
parent ligne 9
via heuristic_brackets
12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
via surya_layout
13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
via surya_layout
14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
parent ligne 14
via heuristic_short
16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
via surya_layout
19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
via surya_layout
20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
parent ligne 20
via heuristic_short
22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
via surya_layout
26 (27) annotation_inline
parent ligne 25
via heuristic_short
27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
parent ligne 27
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
via surya_layout
30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
parent ligne 30
via heuristic_brackets
32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
via surya_layout
33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
via surya_layout
34 in due order (?).<sup>24</sup> main
via surya_layout
35 (28) main
via surya_layout

vol_II_p109 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 10 page_number
via heuristic_pagenum
2 [ पञ्चमोऽध्याय: ] section_header
via surya_layout
3 [देशीरागाः] section_header
via surya_layout
4 [मङ्गलाचरणम् ] section_header
via surya_layout
5 बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां main
via surya_layout
6 पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् । main
via surya_layout
7 सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति main
via surya_layout
8 देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥ main
via surya_layout
9 अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥ main
via surya_layout
10 [त्रिविधदेशीरागा:] section_header
via surya_layout
11 ै[लक्ष्यलक्षणसंयुक्तं त्रिविधं वाऽपि संयुतम् । editorial_bracket
parent ligne 10
via heuristic_brackets
12 रागाङ्गं चैव भाषाङ्गं क्रियाङ्गं च तृतीयकम् ॥ ३४७॥ main
via surya_layout
13 प्रत्येकं लक्षणं चैषां प्रवक्ष्याम्यनुपूर्वश: ॥ ३४८॥ main
via surya_layout
14 रेउक्तानां ग्रामरागाणां छायामात्रं भजन्ति हि । main
via surya_layout
15 गीतज्ञै: कथिता: सर्वे रागाङ्गास्तेन हेतुना ॥ ३४९॥ main
via surya_layout
16 भाषाछायाश्रिता येन जायन्ते सदृशा: किल । main
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17 भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥ main
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18 <sup>३</sup>स्तौतिकादिभि: annotation_inline
parent ligne 17
via heuristic_height
19 <sup>४</sup>करुणोत्साहशोकादिप्रभवा या क्रिया तत: । main
via surya_layout
20 जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥ main
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21 ५तदत्र मार्गरागेषु नियमो य: पुरोदित: । main
via surya_layout
22 स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [भाषाङ्गरागा: ?] editorial_bracket
parent ligne 21
via heuristic_brackets
24 [१. कच्छेल्ली] section_header
via surya_layout
25 मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा । main
via surya_layout
26 कच्छेल्ली <sup>६</sup>गधहीना च विज्ञेया परिभूरिगा<sup>७</sup> ॥ ३५३॥ main
via surya_layout
27 गतिसीना annotation_inline
parent ligne 26
via heuristic_height
28 (या) annotation_inline
parent ligne 26
via heuristic_height
29 ॰जा annotation_inline
parent ligne 26
via heuristic_markers
30 مروره هم و العرب العرب العربي و العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب ا annotation_inline
parent ligne 26
via heuristic_height

vol_II_p066 RIGHT — 39 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1.50 4 1 annotation_inline
parent ligne 5
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 115 page_number
via heuristic_pagenum
4 [Anu. 198] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
via surya_layout
6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
via surya_layout
7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
via surya_layout
8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
via surya_layout
9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
via surya_layout
10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
via surya_layout
11 songs comprised of svara and pada. main
via surya_layout
12 [7. Ţakkakaiśika] section_header
via surya_layout
13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
via surya_layout
14 and concluding note and is weak in the svaras comprised of two śrutis each main
via surya_layout
15 (gāndhāra and niṣāda). main
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16 (326) annotation_inline
parent ligne 15
via heuristic_short
17 [Anu. 199] editorial_bracket
parent ligne 15
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18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
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19 jātis related to both the grāmas, how is it proper to say that it is related to main
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20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
parent ligne 19
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21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
via surya_layout
22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
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23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
via surya_layout
24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
via surya_layout
25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
via surya_layout
26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
via surya_layout
27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
via surya_layout
28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
via surya_layout
29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
via surya_layout
30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
32 obtains in songs comprised of svara and pada. main
via surya_layout
33 [8. Mālavakaisika] section_header
via surya_layout
34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
via surya_layout
35 and nyāsa and is weak in dhaivata. main
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36 (327) annotation_inline
parent ligne 35
via heuristic_short
37 Some prefer pancama for the function of nyāsa in it and others prefer main
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38 găndhāra, but that is not seen in practice. main
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39 (328) main
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194 lignes a valider — change uniquement les roles incorrects.