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 21176). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p055 LEFT — 26 lignes

page vol_II_p055 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 92 page_number
via heuristic_pagenum
3 [अनुः १६९] editorial_bracket
parent ligne 5
via heuristic_brackets
4 अस्यार्थ: - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीजातिभ्यां editorial_bracket
parent ligne 5
via heuristic_brackets
5 समुत्पन्नत्वात्। तारषड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , main
via surya_layout
6 ग्रह: अंश(स्व?ध) annotation_inline
parent ligne 5
via heuristic_height
7 चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्जादिमूर्छना। आरोही वर्णः। editorial_bracket
parent ligne 5
via heuristic_brackets
8 <sup>४६</sup>प्रसन्नादिरलङ्कार:। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
9 [शुद्धरागाणां ग्रामविभागः] section_header
via surya_layout
10 [अनु॰ १७०] editorial_bracket
parent ligne 9
via heuristic_brackets
11 ननु एते ग्रामविशेषसम्बन्धाः, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो main
via surya_layout
12 कु(तो ऽ)यं annotation_inline
parent ligne 11
via heuristic_height
13 लभ्यते । तथा चाह भरतमुनि: - ''जातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् main
via surya_layout
14 गीयते लोके तत्सर्वं जातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - main
via surya_layout
15 तत्सर्व annotation_inline
parent ligne 14
via heuristic_height
16 ''षाडवो मध्यमग्रामे पञ्चम: कैशिकस्तथा । main
via surya_layout
17 पाडवे ककुभ् annotation_inline
parent ligne 16
via heuristic_height
18 षड्जे साधारितश्चैव तथा कैशिकमध्यम:॥'' main
via surya_layout
19 [शुद्धरागाणां विनियोगः] section_header
via surya_layout
20 [अनु॰ १७१] editorial_bracket
parent ligne 19
via heuristic_brackets
21 ननु अमी विनियोग-विशेषा: कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा editorial_bracket
parent ligne 19
via heuristic_brackets
22 अ(यं ?मी) annotation_inline
parent ligne 19
via heuristic_height
23 चाह भरत:- annotation_inline
parent ligne 19
via heuristic_height
24 ‘‘मुखे तु मध्यमग्राम: षड्ज: प्रतिमुखे भवेत् । main
via surya_layout
25 गर्भे साधारितश्चैव <sup>४९</sup>ह्मवमर्शे तु पञ्चम: ॥ main
via surya_layout
26 ...वावमर्शे • तु annotation_inline
parent ligne 25
via heuristic_height

vol_I_p032 RIGHT — 46 lignes

page vol_I_p032 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 47 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The third (letter) of the eighth (group viz. 's') combined with the Hari-bija main
via surya_layout
4 <math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out main
via surya_layout
5 with all effort. annotation_inline
parent ligne 4
via heuristic_short
6 (63) main
via surya_layout
7 The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja main
via surya_layout
8 (viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna main
via surya_layout
9 (64) annotation_inline
parent ligne 8
via heuristic_short
10 (brahmagranthi). main
via surya_layout
11 The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja, main
via surya_layout
12 (viz. 'a'), one should always draw out (this) svara which is attractive among the main
via surya_layout
13 (65) annotation_inline
parent ligne 12
via heuristic_short
14 various svaras. main
via surya_layout
15 The last (letter) of the sixth group, (viz. 'm') combined with the initial one main
via surya_layout
16 (viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras. main
via surya_layout
17 (66) annotation_inline
parent ligne 16
via heuristic_short
18 The first one of the same (sixth group, viz. 'p') combined with the first one main
via surya_layout
19 (viz. 'a'), know that as the beautiful svara, associated with the number (five) of main
via surya_layout
20 (67) annotation_inline
parent ligne 19
via heuristic_short
21 vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup> main
via surya_layout
22 The fourth (letter) of the fifth group (viz. 'dh') combined with the initial main
via surya_layout
23 one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68) main
via surya_layout
24 The last (letter) of the fifth group (viz. 'n') differentiated by the end that is main
via surya_layout
25 other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture) main
via surya_layout
26 is combined with 'high' sound. main
via surya_layout
27 (69) annotation_inline
parent ligne 26
via heuristic_short
28 Thus, this much has been shown as the svaroddhāra (analysis of svara-names) main
via surya_layout
29 (70 ab) annotation_inline
parent ligne 28
via heuristic_short
30 contained in agama.79 main
via surya_layout
31 [ Assignment of community, colour and the like to svaras ] section_header
via surya_layout
32 Now I shall speak of the assignment of community, colour and the like (to main
via surya_layout
33 <math>(70 \text{ cd})</math> main
via surya_layout
34 svaras). main
via surya_layout
35 (i) Kula-Vamśa. section_header
via surya_layout
36 Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods, main
via surya_layout
37 this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa). main
via surya_layout
38 (71) unknown
via fallback
39 The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda main
via surya_layout
40 (72) annotation_inline
parent ligne 39
via heuristic_short
41 born in the community of demons, is called 'ni'. main
via surya_layout
42 (ii) Colours. section_header
via surya_layout
43 Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot, main
via surya_layout
44 gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi- main
via surya_layout
45 (73) annotation_inline
parent ligne 44
via heuristic_short
46 florum). main
via surya_layout

vol_II_p108 RIGHT — 21 lignes

page vol_II_p108 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 199 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-.....Śuddhā[xiv] table
via surya_layout
4 [.....] table
via surya_layout
5 Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. main
via surya_layout
6 Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. main
via surya_layout
7 Madhyamā [xv] editorial_bracket
parent ligne 6
via heuristic_brackets
8 Pārvatī (bhāṣā) has paṇcama as amśa (and) dhaivata as the concluding note main
via surya_layout
9 and is born of a region<sup>31</sup>; it is sung in the assembly of kşatrīyas, is complete main
via surya_layout
10 and born of bhinna (şadja). main
via surya_layout
11 (33) annotation_inline
parent ligne 10
via heuristic_height
12 Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani main
via surya_layout
13 dhāpāpādhā. Pārvatī [xvi] editorial_bracket
parent ligne 12
via heuristic_brackets
14 Thus end the sixteen bhāṣās of bhinnaṣaḍja according to main
via surya_layout
15 the opinion of Śardūla. main
via surya_layout
16 The proper bhāṣās adorned with vibhāṣās have been spoken of in main
via surya_layout
17 combination with practice and theory (and) blended with prastāra (lit. main
via surya_layout
18 elaboration, here notational illustration). main
via surya_layout
19 (34) annotation_inline
parent ligne 18
via heuristic_height
20 Thus ends the description of bhāṣās. main
via surya_layout
21 [Thus ends the fourth chapter.] editorial_bracket
parent ligne 20
via heuristic_brackets

vol_I_p033 RIGHT — 41 lignes

page vol_I_p033 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 49 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Pañcama is kṛṣṇa (black), dhaivata is yellow-coloured, this niṣāda is multi- main
via surya_layout
4 coloured, (thus) should be known the colours of svaras. main
via surya_layout
5 (74) annotation_inline
parent ligne 4
via heuristic_height
6 (iii) Devatās. main
via surya_layout
7 The daivata 83 (presiding deity) of şadja is Brahmā, ṛṣabha is with the daivata main
via surya_layout
8 vahni (fire), gandhara has Bharati as its deva, madhyama is with Hara as daivata. main
via surya_layout
9 (75) annotation_inline
parent ligne 8
via heuristic_height
10 Pañcama is with Satayajña (Indra is its daivata), dhaivata is with Gaṇa-nāyaka main
via surya_layout
11 (as its daivata), niṣāda, on the other hand, has Bhānu (Sun) as its deva; thus are main
via surya_layout
12 (76) annotation_inline
parent ligne 11
via heuristic_height
13 the devatā84 of svaras. annotation_inline
parent ligne 11
via heuristic_height
14 (iv) Singers (seers). annotation_inline
parent ligne 11
via heuristic_height
15 The svara şadja is sung ('seen')85 by Agni (fire), ṛṣabha is revealed by main
via surya_layout
16 Brahmā, gāndhāra is sung by Soma (moon), madhyama svara (is revealed) by main
via surya_layout
17 Vișnu. annotation_inline
parent ligne 16
via heuristic_height
18 (77) main
via surya_layout
19 On the other hand, the svara pancama is sung by the mahatman (great- main
via surya_layout
20 souled) Nārada, the svaras dhaivata and niṣāda are 'sung' by Tumburu. main
via surya_layout
21 (78) annotation_inline
parent ligne 20
via heuristic_short
22 (v) Rasas annotation_inline
parent ligne 20
via heuristic_height
23 The two svaras madhyama and pañcama should be 'made'86 (used) in the two main
via surya_layout
24 (rasas) hāsya and śṛṅgāra, the two (svaras) şadja and ṛṣabha should be known in main
via surya_layout
25 (79) annotation_inline
parent ligne 24
via heuristic_height
26 vira, raudra and adbhuta rasas. main
via surya_layout
27 Gāndhāra and niṣāda should be 'done' in karuņa rasa. Dhaivata should also main
via surya_layout
28 (80) annotation_inline
parent ligne 27
via heuristic_height
29 be 'done' (used) in bibhatsa and bhayānaka. main
via surya_layout
30 (vi) Sthānas annotation_inline
parent ligne 29
via heuristic_height
31 Ṣadja arises from the throat, 67 rṣabha is known (to arise) from the cerebrum, main
via surya_layout
32 gāndhāra from the nose, madhyama svara from the chest. main
via surya_layout
33 (81) annotation_inline
parent ligne 32
via heuristic_height
34 Pañcama svara is arisen from the throat, O glorious onel dhaivata, on the main
via surya_layout
35 other hand, is born of the palate-region (tālu-deśa). Niṣāda, on the other hand, main
via surya_layout
36 should be known to be born of all the joints (sandhis). main
via surya_layout
37 (82) annotation_inline
parent ligne 36
via heuristic_height
38 Thus one should know the svaras born in the ocean of gita (melody, music), main
via surya_layout
39 arisen out of the mouth of Mahadeva and placed in the 'path' of desi.68 main
via surya_layout
40 (83) annotation_inline
parent ligne 39
via heuristic_height
41 [ Thus ends the section on svara ] editorial_bracket
parent ligne 39
via heuristic_brackets

vol_II_p063 RIGHT — 35 lignes

page vol_II_p063 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 . ..... ... ... ....................... annotation_inline
parent ligne 5
via heuristic_height
2 r . annotation_inline
parent ligne 5
via heuristic_height
3 TRANSLATION page_header
via surya_layout
4 109 page_number
via heuristic_pagenum
5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
via surya_layout
6 [Anu. 190] editorial_bracket
parent ligne 5
via heuristic_brackets
7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
via surya_layout
8 account of the statement by the authorities. Similarly has said Kaśyapa - main
via surya_layout
9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
via surya_layout
10 they are known as rāgas." main
via surya_layout
11 [Anu. 191] section_header
via surya_layout
12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
via surya_layout
13 'vesara'. Thus has said Durgaśakti - main
via surya_layout
14 "Vesaras are known to be so because the svaras move with speed." main
via surya_layout
15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
via surya_layout
16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
via surya_layout
17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
via surya_layout
18 being gratifying to Laksmi.65 That is thus - main
via surya_layout
19 [1. Takkarāga] section_header
via surya_layout
20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
via surya_layout
21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
via surya_layout
22 (320) main
via surya_layout
23 [Anu. 192] section_header
via surya_layout
24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
via surya_layout
25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
via surya_layout
26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
via surya_layout
27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
via surya_layout
28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
via surya_layout
29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
via surya_layout
30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
via surya_layout
31 caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
32 [2. Sauvīra] section_header
via surya_layout
33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
via surya_layout
34 and niṣāda also is weak. main
via surya_layout
35 (321) main
via surya_layout
169 lignes a valider — change uniquement les roles incorrects.