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 21187). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p077 RIGHT — 34 lignes

page vol_II_p077 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 137 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Sauvīrī should be known as the first one, vega-madhyamā the second, main
via surya_layout
4 sādhāritā is the third one and gāndhārī the fourth. Thus should be known the main
via surya_layout
5 four <i>bhāṣās</i> born of <i>sauvīraka</i>. main
via surya_layout
6 <math>(30c-31)</math> main
via surya_layout
7 Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said main
via surya_layout
8 to be born of <i>bhinnapañcama</i>. main
via surya_layout
9 (32) annotation_inline
parent ligne 8
via heuristic_short
10 The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born main
via surya_layout
11 bhāvinī, the one that is beautiful for the people. main
via surya_layout
12 (33) annotation_inline
parent ligne 11
via heuristic_short
13 Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, main
via surya_layout
14 and drāvidī is the third bhāṣā there that is described with characteristics main
via surya_layout
15 (lakṣaṇas). annotation_inline
parent ligne 14
via heuristic_short
16 (34) main
via surya_layout
17 The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. main
via surya_layout
18 Tānodbhavā should be known as being assigned to bhinnatāna. main
via surya_layout
19 (35) annotation_inline
parent ligne 18
via heuristic_height
20 In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. main
via surya_layout
21 Gāndhārī is with profuse gāndhāra and is delightful to the people in main
via surya_layout
22 pañcama (gāndhārapañcama). In revagupta<sup>13</sup> (?) śakākhyā is the one main
via surya_layout
23 spoken of in <i>pañcamaṣāḍav</i>a. main
via surya_layout
24 (36) annotation_inline
parent ligne 23
via heuristic_short
25 Thus are obvious the bhāṣās that are born in manifold ways. Now listen main
via surya_layout
26 to their description alongwith illustration for each one. main
via surya_layout
27 (37) main
via surya_layout
28 [The description of bhāṣās] section_header
via surya_layout
29 [1. Bhāṣās in ṭakka-rāga] section_header
via surya_layout
30 It has madhyama as its amśa, şadja as its concluding note, is devoid of main
via surya_layout
31 pañcama and there is to be seen here again and again the mutual main
via surya_layout
32 movement<sup>14</sup> of dhaivata-niṣāda and similarly ṣadja - dhaivata. This should main
via surya_layout
33 be known as hexatonic. Travaņā should bear the name mūlā. main
via surya_layout
34 (38-39) annotation_inline
parent ligne 33
via heuristic_height

vol_II_p062 RIGHT — 36 lignes

page vol_II_p062 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 107 page_number
via heuristic_pagenum
3 [Anu. 188] editorial_bracket
parent ligne 4
via heuristic_brackets
4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
via surya_layout
5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
via surya_layout
6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
via surya_layout
7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
via surya_layout
8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
via surya_layout
9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
via surya_layout
10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
via surya_layout
11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
via surya_layout
12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
via surya_layout
13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
via surya_layout
14 like caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
15 [3. Gaudakaisikamadhyama] section_header
via surya_layout
16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
via surya_layout
17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
via surya_layout
18 (318) annotation_inline
parent ligne 17
via heuristic_short
19 [Anu. 189] editorial_bracket
parent ligne 17
via heuristic_brackets
20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
via surya_layout
21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
via surya_layout
22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
via surya_layout
23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
via surya_layout
24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
via surya_layout
25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
27 obtains in the songs comprised of svara and pada. main
via surya_layout
28 [The assignment of gaudaragas to gramas] section_header
via surya_layout
29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
via surya_layout
30 grāmas- annotation_inline
parent ligne 29
via heuristic_short
31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
via surya_layout
32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
via surya_layout
33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
via surya_layout
34 to vesarā gīti). annotation_inline
parent ligne 33
via heuristic_short
35 (319) main
via surya_layout
36 (vide) annotation_inline
parent ligne 35
via heuristic_height

vol_II_p060 RIGHT — 35 lignes

page vol_II_p060 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 103 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 183] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is editorial_bracket
parent ligne 5
via heuristic_brackets
5 comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because main
via surya_layout
6 pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take main
via surya_layout
7 up two śrutis? It is being answered. It is said to be comprised of four śrutis main
via surya_layout
8 on the analogy of its former position. Just as in bhinnakaiśika rāga, the main
via surya_layout
9 pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking main
via surya_layout
10 recourse to its form comprised of four śrutis, similarly it will happen here also main
via surya_layout
11 and hence there is no fault. And its description is thus - main
via surya_layout
12 . . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 11
via heuristic_height
13 [5. Bhinnatāna] section_header
via surya_layout
14 Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh main
via surya_layout
15 (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of main
via surya_layout
16 rsabha. annotation_inline
parent ligne 15
via heuristic_height
17 (313) annotation_inline
parent ligne 15
via heuristic_height
18 [Anu. 184] editorial_bracket
parent ligne 15
via heuristic_brackets
19 This means-bhinnatāna is related to madhyamagrāma on account of being main
via surya_layout
20 born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa, main
via surya_layout
21 madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. main
via surya_layout
22 Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa main
via surya_layout
23 (rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the main
via surya_layout
24 varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga), main
via surya_layout
25 the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math main
via surya_layout
26 A tāla like caccatpuţa obtains in the songs comprised of svara and pada. main
via surya_layout
27 [The assignment of bhinna-rāgas to grāmas] section_header
via surya_layout
28 [Anu. 185] editorial_bracket
parent ligne 27
via heuristic_brackets
29 The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That main
via surya_layout
30 is thus - annotation_inline
parent ligne 29
via heuristic_height
31 ٠ page_number
via heuristic_pagenum
32 "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. main
via surya_layout
33 (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma." main
via surya_layout
34 Thus bhinnas have been explained, now listen to the gaudas. main
via surya_layout
35 (314) annotation_inline
parent ligne 34
via heuristic_height

vol_II_p113 LEFT — 42 lignes

page vol_II_p113 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 208 page_number
via heuristic_pagenum
3 प्रबन्धोऽयं स्वरार्थ: स्याद् ज्ञेयोऽसौ गीतवेदिभि: । main
via surya_layout
4 चत्वारिंशत्तमं प्रोक्तं करणं पञ्चभिर्युतम् ॥३७८॥ main
via surya_layout
5 चत्वारिंशद्युत: षड्भिश्चासौ वर्णस्वर: स्मृत:। main
via surya_layout
6 °ता: annotation_inline
parent ligne 5
via heuristic_markers
7 चत्वारिंशत्सप्तयुता ज्ञेया मुक्तावलीति या ॥ ३७९॥ main
via surya_layout
8 प्रतापवर्धनश्चाष्ट्रचत्वारिशः प्रकीर्तितः । main
via surya_layout
9 (त?न) annotation_inline
parent ligne 8
via heuristic_short
10 ॰शत् annotation_inline
parent ligne 8
via heuristic_markers
11 अष्टौ च मुनिना ख्याताश्चत्वारिंशत् सुसंयुता[:] ॥ ३८०॥ editorial_bracket
parent ligne 8
via heuristic_brackets
12 पञ्चधा मुनिना main
via surya_layout
13 न्ता चत्वाः annotation_inline
parent ligne 12
via heuristic_height
14 एतेषां लक्षणं विच्य समासाद् विदुषां कृते । main
via surya_layout
15 चच्छि annotation_inline
parent ligne 14
via heuristic_short
16 विदुषात्तमम् main
via surya_layout
17 यथोक्तं चात्र नियमै[:] [पदतालादिसंयुतै:] ॥ editorial_bracket
parent ligne 16
via heuristic_brackets
18 रागैर्यथावदुक्तैस्तु गातव्या गीतकोविदै: ॥ ३८१॥ main
via surya_layout
19 [प्रबन्धानां लक्षणानि] section_header
via surya_layout
20 [१.कन्द:] section_header
via surya_layout
21 तालशून्यस्तु य: पाटैर्बिरुदेश्च समन्वित:। main
via surya_layout
22 ॰ता: annotation_inline
parent ligne 21
via heuristic_markers
23 स कन्द इति कर्णाटभाषादिपदिमश्रित: ॥३८२॥ main
via surya_layout
24 कन्दादिप्रबन्धा लक्ष्यत: प्रसिद्धा एव । main
via surya_layout
25 क(दा?न्दा) main
via surya_layout
26 [२. वृत्त:] section_header
via surya_layout
27 आर्यायां द्विपथे वृत्तो गाथायां दोघके तथा। main
via surya_layout
28 वृते गाधाया जेधके तथा(?) main
via surya_layout
29 ्याः annotation_inline
parent ligne 28
via heuristic_height
30 तोटके[ ऽथ] च तालस्य नियमो नास्ति कदाचन ॥ editorial_bracket
parent ligne 28
via heuristic_brackets
31 •केन main
via surya_layout
32 मुख्यता तेषु निर्दिष्टा मुनिभिश्छन्दस: स्फुटम्<sup>४</sup>॥ ३८३॥ main
via surya_layout
33 ॰सा annotation_inline
parent ligne 32
via heuristic_markers
34 अन्ते च स्वरविन्यास: [स्वरहीनं स्मृतं परै:] । editorial_bracket
parent ligne 32
via heuristic_brackets
35 अन्त: स्वर + विन्यास: + + + + + main
via surya_layout
36 [वृत्ते छन्दिस यच्चान्ये] वङ्क्ति तदिप सम्मतम् ॥३८४॥ editorial_bracket
parent ligne 35
via heuristic_brackets
37 . . . . . . . . . annotation_inline
parent ligne 35
via heuristic_height
38 न्तः annotation_inline
parent ligne 35
via heuristic_height
39 NAME OF TAXABLE PARTY. annotation_inline
parent ligne 35
via heuristic_height
40 محفظ ماملا دي ماسي الراكات المار annotation_inline
parent ligne 35
via heuristic_height
41 4 . . . . . . . . . annotation_inline
parent ligne 35
via heuristic_height
42 (vide) annotation_inline
parent ligne 35
via heuristic_height

vol_II_p088 RIGHT — 29 lignes

page vol_II_p088 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 159 page_number
via heuristic_pagenum
3 [4. Bhāṣās in hindolaka] section_header
via surya_layout
4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
via surya_layout
5 is formed with the (profuse) use of gandhara. The to and fro movement main
via surya_layout
6 between şadja and gandhara should be arranged there by the performers. main
via surya_layout
7 (83) unknown
via fallback
8 Illustration main
via surya_layout
9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
via surya_layout
10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
parent ligne 9
via heuristic_brackets
11 Having pancama as amśa, şadja as the concluding note, being devoid of main
via surya_layout
12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
via surya_layout
13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
via surya_layout
14 (84) annotation_inline
parent ligne 13
via heuristic_short
15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
via surya_layout
16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
parent ligne 15
via heuristic_brackets
17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
via surya_layout
18 thus has been described chevāțī and concert between șadja-madhyama and main
via surya_layout
19 similarly şadja-gāndhāra should always be put up. main
via surya_layout
20 (85) annotation_inline
parent ligne 19
via heuristic_short
21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
via surya_layout
22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
via surya_layout
23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Having şadja às amśa and madhyama as concluding note, being weak in main
via surya_layout
25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
via surya_layout
26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
via surya_layout
27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
via surya_layout
28 nature. It is sung also by Kinnaras.<sup>33</sup> main
via surya_layout
29 <math>(86-87)</math> main
via surya_layout
176 lignes a valider — change uniquement les roles incorrects.