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 21279). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p042 LEFT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 66 page_number
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3 (৬) table
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4 सा पा नी मा पा पा गां गां table
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5 मां पां मां निधं नी नी सा सा table
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6 (८) table
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7 पां पां मां धंनिं पां पां पां पां table
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8 (९) table
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9 (१०) table
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10 मां पां मां रिग गा गा गा गा table
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11 (११) table
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12 गा पा मा पा नी नी नी नी table
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13 (१२) table
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14 मा पा मा परि गा गा गा गा table
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15 (१३) table
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16 गा गा गा मा मा निध नी नी table
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17 (१४) table
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18 नी नी धप मा निध निध पा पा table
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19 (१५) table
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20 रीं गां सां सां मा नी नी नी table
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21 (१६) table
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22 नी नी धा पा धा पा मा मा table
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23 ॥ [इति] मध्यमोदीच्यवा ॥ table
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24 141 page_number
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25 [६. कामारवी] section_header
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26 कार्मारव्यां भवन्त्यंशा निषादरिपधैवता: ॥ १६॥ main
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27 बहवोऽन्तरमार्गत्वादनंशा: परिकीर्तिता: । main
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28 गान्धारोऽत्यन्तबहुल: सर्वाशस्वरसंगति: ॥ १७॥ main
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29 सर्वाशत्वं(?)स्वसंगतैः main
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30 चच्चत्पृट: षोडशात्र कला: षड्जादिमूर्छना । main
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31 (জা) annotation_inline
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32 पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥ १८॥ main
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33 <sup>१७८</sup>अस्यां पञ्चमो न्यास:, अंशा एवापन्यासा: । <sup>१७९</sup>प्रस्तार: - main
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34 ए(व?वा) main
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35 री री री री री री री री table
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36 (१) table
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37 मां गां सां गां सा नी नी नी table
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38 (२) table
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39 (3) table
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40 नी मा नी मा पा पा गा गा table
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41 (8) table
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42 गा पा मा पा नी नी नी नी table
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43 (4) table
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44 री गासानी री गारी गा table
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45 री गारी सानिध नी पापा table
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46 <b>(</b>\(\xi\) table
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47 (৩) table
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48 मा पा मा परि गा गा गा गा table
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vol_I_p060 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 103 page_number
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2 TRANSLATION page_header
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3 phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, main
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4 padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, main
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5 gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa main
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6 pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 main
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7 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, main
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8 sarigama magarisa. Thus is (ends) hunkāra in eighteen kalās (phrases). main
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9 (29) main
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10 (Anu. 99) section_header
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11 From the high (şadja), after going to the seventh (svara viz. nişāda), again main
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12 coming back there itself (on sadja), through the pronouncement of two svaras main
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13 in the descending order, on making four kalās (units in each phrase), main
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14 sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha main
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15 nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga main
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16 maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari main
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17 gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa main
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18 dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) main
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19 (30) annotation_inline
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20 sandhipracchādana. main
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21 (Anu. 100) section_header
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22 Having pronounced the amsa svara 79 (initial note) four times, after that main
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23 with the fast pronunciation of two immediate svaras, with gradual (successive) main
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24 ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri main
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25 ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha main
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26 (31) annotation_inline
parent ligne 25
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27 dha dha dha nisa. Thus is (ends) vidhuta. main
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28 (Anu. 101) section_header
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29 Udgita (is formed) on account of the descent from high with the gap of one main
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30 svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari main
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31 (32) annotation_inline
parent ligne 30
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32 gasa. Thus is ends udgita. main
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vol_I_p025 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
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2 32 page_number
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3 [ अनु. १८ ] editorial_bracket
parent ligne 4
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4 नन् चतुर्दशानां स्वराणां मध्ये आकारादीनां कथं ग्रहणम् ? सत्यमुक्तम्। main
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5 एतेषामसाधारणत्वेन ग्रहणं कृतम्। असाधारणत्वं main
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6 चैतेषामूर्ध्वध्वनिगामित्वेन। यद्वा षड्जादीनां व्यञ्जनानां स्वरत्वमुक्तम्। main
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7 १ननु - - - सङ्केतमात्रमेतदुक्तं भवति। आचार्याणां परिभाषेत्यर्थः। main
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8 [वाद्यादिभेदेन स्वराणां चातुर्विध्यम् ] section_header
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9 [ अनु. १९ ] editorial_bracket
parent ligne 8
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10 इदानीमवसरप्राप्तं चातुर्विध्यं स्वराणां १०दर्शयामि। main
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11 11सन्दर्गः annotation_inline
parent ligne 10
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12 तद्यथा— annotation_inline
parent ligne 10
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13 वदनाद् वादी स्वामिवत्। संवदनात् संवादी अमात्यवत्। main
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14 अनुवदनादनुवादी परिजनवत्। विवदनाद् विवादी शत्रुवत्। main
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15 [ अनु. २० ] editorial_bracket
parent ligne 14
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16 नन् वदनादिकं प्राणिधर्मः कथमचेतनानां स्वराणां सम्भवति ? main
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17 सत्यमुक्तम्। वदनं हि नामात्राः [ राग- ] प्रतिपादकत्वं विवक्षितम्, न editorial_bracket
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18 12नाम annotation_inline
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19 वचनमिति। किं तत् प्रतिपादयति ? रागस्य रागत्वं जनयति। ते च main
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20 14亩 annotation_inline
parent ligne 19
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21 वादिनः स्वराः सप्तेव। main
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22 स च वाद्यंशवद्दशविधो बोद्धव्यः। वादिमण्डलं यथा— main
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23 सरिगमप धनि। annotation_inline
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24 [ अनु २१ ] editorial_bracket
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25 संवादिनस्तु पुनः समश्रुतिकत्वे सति त्रयोदश नवान्तरत्वेनावबोद्धव्याः। किं main
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26 <sup>15</sup>वाऽन्योऽन्य annotation_inline
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27 तत् संवादित्वं नाम? main
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28 यद् वादिस्वरेण रागस्य रागत्वं जनितं तन्निर्वाहकत्वं main
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29 नाम संवादित्वम्। संवादिमण्डलं यथा- main
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vol_II_p074 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 [Chapter IV] section_header
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2 Now the definition of bhāṣās section_header
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3 [The beginning of the treatment of bhāṣās] section_header
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4 [ A. Bhāṣās according to Yāṣṭika] section_header
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5 [Thus spoke Yāṣṭika<sup>1</sup>] section_header
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6 I have spoken of all grāma-rāgas endowed with characteristics (lakṣaṇas). main
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7 After this, I shall speak of the description of bhāṣās? main
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8 Now listen. annotation_inline
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9 (1) main
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10 Bhāṣās have been said to be four-fold viz. mūlā (basic) sankīrņā main
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11 (mixed), <math>^4</math> deśajā<math>^5</math> (regional) (and) chāyāmātrāśrayā<math>^6</math> (based on the chāyā of a main
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12 <i>rāga</i> ), arranged in a <i>grāma-rāga</i> in each case. main
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13 (2) main
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14 [Thus said Kaśyapa] section_header
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15 What is the nature of bhāṣā? Sankīrṇā, deśajā and chāyāmātrānugā main
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16 (exclusively following the <i>chāyā</i> of a <i>rāga</i>) have been said to be combined main
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17 with graha, amśa and nyāsa. main
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18 (3) annotation_inline
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19 Which one is hexatonic there and which one is pentatonic? Which one, main
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20 on the other hand, is complete and that which has 'sādhāraṇa'?? main
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21 (4) annotation_inline
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22 Which one, of what nature, where in grāma-rāgas, is sung by people? main
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23 Which one is obtained as bhāṣā and which one is vibhāṣā 8? main
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24 (5) annotation_inline
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25 Which one is antara-bhāṣā <sup>9</sup> and which one falls in sequence? Tell me this main
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26 in essence; I have great curiosity. main
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27 (6) main
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28 Thus said Yāşţika - section_header
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29 Listen with attention the excellent description of bhāṣā which is sung with main
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30 effort on the earth by the knowledgeable ones in music. 10 main
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31 (7) annotation_inline
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32 These (bhāṣās) are not perceived obviously by the singers who do not put main
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33 in effort. 11 When sung properly, they become well-known, specially to those main
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34 who are endowed with a tuneful voice. main
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35 (8) main
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vol_I_p065 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
parent ligne 9
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
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18 another sthana (register). annotation_inline
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
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43 alankāras, they should not be used without varņa.118 main
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187 lignes a valider — change uniquement les roles incorrects.