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 21284). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p121 RIGHT — 32 lignes

page vol_II_p121 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 225 page_number
via heuristic_pagenum
3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
via surya_layout
4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
via surya_layout
5 is known to be <i>hamsāvatī</i>, by the experts in music. main
via surya_layout
6 (430) main
via surya_layout
7 [3. Nandāvatī] section_header
via surya_layout
8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
via surya_layout
9 sung in <i>pratitāla</i>. main
via surya_layout
10 (431) annotation_inline
parent ligne 9
via heuristic_short
11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
via surya_layout
12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
via surya_layout
13 (432) annotation_inline
parent ligne 12
via heuristic_short
14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
via surya_layout
15 Everything (else) beginning with rāga should be done as in nādāvatī. main
via surya_layout
16 (433) annotation_inline
parent ligne 15
via heuristic_short
17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
via surya_layout
18 should be known as nādāvatī elā by the experts in music. main
via surya_layout
19 (434) main
via surya_layout
20 [4. Bhadrāvatī] section_header
via surya_layout
21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
via surya_layout
22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
via surya_layout
23 (435) annotation_inline
parent ligne 22
via heuristic_short
24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
via surya_layout
25 colour, being bedecked with vaidarbhī rīti.47 main
via surya_layout
26 (436) annotation_inline
parent ligne 25
via heuristic_short
27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
via surya_layout
28 to be endowed with vārāhī devatā,49 by those adept in music. main
via surya_layout
29 (437) annotation_inline
parent ligne 28
via heuristic_short
30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
via surya_layout
31 that is known by the best among munis to be famous as bhadrāvatī. main
via surya_layout
32 (438) main
via surya_layout

vol_II_p012 RIGHT — 35 lignes

page vol_II_p012 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 7 page_number
via heuristic_pagenum
3 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling main
via surya_layout
4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
via surya_layout
5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
via surya_layout
6 a vikṛtā state."7 annotation_inline
parent ligne 5
via heuristic_short
7 (NŚ XXVIII.46) main
via surya_layout
8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
via surya_layout
9 are formulated or accomplished through ainsa svaras, omission (of one or main
via surya_layout
10 two notes) and the like. main
via surya_layout
11 (192) annotation_inline
parent ligne 10
via heuristic_short
12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
via surya_layout
13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
via surya_layout
14 into being from the above two (ṣaḍjā and gāndhārī) with the addition of main
via surya_layout
15 dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī main
via surya_layout
16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
via surya_layout
17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
via surya_layout
18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
via surya_layout
19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
via surya_layout
20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
via surya_layout
21 of pañcami; these (three) go to make kārmāravī, with the omission of main
via surya_layout
22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
via surya_layout
23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
via surya_layout
24 and dhaivati, thus are the blendings or mixtures. main
via surya_layout
25 <math>(193-198)</math> main
via surya_layout
26 Now they (honorific for the author) have spoken of the classification (of main
via surya_layout
27 jātis) – annotation_inline
parent ligne 26
via heuristic_short
28 Four jātis should be known by the wise to be always composed of seven main
via surya_layout
29 svaras, four are composed of six svaras and the other ten are known as being main
via surya_layout
30 composed of five svaras each. main
via surya_layout
31 (199) annotation_inline
parent ligne 30
via heuristic_short
32 This itself becomes clear - main
via surya_layout
33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
via surya_layout
34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
via surya_layout
35 (200) main
via surya_layout

vol_II_p013 LEFT — 29 lignes

page vol_II_p013 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 F unknown
via fallback
2 8 page_number
via heuristic_pagenum
3 BRHADDEŚĪ page_header
via surya_layout
4 षाड्ज्यान्ध्री नन्दयन्ती च गान्धारोदीच्यवा तथा। main
via surya_layout
5 पह्(ज्य ? जा) annotation_inline
parent ligne 4
via heuristic_height
6 चतेस्रः षट्स्वरा होता ज्ञेयाः पञ्चस्वराः पराः ॥ २०१ ॥ main
via surya_layout
7 निषादवत्यार्षभी च धैवती षड्जमध्यमा । main
via surya_layout
8 षड्जोदीच्यवती चैव पञ्च षड्जाश्रिता: स्मृता: ॥ २०२ ॥ main
via surya_layout
9 त्रिधा annotation_inline
parent ligne 8
via heuristic_height
10 गान्धारी रक्तगान्धारी मध्यमा पञ्चमी तथा । main
via surya_layout
11 कैशिकी चेति विज्ञेया: पञ्जैता मध्यमाश्रिता: ॥ २०३ ॥ main
via surya_layout
12 षड्जग्रामे तु विज्ञेया १४[ सम्पूर्णा षड्जकैशिकी । editorial_bracket
parent ligne 11
via heuristic_brackets
13 षट्स्वरा चैव विज्ञेया षाड्जी गान्धारयोगत: ॥ २०४॥ main
via surya_layout
14 सम्पूर्णा मध्यमग्रामे ज्ञेया कार्मारवी तथा। main
via surya_layout
15 गान्धारपञ्चमी चैव मध्यमोदीच्यवा तथा ॥ २०५ ॥ main
via surya_layout
16 पुनश्च षट्स्वरा ज्ञेया] गान्धारोदीच्यवा बुधै:। editorial_bracket
parent ligne 15
via heuristic_brackets
17 आन्ध्री च नन्दयन्ती च मध्यमग्रामसंश्रया: ॥ २०६ ॥ main
via surya_layout
18 (:) annotation_inline
parent ligne 17
via heuristic_height
19 एवमेता बुधैर्ज्ञेया द्वैग्रामिक्यो विभागत: ॥ २०७ ॥ main
via surya_layout
20 द्वी ग्रामीकौ(?)<sup>१५</sup>ऽपिजातय: main
via surya_layout
21 यास्ता: सप्तस्वरा ज्ञेया याश्चेता: षट्स्वरा: स्मृता: । main
via surya_layout
22 क्वचित् षाडवितास्तास्तु पक्षे चौडुवितीकृताः ॥ २०८ ॥ main
via surya_layout
23 ॥ इति शुद्धाः, विकृताः, संसर्गजा विकृताश्च ॥ editorial_bracket
parent ligne 22
via heuristic_brackets
24 [३. सामान्यलक्षणम् ] section_header
via surya_layout
25 [ अनु ॰ ११८ ] section_header
via surya_layout
26 इदानीं [ सामान्य-] लक्षणमाह - editorial_bracket
parent ligne 25
via heuristic_brackets
27 <sup>१६</sup>श्रुतिग्रहस्वरादिसमूहाज्जायन्त अतो जातय इत्युच्यन्ते। <sup>१७</sup>यस्माज्जायते रसप्रतीतिरारभ्यते main
via surya_layout
28 <b>न्ते जातय:</b> annotation_inline
parent ligne 27
via heuristic_height
29 न्त annotation_inline
parent ligne 27
via heuristic_height

vol_I_p035 RIGHT — 29 lignes

page vol_I_p035 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 53 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 This has been said— annotation_inline
parent ligne 4
via heuristic_height
4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
via surya_layout
5 (Anu. 33) annotation_inline
parent ligne 4
via heuristic_height
6 But why are there only two grāmas? It is being answered; here two grāmas main
via surya_layout
7 have been formulated on account of (musical) performance being rooted in main
via surya_layout
8 the usage of two svaras.11 main
via surya_layout
9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
via surya_layout
10 (Anu. 34) annotation_inline
parent ligne 9
via heuristic_height
11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
via surya_layout
12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
via surya_layout
13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
via surya_layout
14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
via surya_layout
15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
via surya_layout
16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
via surya_layout
17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
via surya_layout
18 rāga occurs. annotation_inline
parent ligne 17
via heuristic_height
19 [ Thus ends the treatment of grāma ]. editorial_bracket
parent ligne 17
via heuristic_brackets
20 [ The treatment of Mürchanā ] section_header
via surya_layout
21 (Anu. 35) annotation_inline
parent ligne 20
via heuristic_height
22 Now the murchanas that befit the occasion or context are being spoken of. main
via surya_layout
23 But what is the etymology of the word murchana and what is its lakşana main
via surya_layout
24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
via surya_layout
25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
via surya_layout
26 and samucchrāya 19 (increase, growth). main
via surya_layout
27 That through which raga 20 (colour, delightfulness) grows or increases, is main
via surya_layout
28 (90) annotation_inline
parent ligne 27
via heuristic_height
29 called mūrchanā. annotation_inline
parent ligne 27
via heuristic_height

vol_I_p025 LEFT — 29 lignes

page vol_I_p025 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 32 page_number
via heuristic_pagenum
3 [ अनु. १८ ] editorial_bracket
parent ligne 4
via heuristic_brackets
4 नन् चतुर्दशानां स्वराणां मध्ये आकारादीनां कथं ग्रहणम् ? सत्यमुक्तम्। main
via surya_layout
5 एतेषामसाधारणत्वेन ग्रहणं कृतम्। असाधारणत्वं main
via surya_layout
6 चैतेषामूर्ध्वध्वनिगामित्वेन। यद्वा षड्जादीनां व्यञ्जनानां स्वरत्वमुक्तम्। main
via surya_layout
7 १ननु - - - सङ्केतमात्रमेतदुक्तं भवति। आचार्याणां परिभाषेत्यर्थः। main
via surya_layout
8 [वाद्यादिभेदेन स्वराणां चातुर्विध्यम् ] section_header
via surya_layout
9 [ अनु. १९ ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 इदानीमवसरप्राप्तं चातुर्विध्यं स्वराणां १०दर्शयामि। main
via surya_layout
11 11सन्दर्गः annotation_inline
parent ligne 10
via heuristic_height
12 तद्यथा— annotation_inline
parent ligne 10
via heuristic_height
13 वदनाद् वादी स्वामिवत्। संवदनात् संवादी अमात्यवत्। main
via surya_layout
14 अनुवदनादनुवादी परिजनवत्। विवदनाद् विवादी शत्रुवत्। main
via surya_layout
15 [ अनु. २० ] editorial_bracket
parent ligne 14
via heuristic_brackets
16 नन् वदनादिकं प्राणिधर्मः कथमचेतनानां स्वराणां सम्भवति ? main
via surya_layout
17 सत्यमुक्तम्। वदनं हि नामात्राः [ राग- ] प्रतिपादकत्वं विवक्षितम्, न editorial_bracket
parent ligne 16
via heuristic_brackets
18 12नाम annotation_inline
parent ligne 16
via heuristic_height
19 वचनमिति। किं तत् प्रतिपादयति ? रागस्य रागत्वं जनयति। ते च main
via surya_layout
20 14亩 annotation_inline
parent ligne 19
via heuristic_height
21 वादिनः स्वराः सप्तेव। main
via surya_layout
22 स च वाद्यंशवद्दशविधो बोद्धव्यः। वादिमण्डलं यथा— main
via surya_layout
23 सरिगमप धनि। annotation_inline
parent ligne 22
via heuristic_short
24 [ अनु २१ ] editorial_bracket
parent ligne 22
via heuristic_brackets
25 संवादिनस्तु पुनः समश्रुतिकत्वे सति त्रयोदश नवान्तरत्वेनावबोद्धव्याः। किं main
via surya_layout
26 <sup>15</sup>वाऽन्योऽन्य annotation_inline
parent ligne 25
via heuristic_height
27 तत् संवादित्वं नाम? main
via surya_layout
28 यद् वादिस्वरेण रागस्य रागत्वं जनितं तन्निर्वाहकत्वं main
via surya_layout
29 नाम संवादित्वम्। संवादिमण्डलं यथा- main
via surya_layout
154 lignes a valider — change uniquement les roles incorrects.