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 21366). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p015 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 13 page_number
via heuristic_pagenum
3 [2. The definition of amsa] section_header
via surya_layout
4 [Anu. 120] editorial_bracket
parent ligne 3
via heuristic_brackets
5 After this amsa is being spoken of; that is known as tenfold according to main
via surya_layout
6 the division of its angas (lit. limbs, here functions). Anisa is that which leads main
via surya_layout
7 to the manifestation of raga (delight) in the course of its operation; this is its main
via surya_layout
8 first (function). And the second anisa (in its functioning) is that with which main
via surya_layout
9 gīta (melodic organisation and performance) begins and proceeds, which is main
via surya_layout
10 vikalpita (alternatively arranged) as graha, this is its second (function). That main
via surya_layout
11 amsa is third (in its functioning) which is the cause of the manifestation of main
via surya_layout
12 tāra (high) and mandra (low). The ascent up to the fifth svara is (the range main
via surya_layout
13 of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just main
via surya_layout
14 as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). main
via surya_layout
15 Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator main
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16 . annotation_inline
parent ligne 15
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17 ofmandra is also amsa on account of descent in seven svaras. Just as in the main
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18 ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā main
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19 <math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela main
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20 amśa which is used profusely; this is the fourth (function). That svara is also main
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21 amsa which stands as the object (here content) of raga; this is the fifth main
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22 (function). That is also amsa which is perceptible in (the operation of) main
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23 graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, main
via surya_layout
24 eighth, ninth and tenth (function).<sup>16</sup> main
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25 [The definition of apanyasa forming part of that of amsa section_header
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26 [Anu. 121] section_header
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27 • annotation_inline
parent ligne 26
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28 That is apanyāsa, where gīta (melodic rendering) is supposed or appears main
via surya_layout
29 to be ending; this occurs in the middle of all vidārīs (sub-sections). That main
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30 vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and main
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31 pada-vidārī 18 (splitting of the melodic- cum-textual units). main
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32 (Contention) What is signified by the word vidārī (?) It is the splitting or main
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33 separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma main
via surya_layout
34 (melodic structure) could be (understood) as such. main
via surya_layout
35 [The definition of samnyāsa forming part of that of amśa] section_header
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36 [Anu. 122] section_header
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37 Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when main
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vol_II_p123 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
via surya_layout
2 228 page_number
via heuristic_pagenum
3 [२. कामलेखा] section_header
via surya_layout
4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
via surya_layout
5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
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6 विंशति विषमे annotation_inline
parent ligne 5
via heuristic_height
7 (?)चरमे annotation_inline
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via heuristic_height
8 [३. बाणलेखा] section_header
via surya_layout
9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
via surya_layout
10 (電?) annotation_inline
parent ligne 9
via heuristic_height
11 ऽपि+(विशिष्टम्) annotation_inline
parent ligne 9
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
parent ligne 9
via heuristic_brackets
13 न्त annotation_inline
parent ligne 9
via heuristic_height
14 [४. चन्द्रलेखा] section_header
via surya_layout
15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
via surya_layout
16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
via surya_layout
17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
parent ligne 16
via heuristic_brackets
18 [ग. वर्णेलाप्रकारा:] section_header
via surya_layout
19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
via surya_layout
20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
parent ligne 19
via heuristic_brackets
21 ++ annotation_inline
parent ligne 19
via heuristic_height
22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
parent ligne 19
via heuristic_brackets
23 (च)तथा annotation_inline
parent ligne 19
via heuristic_height
24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
via surya_layout
25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
parent ligne 26
via heuristic_brackets
28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
parent ligne 26
via heuristic_brackets
29 अलिलतनामोपेता annotation_inline
parent ligne 26
via heuristic_height
30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
parent ligne 26
via heuristic_brackets
31 ....भवति रम्यतरा annotation_inline
parent ligne 26
via heuristic_height

vol_I_p022 LEFT — 24 lignes

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1 26 page_number
via heuristic_pagenum
2 <b>BRHADDES!</b> page_header
via surya_layout
3 इदानी सम्प्रवक्ष्यामि मध्यमश्रुतिमण्डलम् । main
via surya_layout
4 ज्ञेयस्तिस्रो ह्यतिक्रम्य मध्यमोऽयं चतुःश्रुतिः॥४८॥ main
via surya_layout
5 श्रुतिद्वयमतिक्रम्य तृतीया पञ्चमो भवेत्। main
via surya_layout
6 ०यः annotation_inline
parent ligne 5
via heuristic_height
7 ततस्तिस्रो ह्यतिक्रम्य चतुर्थी धैवतो भवेत्॥४९॥ main
via surya_layout
8 ॰र्यो annotation_inline
parent ligne 7
via heuristic_markers
9 ज्ञेयस्त्वेकामतिक्रम्य निषादस्तु द्वितीयिका। main
via surya_layout
10 •यकः annotation_inline
parent ligne 9
via heuristic_height
11 श्रुतित्रयमतिक्रम्य ततः षड्जश्चतुर्थिका॥५०॥ main
via surya_layout
12 <b>ः</b>र्थकः annotation_inline
parent ligne 11
via heuristic_height
13 ऋषभस्तु द्वयं त्यक्त्वा तृतीया परतो भवेत् । main
via surya_layout
14 • यः annotation_inline
parent ligne 13
via heuristic_height
15 श्रुतिमेकामतिक्रम्य गान्धारः स्याद् द्वितीयिका॥५१॥ main
via surya_layout
16 •यकः annotation_inline
parent ligne 15
via heuristic_height
17 [ तद्यथा — ] मध्यमग्रामे श्रुतिमण्डलम्— editorial_bracket
parent ligne 15
via heuristic_brackets
18 म annotation_inline
parent ligne 15
via heuristic_height
19 ग annotation_inline
parent ligne 15
via heuristic_height
20 रि unknown
via surya_layout
21 स annotation_inline
parent ligne 15
via heuristic_height
22 नि unknown
via surya_layout
23 [ अनु. १४ ] editorial_bracket
parent ligne 15
via heuristic_brackets
24 भरतस्तु पुनऋषभादिश्रुतिमण्डलं दर्शयति। main
via surya_layout

vol_I_p050 RIGHT — 44 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
via surya_layout
4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
via surya_layout
5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
parent ligne 7
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9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
via surya_layout
10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
parent ligne 16
via heuristic_height
18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
via surya_layout
20 after having established the murchanā."61 main
via surya_layout
21 Nandikeśvara has also said— annotation_inline
parent ligne 20
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
via surya_layout
23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
parent ligne 24
via heuristic_height
26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
via surya_layout
27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
via surya_layout
28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
via surya_layout
29 have been there and if this were the case, that raga could not be formulated. main
via surya_layout
30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
via surya_layout
31 and mandra. The performance of other ragas would also be destructive (of their main
via surya_layout
32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
via surya_layout
33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
via surya_layout
34 with twelve svaras). That is thus -63 main
via surya_layout
35 Uttaramandrā (1) annotation_inline
parent ligne 34
via heuristic_height
36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
via surya_layout
37 Rajani (2) annotation_inline
parent ligne 36
via heuristic_height
38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
via surya_layout
39 Uttarāyatā (3) annotation_inline
parent ligne 38
via heuristic_height
40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
via surya_layout
41 Śuddhasadjā (4) annotation_inline
parent ligne 40
via heuristic_height
42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
via heuristic_height
43 Matsarikṛtā (5) annotation_inline
parent ligne 40
via heuristic_height
44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni main
via surya_layout

vol_II_p115 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 212 page_number
via heuristic_pagenum
2 BRHADDESI page_header
via surya_layout
3 [९. दोधक:] editorial_bracket
parent ligne 4
via heuristic_brackets
4 ररअर्धं गीत्वा परार्धं तु तस्योपरि ततस्वरम् ॥३९१॥ main
via surya_layout
5 परार्थ annotation_inline
parent ligne 4
via heuristic_height
6 अर्थ annotation_inline
parent ligne 4
via heuristic_height
7 ततापरि annotation_inline
parent ligne 4
via heuristic_height
8 ॰स्वरा(?) annotation_inline
parent ligne 4
via heuristic_markers
9 [१०. तोटक:] editorial_bracket
parent ligne 4
via heuristic_brackets
10 <sup>1</sup>/<sub>1</sub>[.....] editorial_bracket
parent ligne 4
via heuristic_brackets
11 [११. वस्तु] editorial_bracket
parent ligne 4
via heuristic_brackets
12 यत्र पाटाश्च तेत्राश्च शेषं भवेत् ततस्वरम् । main
via surya_layout
13 ततो परी annotation_inline
parent ligne 12
via heuristic_height
14 . . . . annotation_inline
parent ligne 12
via heuristic_height
15 देशीगीतेऽपि वस्तु स्यात्राटकेऽपि प्रयुज्यते<sup>१३</sup> ॥३९२॥ main
via surya_layout
16 [१२. क्रौञ्चपद:] section_header
via surya_layout
17 गीतस्तु प्रतितालेन पदस्वरसमायुत:। main
via surya_layout
18 ॰(ना?ता)॰ annotation_inline
parent ligne 17
via heuristic_markers
19 मतः क्रौञ्चपदो नाम स तु गान्धर्ववेदिनाम् १४॥३९३॥ main
via surya_layout
20 [१३.हंसपद:] section_header
via surya_layout
21 संस्कृतं पादमेकं तु द्वितीयं देशसंयुतम्। main
via surya_layout
22 सप्रासं गीयते यत्तद् गीतं हंसपदं विदुः १५॥३९४॥ main
via surya_layout
23 यम annotation_inline
parent ligne 22
via heuristic_height
24 [१४.शुकसारिक:] section_header
via surya_layout
25 यस्तु तालपदोपेत[:] पदपाटविराजित:। editorial_bracket
parent ligne 24
via heuristic_brackets
26 प्रश्नोत्तरसमायुक्तः स तूक्तः शुकसारिकः ॥३९५॥ main
via surya_layout
27 ॰यु(के:?क:) सदोक: annotation_inline
parent ligne 26
via heuristic_markers
28 न्तः annotation_inline
parent ligne 26
via heuristic_height
29 [य: स्यात्] कर्णाटभाषायामथवा मिश्रितो यदि । editorial_bracket
parent ligne 26
via heuristic_brackets
30 ٠ page_number
via heuristic_pagenum
31 + annotation_inline
parent ligne 26
via heuristic_height
32 संवादकपदोपेत: स भवेच्छुकसारिक: १६॥ ३९६॥ main
via surya_layout
168 lignes a valider — change uniquement les roles incorrects.