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 21374). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p109 RIGHT — 41 lignes

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1 [Chapter V] section_header
via surya_layout
2 [Desī rāgas] section_header
via surya_layout
3 [Propitiation] section_header
via surya_layout
4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
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5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
via surya_layout
6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
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7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
via surya_layout
9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
parent ligne 12
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14 [Threefold desi ragās] section_header
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15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
parent ligne 19
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21 All rāgāngas are so called by the experts in music because they bear only main
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22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
parent ligne 22
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
parent ligne 26
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
parent ligne 29
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
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35 [1. Kacchelli] section_header
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36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
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37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
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38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
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39 movement of pa-ri (pañcama-ṛṣabha). main
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40 (353) annotation_inline
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41 (vide) annotation_inline
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vol_II_p106 LEFT — 33 lignes

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1 (vide) annotation_inline
parent ligne 6
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2 BRHADDEŚĪ page_header
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3 194 page_number
via heuristic_pagenum
4 .....मालवी । [३]<sup>२४</sup> editorial_bracket
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5 .....गुर्जरी । [४]<sup>२५</sup> editorial_bracket
parent ligne 6
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6 मध्यामांशा २६धैवतान्ता षाडवा ऋषभोज्झिता । main
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7 ऋषभान्विता annotation_inline
parent ligne 6
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8 गीयते यज्ञकाले या सा ख्याता बाह्यषाडवा ॥ २४॥ main
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9 उदाहरणम् - माधा । मानिनि पामापाधाधा । माधामागा गागागामा ममनिधा मापापानिधा- main
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10 धाधा । बाह्यषाडवा । [५] editorial_bracket
parent ligne 9
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11 निषादांशा धैवतान्ता षाडवा स्याद्रिवर्जिता<sup>२७</sup>। main
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12 षद्द्जवर्जिता annotation_inline
parent ligne 11
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13 कौसली देशसम्भूता प्रतीहारेषु गीयते ॥ २५॥ main
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14 कौसलदेश॰ annotation_inline
parent ligne 13
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15 उदाहरणम् – निनिधा । पामामा । मागमा । सासासासासा । मागमानिधाधा । कौसली । [६] editorial_bracket
parent ligne 13
via heuristic_brackets
16 गान्धारांशा मध्यमान्ता गान्धारी मध्यमाश्रिता<sup>२८</sup>। main
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17 (श?शा) annotation_inline
parent ligne 16
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18 एकान्तवासिभिर्गीता मूलभाषा तु षड्जगा ॥ २६॥ main
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19 उदाहरणम् - गामापानीसासा । निधाधामा मामागामाधा । निसारी । सापामामा । धानीसारी । main
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20 गारीसानी । धामामा । गान्धारी । [७] editorial_bracket
parent ligne 19
via heuristic_brackets
21 २९धैवताद्यन्तसंयुक्ता रिहीना षाडवस्वरा । main
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22 ॰ पह्जर्पभहीना annotation_inline
parent ligne 21
via heuristic_markers
23 स्वरविवितका एषा गीयते दृढमानसै: ॥ २७॥ main
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24 + + बलितगा annotation_inline
parent ligne 23
via heuristic_height
25 उदाहरणम् - धाधामापा । गागामाधा निसानिधाधा पापागामा धासनिधानिसासागामा पापा- main
via surya_layout
26 धाधा । मधापामामा गधगामधानिसासा। निसानिगागा मासानीधा धापमामागाधा । सामाधा- main
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27 नी ससाधापामाधाधा । स्वरवलिता । [८] editorial_bracket
parent ligne 26
via heuristic_brackets
28 धैवताद्यन्तललिता पञ्चमर्षभवर्जिता । main
via surya_layout
29 षह्जपश्चम ॰ annotation_inline
parent ligne 28
via heuristic_markers
30 ३॰पञ्चस्वरा तु गीयेत प्रकृष्टा सा मता क्रमात् ॥ २८॥ annotation_inline
parent ligne 28
via heuristic_markers
31 - Paragraphy (Fig. 25) Apply (Head Co. 19) Apply (The Section 25) (25) annotation_inline
parent ligne 28
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32 All the second second second second second second second second second second second second second second second second annotation_inline
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33 والمراجع والمراكب والمراكب والمراجع والمراجع والمراجع والمراجع والمناكب annotation_inline
parent ligne 28
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vol_II_p085 RIGHT — 33 lignes

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1 153 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Being combined with sadja as the initial and concluding note, being main
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4 complete and born of deśa (region), having concert between ṛṣabha and main
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5 șadja, the svaras comprised of two śrutis each being of sparse nature, this main
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6 ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. main
via surya_layout
7 (68) annotation_inline
parent ligne 6
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8 Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, main
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9 Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. main
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10 Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. main
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11 Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā main
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12 sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. main
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13 Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. main
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14 Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. main
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15 Mapāgāri. Sanisāsā. Ābhīrī [vi] editorial_bracket
parent ligne 14
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16 Khañjanî has pañcama as amśa, ṣaḍja as the concluding note, is devoid of main
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17 dhaivata, there is concert between ṣaḍja and niṣāda and similarly between main
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18 madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), main
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19 giving delight to all people. main
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20 (69) annotation_inline
parent ligne 19
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21 Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. main
via surya_layout
22 Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. main
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23 Ni. Nimanisarisagasāsā. Khanjanī [vii] editorial_bracket
parent ligne 22
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24 Having niṣāda as amśa, ṣadja as the concluding note, gurjarī is born of deśa main
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25 (region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of main
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26 madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones main
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27 in music as being complete. main
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28 (70) annotation_inline
parent ligne 27
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29 Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. main
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30 Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. main
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31 Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. main
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32 Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. main
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33 Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii] editorial_bracket
parent ligne 32
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vol_II_p094 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 170 page_number
via heuristic_pagenum
3 धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका । main
via surya_layout
4 धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥ main
via surya_layout
5 बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी । main
via surya_layout
6 यङ्गाली annotation_inline
parent ligne 5
via heuristic_height
7 एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥ main
via surya_layout
8 एषा भाषा रसा च + थैवतः annotation_inline
parent ligne 7
via heuristic_height
9 प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥ main
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10 ॰सूक्ष्मध annotation_inline
parent ligne 9
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11 उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि main
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12 धाधा। बाङ्गाली । [६] editorial_bracket
parent ligne 11
via heuristic_brackets
13 वङ्गाली annotation_inline
parent ligne 11
via heuristic_height
14 <sup>१००</sup>मध्यमांशा धैवतान्ता <sup>१०१</sup>पञ्चमर्षभदुर्बला । main
via surya_layout
15 षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥ main
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16 सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥ main
via surya_layout
17 गासानिसानिधा unknown
via fallback
18 उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा unknown
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19 मापामामासामाधा annotation_inline
parent ligne 16
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20 नी annotation_inline
parent ligne 16
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21 मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी<sup>१०२</sup>।[७] editorial_bracket
parent ligne 16
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22 गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा। main
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23 कालिन्दी annotation_inline
parent ligne 22
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24 पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥ main
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25 एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते । main
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26 कालिङ्गे annotation_inline
parent ligne 25
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27 हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥ main
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28 उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा- main
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29 साधानीगाधा । कालिङ्गी । [८] editorial_bracket
parent ligne 28
via heuristic_brackets
30 कालिन्दो annotation_inline
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31 षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ । main
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32 धैवताऱ्यासा annotation_inline
parent ligne 31
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33 <sup>९०६</sup>षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥ editorial_bracket
parent ligne 31
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vol_II_p024 RIGHT — 34 lignes

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1 TRANSLATION page_header
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2 31 page_number
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3 [Anu. 132] editorial_bracket
parent ligne 4
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4 In the opinion of our guru, ṛṣabha becomes the apanyāsa, on account of its main
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5 being non-amśa. Some others have accepted rṣabha as apanyāsa, just like main
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6 amsa. annotation_inline
parent ligne 5
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7 · Pañcama is strong in it and so is niṣāda. The graha in all (the jātis) should main
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8 always be known like the amśa. main
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9 (238) main
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10 [6. Indication of the gaņas or groups of the jātis] section_header
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11 The gaṇa (group) of all the jātis is formed with three jātis 42 in each case. main
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12 This group should be known by the wise by its definition to be with main
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13 increasing (number of) svaras. main
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14 (239) annotation_inline
parent ligne 13
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15 (This group is) with one svara, two svaras, three svaras, four svaras (all the main
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16 four are comprised of three jātis each), the one with five svaras is fourfold main
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17 (comprised of four jātis) and the two with six and seven svaras have one main
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18 variety each. annotation_inline
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19 (240) annotation_inline
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20 [Anu. 133] section_header
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21 This means that the statement that a gana (group) is formed with three main
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22 jātis is the indication of the number (which is applicable in maximum cases). main
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23 Out of these groups there is one that is formed with three (jātis) having one main
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24 amśa svara each viz. madhyamodicyavā, gāndhārapancamī and nandayantī-pa, main
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25 pa, pa. annotation_inline
parent ligne 24
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26 There are three (jātis) having two amśa svaras each viz. dhaivatī, main
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27 gāndhārodīcyavā and pancamī-dhari, sama, pari. main
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28 There are three jātis having three amśa svaras each viz. ārṣabhī, naiṣādī and main
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29 şadjakaiśikī-dhaniri, garini, sagapa. main
via surya_layout
30 There are three (jātis) with four amśa svaras each viz. şadjodīcyavatī, āndhrī main
via surya_layout
31 and kārmāravī – samadhani, rigapani, paridhani. main
via surya_layout
32 There are four (jātis) with five amśa svaras each, viz. ṣāḍjī, gāndhārī, main
via surya_layout
33 raktagāndhārī and madhyamā - sagamapadha, sagamapani, sagamapani, main
via surya_layout
34 sarimapadha. main
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174 lignes a valider — change uniquement les roles incorrects.