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 21435). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p069 RIGHT — 40 lignes

page vol_II_p069 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 121 page_number
via heuristic_pagenum
3 and hāsya (rasas) and nirvahaṇa (sandhi). Vīra<sup>80</sup> and the like is the rasa. The main
via surya_layout
4 mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa. Prasannamadhya main
via surya_layout
5 is the <i>alankāra. The kalā</i> is formed in the <i>dakṣiṇa (mārga</i>), the <i>kalā</i> obtains main
via surya_layout
6 in the <i>vārtika (mārga</i>) and the <i>kalā</i> prevails in the <i>citra (mārga</i>). A <i>tāla</i> like main
via surya_layout
7 caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
8 [3. Kakubha] section_header
via surya_layout
9 Kakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama main
via surya_layout
10 as its nyāsa and is formed with dhaivata as the amśa. main
via surya_layout
11 (335) main
via surya_layout
12 [Anu. 206] section_header
via surya_layout
13 Its meaning is thus – Kakubha is related to şadjagrāma. How is it related main
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14 to şadjagrāma alone in spite of being born of madhyamā, pañcamī and main
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15 dhaivatī? On account of pañcama being comprised of four śrutis and main
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16 dhaivata of three śrutis. Dhaivata is its amśa and graha. Pañcama is the nyāsa main
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17 and this (rāga) is complete in svaras. Its application is prescribed in the medium state of karuṇa (rasa). Karuṇa is its main
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18 with dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. main
via surya_layout
19 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika main
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20 (mārga) and the kalā prevails in the citra(mārga). A tāla like caccatupṭa main
via surya_layout
21 obtains in the songs comprised of svara and pada. main
via surya_layout
22 [4. Bhammāṇapañcama] section_header
via surya_layout
23 Bhammāṇapañcama comes of ṣaḍjamadhyamā jāti, has ṣaḍja as its aṅiśa, main
via surya_layout
24 madhyama as nyāsa and treats as sparse the svaras comprised of two śrutis each. main
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25 (336) main
via surya_layout
26 [Anu. 207] section_header
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27 Its meaning is thus – Bhammāṇapañcama is related to madhyamagrāma on main
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28 account of being born of sadja-madhyamā jāti. Şadja is the graha and anisa, main
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29 madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda main
via surya_layout
30 is kākalī here and this (rāga) is complete in svaras. Its application is prescribed main
via surya_layout
31 in (the situation of ) travel on a path in summer, (by those) full of fatigue and main
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32 in (the depiction of) forests. Vīra and the like is the rasa<sup>83</sup>. The mūrchanā main
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33 beginning with ṣadjaobtains. Ārohinisthe varṇa. Prasannamadhya isthe alankāra. main
via surya_layout
34 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) main
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35 and the kalāprevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
via surya_layout
36 comprised of svara and pada. main
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37 [5. Rūpasādhārita] section_header
via surya_layout
38 Rūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis). It has ṣadja as main
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39 its <i>amśa, madhyama</i> as <i>nyāsa</i> and is with sparse <i>pañcama</i> and <i>ṛṣabha.</i> main
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40 (337) main
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vol_I_p011 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 5 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 The state of being consonant (vyanjanatva) is common to all the (seven) main
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4 groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the main
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5 state of Siva simply on account of (its) manifestation through Sakti (svara). (8) main
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6 Varņas (letters and syllables) are known as such because they delineate the main
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7 whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18 main
via surya_layout
8 (sentence) and through the conveying of the meaning of sentence. (9) main
via surya_layout
9 This pada 19 is always known by the wise to be preceded by syllable (varna) main
via surya_layout
10 i.e. the former presupposes the latter. The sentence, on the other hand, is a main
via surya_layout
11 combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing main
via surya_layout
12 about the action denoted by a verb) (and) is made up of words. (10) main
via surya_layout
13 From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great main
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14 sentence) and in succession (arise) the Vedas with their angas 23 (anciliary main
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15 disciplines); all those are manifested from dhvani. From there (Vedas) is the main
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16 origin of Gandharva<sup>24</sup> (music). (11) main
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17 Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of main
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18 everything. The whole world of immobile and mobile (beings) is encompassed main
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19 by dhvani. (12) annotation_inline
parent ligne 18
via heuristic_height
20 Dhvani is said to be twofold according to (its) division into manifest and main
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21 unmanifest (states). Being manifest on account of the obtaining of varnas 26 it main
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22 (dhvani) has reached the countenance (beginning) of desi. (13) main
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23 Thus ends the origin of desi. main
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24 [The definition of dest and marga ] section_header
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25 That which is sung by women, children, cowherds and kings<sup>27</sup> out of their main
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26 own will with love (and pleasure) in their own (respective) regions is called desi main
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27 (music). (14) annotation_inline
parent ligne 26
via heuristic_height
28 This mārga 28 (course) (of deśi) is known to be twofold viz. that which is main
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29 nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound, main
via surya_layout
30 relatively less structured). That which is structured through ālāpa (melodic main
via surya_layout
31 elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is main
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32 called desi. (15, 16ab). annotation_inline
parent ligne 31
via heuristic_height

vol_I_p013 LEFT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 8 page_number
via heuristic_pagenum
2 BRHADDESI page_header
via surya_layout
3 नकारः प्राण इत्याहुर्दकारश्चानलो भतः । main
via surya_layout
4 %र annotation_inline
parent ligne 3
via heuristic_short
5 नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥ main
via surya_layout
6 10हि annotation_inline
parent ligne 5
via heuristic_short
7 ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् । main
via surya_layout
8 <sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥ main
via surya_layout
9 सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः main
via surya_layout
10 कण्ठमध्ये स्थितो । ३२॥ main
via surya_layout
11 ॰क्तः अ॰ annotation_inline
parent ligne 10
via heuristic_markers
12 1471: annotation_inline
parent ligne 10
via heuristic_height
13 कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः। main
via surya_layout
14 इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥ main
via surya_layout
15 ।। इति नादोत्पत्तिः annotation_inline
parent ligne 14
via heuristic_short
16 П main
via surya_layout
17 III [ श्रुति-प्रकरणम् ] section_header
via surya_layout
18 [ तत्र श्रुतिलक्षणम्, तत्संख्या च ] section_header
via surya_layout
19 --------------------------------------- unknown
via fallback
20 इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् । main
via surya_layout
21 श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥ editorial_bracket
parent ligne 20
via heuristic_brackets
22 <sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥ main
via surya_layout
23 श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥ main
via surya_layout
24 नेर्मावः annotation_inline
parent ligne 23
via heuristic_short
25 [ अनु. १ ] editorial_bracket
parent ligne 23
via heuristic_brackets
26 श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा । main
via surya_layout
27 न्त annotation_inline
parent ligne 26
via heuristic_height
28 •तयः annotation_inline
parent ligne 26
via heuristic_height
29 तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात् main
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30 <b>‘देहाकाश</b> annotation_inline
parent ligne 29
via heuristic_short
31 पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत् main
via surya_layout
32 नामेरूध्वकार unknown
via fallback
33 र्घ annotation_inline
parent ligne 31
via heuristic_height
34 ₹ annotation_inline
parent ligne 31
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35 सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया unknown
via fallback
36 🛥 "पदावस्थान - annotation_inline
parent ligne 31
via heuristic_height
37 - भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?) unknown
via fallback

vol_I_p105 RIGHT — 20 lignes

page vol_I_p105 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
via surya_layout
2 193 page_number
via heuristic_pagenum
3 Mārga main
via surya_layout
4 Threefold duration of kalā represented by corresponding mārgas main
via surya_layout
5 Daksiņa annotation_inline
parent ligne 4
via heuristic_short
6 8, 4, 2 dakşina, vartika and citra main
via surya_layout
7 Vārtika or Vṛtti annotation_inline
parent ligne 6
via heuristic_short
8 4, 2, 1 vārtika, citrā and dhruva. main
via surya_layout
9 Citra annotation_inline
parent ligne 8
via heuristic_short
10 2, 1, 1/2 Citra, dhruva and śūnya. main
via surya_layout
11 The introduction of sunya paves the way for the unit druta (1/2 mātrā) in main
via surya_layout
12 desi tālas. It is notable that the notational sign for druta in later texts is 0 that main
via surya_layout
13 represents zero or śūnya. (cf. SRV, section on deśi tālas) main
via surya_layout
14 • annotation_inline
parent ligne 13
via heuristic_height
15 - annotation_inline
parent ligne 13
via heuristic_height
16 . annotation_inline
parent ligne 13
via heuristic_height
17 • annotation_inline
parent ligne 13
via heuristic_height
18 • unknown
via fallback
19 • annotation_inline
parent ligne 13
via heuristic_height
20 • annotation_inline
parent ligne 13
via heuristic_height

vol_II_p026 RIGHT — 38 lignes

page vol_II_p026 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 35 page_number
via heuristic_pagenum
3 When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4 main
via surya_layout
4 (alteration) of anisas of jātis (should be taken up). main
via surya_layout
5 (249) annotation_inline
parent ligne 4
via heuristic_short
6 Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma main
via surya_layout
7 the formation or variation of amsas in their svaras i.e. in svaras of jatis should main
via surya_layout
8 be done in the text of vardhamāna<sup>51</sup> main
via surya_layout
9 (250) main
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10 [8. The ṣāḍava and auḍava formation of jātis] section_header
via surya_layout
11 The sixty-three amsas that have thus been spoken of, out of them each one main
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12 is accorded the position of ainsa (at a given time) (and accordingly) the main
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13 ṣāḍava and auḍava formation that is obtained (on account of rule or main
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14 prescription) is sometimes given up. main
via surya_layout
15 (251) main
via surya_layout
16 [ Anu. 134 ] section_header
via surya_layout
17 The sixty-three amsas that have been spoken of, out of them each one has main
via surya_layout
18 to be arranged as anisa (in a given melodic set-up). (In specific situations main
via surya_layout
19 created by the arrangement of different anisas) sometimes the formation of main
via surya_layout
20 ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given main
via surya_layout
21 up. He (the author) clarifies this itself. main
via surya_layout
22 Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on main
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23 <math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not main
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24 accepted. annotation_inline
parent ligne 23
via heuristic_short
25 (252) main
via surya_layout
26 [ Anu. 135 ] section_header
via surya_layout
27 This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not main
via surya_layout
28 become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the main
via surya_layout
29 omission of gandhara is not there. On gandhara being amśa, it should be main
via surya_layout
30 known to be non-ṣāḍava by omission of niṣāda because of the negation of the main
via surya_layout
31 omission of the sanivādī of the aniśa. main
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32 Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become main
via surya_layout
33 ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the main
via surya_layout
34 negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does main
via surya_layout
35 not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the main
via surya_layout
36 amśa and şadjodicyavā should be known not to be şādava (through the main
via surya_layout
37 omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a. main
via surya_layout
38 (253) main
via surya_layout
167 lignes a valider — change uniquement les roles incorrects.