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 21459). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p122 RIGHT — 28 lignes

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1 227 page_number
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2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
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5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
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7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
parent ligne 8
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_II_p081 LEFT — 47 lignes

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1 BŖHADDEŚĪ page_header
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2 144 page_number
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3 परस्परं तु गमनं यत्र तत् सम्प्रयोजयेत् । main
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4 सा सङ्कीर्णाऽथ विज्ञेया भाषा वै रविचन्द्रिका<sup>३६</sup> ॥ ५३॥ main
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5 ॰र्णादयो जेया annotation_inline
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6 उदाहरणम् - गागागामा । सासा । मागामामागामासासासा । गागाधानिसा main
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7 सागाधनिसा annotation_inline
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8 मा॰ annotation_inline
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9 धाधामारीमागारीगसा सासासामा सारीधाधाधाधा धमागरीगागा धारीसासासा । मागामामागा । main
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10 मासा- annotation_inline
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11 ॰धाः annotation_inline
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12 ्सासामागारीधा धमगरि गमधनी। सासागाधानिसासा। main
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13 धाधाधापरीगमरीगमसा annotation_inline
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14 सामागा main
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15 रविचन्द्रा।[११] editorial_bracket
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16 मध्यमांशा तु षड्जान्ता बहुगान्धारधैवता । main
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17 वा॰ annotation_inline
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18 असम्पूर्णस्वरा नित्यमम्बाहेरी प्रकीर्तिता ॥ main
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19 भाषेयं ३७पोज्झिता नित्यं देश्याख्या सम्प्रकीर्तिता ॥५४॥ main
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20 के + + annotation_inline
parent ligne 19
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21 उदाहरणम् – मामासा । नीनी । main
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22 निधाधानी धाधानि । annotation_inline
parent ligne 21
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23 धानिधाधानी । सागागारी । main
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24 सनासनाधा annotation_inline
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25 सासा annotation_inline
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26 तथा annotation_inline
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27 निधानिगागा मागानिसासानि । साधानीगा गानिसासा । सानिनीसनीधा धामानीमा धासनिनी । main
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28 नीसाधानीमाधाधामागासानिसानिधा । माधाधा । साधानीधानीसासा । मामाधासासा main
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29 मामा- annotation_inline
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30 गारीमागासासा । मासामामागारीमागासासा । मसानी निनिमानि धाधानिधामागा । सानीमाधा । main
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31 सासनीधा धनिसाधाधा । धनिधानीसा । अम्बाहेरी ।[१२] editorial_bracket
parent ligne 30
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32 षड्जाद्यन्तसमायुक्ता बहुमध्यमधैवता ॥ main
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33 बाहुलाधमः annotation_inline
parent ligne 32
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34 द्विश्रुतिभ्यां तु गमनं हीनत्वमृषभेण तु । main
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35 विभ annotation_inline
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36 (भीत?हीन) main
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37 भाषा <sup>३८</sup>षाडविता ह्येषा सङ्कीर्णा ललिता भवेत्<sup>३९</sup> ॥५५॥ main
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38 औडुविता ++ annotation_inline
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39 टकरागजा annotation_inline
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40 उदाहरणम् - सागागाधागामामागा । धमधानीसासा । निधागागा । सासासामापाधानी main
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41 धापा- annotation_inline
parent ligne 40
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42 मासा साधापाधानीधाधासा नीधागानीगाधनीसससा । लिलता ।[१३] editorial_bracket
parent ligne 40
via heuristic_brackets
43 सरसा annotation_inline
parent ligne 40
via heuristic_height
44 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
via surya_layout
45 विरहिता सप्तमेन षड्जे मध्यमसङ्गता ॥ ५६॥ main
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46 विनि annotation_inline
parent ligne 45
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47 त् annotation_inline
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vol_II_p125 LEFT — 28 lignes

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1 L annotation_inline
parent ligne 5
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2 · - 1 1 1 annotation_inline
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3 232 page_number
via heuristic_pagenum
4 BRHADDESĪ page_header
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5 [घ. पुनर्वर्णेला-सप्तकम्] section_header
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6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
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7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
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8 [१. रमणी] section_header
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9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
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10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
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11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
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12 ॰द्यो॰ annotation_inline
parent ligne 11
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13 [२.चन्द्रिका] section_header
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14 स्रोतोगता समा चैव यत्र पादद्वये भवेत्। main
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15 बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥ main
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16 [३.लक्ष्मी] section_header
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17 गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च । main
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18 मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥ main
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19 [४.पद्मिनी] section_header
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20 आद्ये पादे द्वितीये च तृतीये च चतुर्थके । main
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21 वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥ main
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22 [५.रञ्जिनी] section_header
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23 प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके । main
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24 स्रोता annotation_inline
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25 गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥ main
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26 [६. मालती] section_header
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27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
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28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
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vol_II_p100 RIGHT — 22 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 183 page_number
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2 <b>TRANSLATION</b> page_header
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3 15. Now the bhāṣās in pañcamaṣāḍava section_header
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4 Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is main
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5 said to be complete (and) having abundant gändhära-pañcama. The profusion main
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6 of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in main
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7 pancamaṣāḍava, being born of śakarāga. 71 main
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8 (142-143) annotation_inline
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9 Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā. editorial_bracket
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10 [Thus in pañcamaṣāḍava] section_header
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11 Thus are the bhāṣās manifested in (this)world, that are known to be main
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12 accepted by many. That <math>(bh\bar{a}s\bar{a})</math> is so modified as it is performed by one.<sup>72</sup> main
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13 (144) annotation_inline
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14 Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all main
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15 effort. It should always be listened to by the singers in the context of wit and main
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16 humour and whatever is seen in fighting or sacrifice (yajña), all that is shown main
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17 by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas. main
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18 <math>(145-146)</math> annotation_inline
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19 Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā- main
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20 lakṣaṇa where Yāṣṭika is the leader. main
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21 [ B. Bhāṣās according to Śārdūla] section_header
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22 After this I shall speak of the description of bhāṣā according to Śārdūla. main
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vol_I_p051 RIGHT — 43 lignes

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1 85 page_number
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2 <b>TRANSLATION</b> page_header
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3 Aśvākrāntā (6) main
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4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
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5 Abhirudgatā (7) annotation_inline
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6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
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7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
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8 (Anu. 63) annotation_inline
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9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
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10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
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11 svaras). During the performance of raga, murchanas should be known to be main
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12 composed of twelve svaras. They should be known to be included in the main
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13 mūrchanās of şadjagrāma (?).64 main
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14 That is thus - annotation_inline
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15 Sauvīrī (1) annotation_inline
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16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
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17 Hariņāśvā (2) annotation_inline
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18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
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19 Kalopanatā (3) annotation_inline
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20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
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21 Suddhamadhyā (4) annotation_inline
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22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
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23 Mārgī (5) annotation_inline
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24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
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25 Pauravi (6) annotation_inline
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26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
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27 Hṛṣyakā (7) annotation_inline
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28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
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29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
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30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
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31 VI [Section on Varņas and Alankāras] section_header
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32 [The Varnas] section_header
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33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
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34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
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35 (118) annotation_inline
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36 ārohin (ascending) and avarohin (descending). main
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37 (Anu. 64) annotation_inline
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38 (Contention) what is spoken of by the word varna? (Answer) The act of main
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39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
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40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
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41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
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42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
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43 māmāmāmā in the madhyamā (jāti). main
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168 lignes a valider — change uniquement les roles incorrects.