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 21473). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p068 LEFT — 31 lignes

page vol_II_p068 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 118 page_number
via heuristic_pagenum
2 BRHADDESÎ page_header
via surya_layout
3 [अनु॰ २०२] editorial_bracket
parent ligne 4
via heuristic_brackets
4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
via surya_layout
5 न(क?) र्क annotation_inline
parent ligne 4
via heuristic_height
6 न्दौ annotation_inline
parent ligne 4
via heuristic_height
7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
via surya_layout
8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
via surya_layout
9 [१.नर्तरागः] section_header
via surya_layout
10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
via surya_layout
11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
via surya_layout
12 ·(वि ? द्वि)· main
via surya_layout
13 [अनु॰ २०३] section_header
via surya_layout
14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
via surya_layout
15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
via surya_layout
16 (जी?दी) annotation_inline
parent ligne 15
via heuristic_height
17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
via surya_layout
18 इति कश्यपमते॥ main
via surya_layout
19 [अनु॰ २०४] section_header
via surya_layout
20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
via surya_layout
21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
via surya_layout
22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
parent ligne 21
via heuristic_markers
23 [२. शक:] section_header
via surya_layout
24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
via surya_layout
25 (जि? ह्जी) annotation_inline
parent ligne 24
via heuristic_short
26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
via surya_layout
27 काकल्य:(?) annotation_inline
parent ligne 26
via heuristic_height
28 [अनुष् २०५] section_header
via surya_layout
29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
via surya_layout
30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
via surya_layout
31 (पश्चमस्याल्पत्वम्) annotation_inline
parent ligne 30
via heuristic_height

vol_II_p155 RIGHT — 36 lignes

page vol_II_p155 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŠA</b> section_header
via surya_layout
2 (Annotations) main
via surya_layout
3 Chapter II section_header
via surya_layout
4 (Jātis) section_header
via surya_layout
5 1. The number 140 pertains to the modified varieties of jātis comprising main
via surya_layout
6 the complete, hexatonic and pentatonic formations of jātis in accordance main
via surya_layout
7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
via surya_layout
8 number is computed as follows - main
via surya_layout
9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
via surya_layout
10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
via surya_layout
11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
via surya_layout
12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
via surya_layout
13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
via surya_layout
14 the treatment is incomplete because of a break in the text. main
via surya_layout
15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
via surya_layout
16 adding the śuddhā states of the seven jātis bearing svara-names. main
via surya_layout
17 2. Brahmā has been said here to be the original author of the number main
via surya_layout
18 of jātis in NS, from where we have taken the verse under reference. In NS, main
via surya_layout
19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
via surya_layout
20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
via surya_layout
21 to be responsible for all the elaboration based on vāk. The origin of all the main
via surya_layout
22 Vedas is also attributed to him. Siva has special relationship with the main
via surya_layout
23 movements of the body (anga). Jāti being the first formation of melodic main
via surya_layout
24 structure, its association with Brahmā is understandable because melody is main
via surya_layout
25 a manifestation of the tonal aspect of vāk. main
via surya_layout
26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
via surya_layout
27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
via surya_layout
28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
via surya_layout
29 no less than Brahmā is the authority regarding the jātis lends a special main
via surya_layout
30 sanctity to this melodic abstraction that is striking on account of its main
via surya_layout
31 comprehensive sweep. main
via surya_layout
32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
via surya_layout
33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
via surya_layout
34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
via surya_layout
35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
via surya_layout
36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
via surya_layout

vol_II_p128 RIGHT — 29 lignes

page vol_II_p128 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 239 page_number
via heuristic_pagenum
4 [37. Dhvanikuṭṭanī] section_header
via surya_layout
5 Here there are <i>mātr</i>ās of even number and there is <i>dhvuni</i>, sometimes there is main
via surya_layout
6 a pause after that. If there are two tālas in this, then that is dhvanikuṭṭanī. main
via surya_layout
7 (480) main
via surya_layout
8 [38.<i>Dheńki</i>] section_header
via surya_layout
9 Where <math>n\bar{a}da_{*}^{86}</math> synthesised with syllable is taken up at will without <math>t\bar{a}la</math> and main
via surya_layout
10 then there is tāla, that is said to be <i>dhenkikā</i>. main
via surya_layout
11 (481) main
via surya_layout
12 [39. Ekatālī] section_header
via surya_layout
13 Where there is alliteration without break <math>^{87}</math> (and) where yati is formed in each main
via surya_layout
14 druta<sup>88</sup>(?), that is known to be ekatālikā by those knowledgeable in the essence main
via surya_layout
15 of music. annotation_inline
parent ligne 14
via heuristic_short
16 (482) main
via surya_layout
17 [40. <i>Mātṛkā</i>] section_header
via surya_layout
18 Where the letters of the alphabet are taken up one by one and are sung main
via surya_layout
19 in combination with the desired meaning, that is called mātṛkā.89 main
via surya_layout
20 (483) main
via surya_layout
21 [41. Svarārtha] section_header
via surya_layout
22 Where the song is properly accomplished with the svaras (solfa syllables) main
via surya_layout
23 yielding the desired meaning, that is known as svarārtha among the songs made main
via surya_layout
24 of vastu. annotation_inline
parent ligne 23
via heuristic_short
25 (484) main
via surya_layout
26 [42. <i>Karana</i>] section_header
via surya_layout
27 Where two sections are composed of svaras alone without any break, that has main
via surya_layout
28 been said here to be karaṇa, being (endowed) with the yati named karaṇa (?).91 main
via surya_layout
29 (485) main
via surya_layout

vol_II_p113 RIGHT — 30 lignes

page vol_II_p113 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 209 page_number
via heuristic_pagenum
3 prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with main
via surya_layout
4 five (forty-five). annotation_inline
parent ligne 3
via heuristic_short
5 <math>(377-378)</math> main
via surya_layout
6 This varņasvara is known to be (numbered) forty combined with six main
via surya_layout
7 (forty-sixth); that which is muktāvalī should be known to be (numbered) main
via surya_layout
8 forty, combined with seven (forty-seven). main
via surya_layout
9 (379) annotation_inline
parent ligne 8
via heuristic_short
10 Pratāpavardhana is said to be the forty-eighth. Eight combined with main
via surya_layout
11 forty(forty-eight) are (the prabandhas) spoken of by the muni. main
via surya_layout
12 (380) annotation_inline
parent ligne 11
via heuristic_short
13 I shall speak of their characteristics in brief for the sake of scholars. They main
via surya_layout
14 should be sung by those adept in music in accordance with the rules related main
via surya_layout
15 to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>. main
via surya_layout
16 (381) main
via surya_layout
17 [The description of Prabandhas] section_header
via surya_layout
18 [1. <i>Kanda</i>] section_header
via surya_layout
19 That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that main
via surya_layout
20 is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like. main
via surya_layout
21 (382) annotation_inline
parent ligne 20
via heuristic_short
22 Prabandhas like kanda are verily well-known in practice. main
via surya_layout
23 [2. <i>Vṛtta</i>] section_header
via surya_layout
24 There is never a regulation (or specification of tāla in) vṛtta (composed main
via surya_layout
25 in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence main
via surya_layout
26 of metre has been clearly specified in them, by the munis. In the end the main
via surya_layout
27 placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others main
via surya_layout
28 say that it is (formed) in the vitta metre; that is also acceptable. main
via surya_layout
29 (383-384) main
via surya_layout
30 - --- annotation_inline
parent ligne 29
via heuristic_height

vol_II_p106 RIGHT — 35 lignes

page vol_II_p106 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 195 page_number
via heuristic_pagenum
3 ......Mālavī [iii] editorial_bracket
parent ligne 5
via heuristic_brackets
4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
via surya_layout
6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
via surya_layout
7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
via heuristic_short
8 (24) main
via surya_layout
9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
via surya_layout
10 Mādhāmāgā annotation_inline
parent ligne 9
via heuristic_short
11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
parent ligne 9
via heuristic_brackets
12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
via surya_layout
13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
via surya_layout
14 context of ) the door-keepers. 21 main
via surya_layout
15 (25) annotation_inline
parent ligne 14
via heuristic_short
16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
via surya_layout
17 Kausalī [vi] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
via surya_layout
19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
via surya_layout
20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
via surya_layout
21 (26) annotation_inline
parent ligne 20
via heuristic_short
22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
via surya_layout
23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with dhaivata as the initial and concluding note, devoid of main
via surya_layout
25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
via surya_layout
26 (27) annotation_inline
parent ligne 25
via heuristic_short
27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
via surya_layout
28 pāpāgāmā · annotation_inline
parent ligne 27
via heuristic_short
29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
via surya_layout
30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
via surya_layout
31 Svaravallitā [viii] editorial_bracket
parent ligne 30
via heuristic_brackets
32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
via surya_layout
33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
via surya_layout
34 in due order (?).<sup>24</sup> main
via surya_layout
35 (28) main
via surya_layout
161 lignes a valider — change uniquement les roles incorrects.