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 21475). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p114 LEFT — 33 lignes

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1 • • annotation_inline
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2 BRHADDEŚĪ page_header
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3 210 page_number
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4 [३. गद्य:] section_header
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5 ५प्रान्ते यस्य भवेत्तालो वर्णनीयस्य संज्ञया । main
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6 म्रातो annotation_inline
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7 गीयते यत् तदत्राहुर्गद्यं गीतविशारदा: ॥३८५॥ main
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8 [४.दण्डक:] section_header
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9 तालयुक्तं स्वरोपेतं मध्ये- ६पाटविराजितम् । main
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10 पुन: पदसमायुक्तं गानं तद् दण्डकं विदु: ॥३८६॥ main
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11 दण्डको बुधैः main
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12 [५. वर्णः] section_header
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13 विभूतित्यागसौभाग्यबिरुदै: समलङ्कृत: । main
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14 ॰(तम् ? तः) annotation_inline
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15 •विस्तै: main
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16 विभृत्याग + annotation_inline
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17 तालेनापि च युक्त: स्याद् वर्ण: कर्णाटभाषया ॥३८७॥ main
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18 ٦٧ page_number
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19 [६.पद्धडी] section_header
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20 स्वरपाटसमायुक्ता तालेन च समन्विता । main
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21 <sup>८</sup>कयापि भाषया युक्ता बिरुदै: सा तु पद्धडी ॥३८८॥ main
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22 पाटली annotation_inline
parent ligne 21
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23 <i>्</i>विभाषया annotation_inline
parent ligne 21
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24 [७. अडिला] section_header
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25 यत्र स्यात् स्वरिवन्यासः प्रतिपादान्तमुज्ज्वलः । main
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26 ॰पादा (द्ध?मु)॰ annotation_inline
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27 तालेन च समायुक्त: <sup>९</sup>अडिला नामतो भवेत् ॥३८९॥ main
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28 अधिला नामशो (?) main
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29 [८.चतुष्पदी] section_header
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30 यत्र प्रतिपदार्थं तु गीतं तालयुतं भवेत्। main
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31 परूप्रतिः annotation_inline
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32 <sup>१</sup>॰स्वरतेनकसंयुक्तैः सा चतुष्पदिका भवेत् ॥३९०॥ annotation_inline
parent ligne 30
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33 तातेन्तकैस्वासंयुक्तैः स्वाचतुष्पीटिका भवेत् (?) main
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vol_II_p044 RIGHT — 46 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 71 page_number
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3 gā pā mā pā nī nī nī nī table
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4 (11) table
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5 mă pă mă pariga gā gā gā gā table
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6 (12) table
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7 ni ni pā dhā ni gā gā gā table
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8 (13) table
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9 nî nî nî nî nî nî nî nî table
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10 (14) table
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11 mã mã dhã nĩ sani dhã pã pã table
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12 (15) table
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13 mā pā mā pariga gā gā gā gā table
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14 (16) table
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15 Thusends gāndhārapancami. section_header
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16 [8. Āndhrī] section_header
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17 In <i>āndhrī, niṣāda, ṛṣabha, gāndhāra</i> and <i>pañcama</i> are the <i>aniśas</i>. There is main
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18 concert between ṛṣabha-gāndhāra and niṣāda-dhaivata. One should proceed main
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19 upto the nyāsa according to the order of the respective amsas. main
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20 (21) annotation_inline
parent ligne 19
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21 The hexatonic form comes into being with the omission of sadja. The main
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22 mūrchanā beginning with madhyama obtains. The kalās, tāla and viniyoga main
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23 (application) are said to be as in the previous one (gāndhārapañcamī). main
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24 (22) annotation_inline
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25 Gāndhāra is the nyāsa in this āndhrī. The amsas themselves are apanyāsas. main
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26 The <i>prastāra</i> is thus – main
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27 gārirīrīrīrīrīrī table
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28 (1) table
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29 rī gā rī gā rī rī rī rī table
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30 (2) table
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31 rī rī gā gā rī rī mā mā table
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32 (3) table
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33 rī gā sā dhani nī nī nī nī table
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34 (4) table
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35 ni ri ni ri dhani dhani pā pā table
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36 (5) table
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37 mā pā mā riga gā gā gā gā table
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38 (6) table
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39 rī rī gā sa ma mā mā pā pā table
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40 <b>(7)</b> table
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41 mā pā mā riga gā gā gā gā table
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42 (8) table
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43 dhā nī gā gā gā gā gā gā table
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44 (9) table
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45 pā pā mā riga gā gā gā gā table
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46 (10) table
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vol_II_p100 RIGHT — 22 lignes

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1 183 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
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
parent ligne 12
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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
parent ligne 17
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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_II_p054 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 91 page_number
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2 TRANSLATION page_header
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3 [Anu. 167] section_header
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4 This means – śuddhasādhārita rāga is related to ṣaḍjagrāma on account of main
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5 being born of şadjamadhyamā jāti. Tāra (high) şadja is the graha and amśa main
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6 and madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. main
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7 It is complete (with all the svaras). Its application is prescribed in the garbha- main
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8 sandhi. 39 Vīra, raudra and the like (perhaps adbhuta also) are the rasas. The main
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9 mūrchanā beginning with ṣaḍja obtains. Avarohin (descending) is the varṇa main
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10 and prasannānta the alarikāra. The kalā is formed in the dakṣiṇa (mārga), the main
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11 kalā obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). In the main
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12 song comprised of svaras and padas a tāla like caccatpuṭa obtains. main
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13 [4. Śuddhakaiśikamadhyama] section_header
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14 Suddhakaisikamadhyama is born of kaisikī and şadjamadhyamā. Şadja is its main
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15 amśa, madhyama the nyāsa and ṛṣabha – pañcama are omitted. main
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16 (302) annotation_inline
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17 [Anu. 168] section_header
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18 This means—the <i>rāga śuddhakaiśikamadhyama</i> is related to <i>ṣaḍjagrāma</i> on main
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19 account of being born of kaiśikī and şadjamadhyamā jātis. (Contention) Kaiśikī main
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20 ŧ annotation_inline
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21 is related to madhyamagrāma and ṣadjamadhyamā to ṣadjagrāma, hence this main
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22 (<math>r\bar{a}ga</math>) is related to both the <math>gr\bar{a}mas^{40}</math>. This is the implication. On account main
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23 of being devoid of ṛṣabha-pañcama, this is related only to ṣaḍjagrāma. In main
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24 madhyamagrāma, the omission of ṛṣabha-pañcama does not take place; this is main
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25 the implication. Tāra (high) ṣaḍja is its graha and aniśa. Madhyama is the main
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26 nyāsa. There is the weakness of niṣāda and gāndhāra. The omission of main
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27 pañcama and ṛṣabha obtains. Niṣāda is kākalī here. It is pentatonic. It is used main
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28 in the <i>nirvahaṇa (sandhi</i>).<sup>41</sup> The <i>mūrchanā</i> beginning with <i>ṣaḍja</i> obtains. main
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29 Raudra, vīra and the like is the rasa. Prasannānta is the alankāra. main
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30 .................. annotation_inline
parent ligne 29
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31 [5. Šuddhakaisika] section_header
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32 Kaišika has ṣaḍja as its amśa and pañcama as its nyāsa, is born of kaišikī jāti main
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33 and kārmāravī jāti and is with complete svaras. main
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34 (303) annotation_inline
parent ligne 33
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vol_II_p034 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 51 page_number
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3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
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4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
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5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
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6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
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7 upto the nyāsa or upto the svara next to it. main
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8 [Anu. 153] section_header
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9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
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10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
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11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
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12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
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15 [5. Şadjakaisiki] section_header
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16 [Anu. 154] section_header
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17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
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19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
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24 It has no śuddhā state, there are three amśas in the complete state. main
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25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
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29 with entry in the second scene (or act). main
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30 [6. Şadjodicyava] section_header
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31 [Apu. 156] section_header
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32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
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33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
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34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
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170 lignes a valider — change uniquement les roles incorrects.