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 21479). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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

vol_II_p018 RIGHT — 26 lignes

page vol_II_p018 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 19 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
via surya_layout
4 varieties. The said regulation (number 47) is according to the varieties of main
via surya_layout
5 amśa svara (in fourteen jātis)." annotation_inline
parent ligne 4
via heuristic_height
6 (NŚ XXVIII, p. 49) annotation_inline
parent ligne 4
via heuristic_height
7 [6. The definition of auduva] section_header
via surya_layout
8 ----- annotation_inline
parent ligne 7
via heuristic_height
9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
via surya_layout
10 according to those knowledgeable in prayoga (performance). It is prescribed main
via surya_layout
11 to have thirty varieties and its definition is as has been said before." main
via surya_layout
12 (NŚ XXVIII.76) annotation_inline
parent ligne 11
via heuristic_height
13 [Anu. 127] editorial_bracket
parent ligne 11
via heuristic_brackets
14 (The structure) beginning with the group of four svaras is deśi,33 not main
via surya_layout
15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
via surya_layout
16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
via surya_layout
17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
via surya_layout
18 understood here. When there is the usage of four svaras, then it is said to be main
via surya_layout
19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
via surya_layout
20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
via surya_layout
21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
via surya_layout
22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
via surya_layout
23 (NŚ XXVIII.77) annotation_inline
parent ligne 22
via heuristic_height
24 By the word 'api' (in the above verse) meaning 'also', the complete main
via surya_layout
25 (structure) should also be understood. Thus should be known the fourfold main
via surya_layout
26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
via surya_layout

vol_II_p100 RIGHT — 22 lignes

page vol_II_p100 RIGHT
L#Texte OCRRole autoCorriger si incorrect
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
via surya_layout
4 Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is main
via surya_layout
5 said to be complete (and) having abundant gändhära-pañcama. The profusion main
via surya_layout
6 of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in main
via surya_layout
7 pancamaṣāḍava, being born of śakarāga. 71 main
via surya_layout
8 (142-143) annotation_inline
parent ligne 7
via heuristic_height
9 Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā. editorial_bracket
parent ligne 7
via heuristic_brackets
10 [Thus in pañcamaṣāḍava] section_header
via surya_layout
11 Thus are the bhāṣās manifested in (this)world, that are known to be main
via surya_layout
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
via surya_layout
13 (144) annotation_inline
parent ligne 12
via heuristic_height
14 Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all main
via surya_layout
15 effort. It should always be listened to by the singers in the context of wit and main
via surya_layout
16 humour and whatever is seen in fighting or sacrifice (yajña), all that is shown main
via surya_layout
17 by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas. main
via surya_layout
18 <math>(145-146)</math> annotation_inline
parent ligne 17
via heuristic_height
19 Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā- main
via surya_layout
20 lakṣaṇa where Yāṣṭika is the leader. main
via surya_layout
21 [ B. Bhāṣās according to Śārdūla] section_header
via surya_layout
22 After this I shall speak of the description of bhāṣā according to Śārdūla. main
via surya_layout

vol_II_p037 LEFT — 34 lignes

page vol_II_p037 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 56 page_number
via heuristic_pagenum
3 वचनादबहुत्वम् , धैवतस्यानंशत्वादल्पत्वे वचनाद् बाहुल्यम् । षाडवे धैवतस्याबाहुल्यम् , main
via surya_layout
4 (7) annotation_inline
parent ligne 3
via heuristic_height
5 ऋषभस्य न कदाचिदिप। औडुविते सर्वेषामंशत्वात्र कस्याप्यल्पत्वम्। उक्तभङ्ग्या[ ऽ ]शेषाणां editorial_bracket
parent ligne 3
via heuristic_brackets
6 तस्याल्प (श ?)त्वम् annotation_inline
parent ligne 3
via heuristic_height
7 बाहुत्यम् । न्यासो गान्धार एव च । अपन्यासस्तु मध्यम एव । षड्जगान्धारयोस्त् सञ्चार: । main
via surya_layout
8 [अनु॰ १६३] section_header
via surya_layout
9 दशविधत्वमस्या: । दशांशका: - पूर्णा: पञ्च, चत्वार: षाडवा:, पञ्चमेंऽशेऽपवादात् main
via surya_layout
10 द्वादशांशक्रम: annotation_inline
parent ligne 9
via heuristic_height
11 पञ्चप्यंशेऽपवादः(?) main
via surya_layout
12 [औडुवित एक:।] ऋषभादिमूर्छना । करुणो रस: । ताल: पञ्चपाणि: । editorial_bracket
parent ligne 11
via heuristic_brackets
13 एककले चित्रे main
via surya_layout
14 मागधी । द्विकले वार्तिके सम्भाविता<sup>१६२</sup>, [चतुष्कले दक्षिणे पृथुला । editorial_bracket
parent ligne 13
via heuristic_brackets
15 ध्रवागाने main
via surya_layout
16 तृतीयप्रेक्षणके विनियोग:] editorial_bracket
parent ligne 15
via heuristic_brackets
17 <sup>१६३</sup>[प्रक्षिसांशे नवजातिलक्षणम् ] section_header
via surya_layout
18 [१. षड्जमध्यमा] section_header
via surya_layout
19 अंशा: सप्तस्वरा: षड्जमध्यमाया: मिथश्च ते । main
via surya_layout
20 (पद् ? अंशा:) annotation_inline
parent ligne 19
via heuristic_height
21 •मायां <i>६६</i>४ annotation_inline
parent ligne 19
via heuristic_height
22 सङ्गच्छन्ते, निरल्पोंऽशाद् गादृते वादितां विना ॥१॥ main
via surya_layout
23 शा(गा ? ङ्गा) हते वा (नि ? दि) तां main
via surya_layout
24 निलोपे निगलोपे च षाडवौड्विते मते। main
via surya_layout
25 <sup>१६५</sup>निलोपनिगलोपाभ्यां annotation_inline
parent ligne 24
via heuristic_height
26 षाडवौडुवयो: स्यातां द्विश्रुती तु विरोधिनौ ॥२॥ main
via surya_layout
27 गीतितालकलादीनि , षाड्जीवन्मूर्छना पुन:। main
via surya_layout
28 मध्यमादिरिह ज्ञेया पूर्ववद् विनियोजनम् ॥३॥ main
via surya_layout
29 पूर्वावद्विरहर्द् annotation_inline
parent ligne 28
via heuristic_height
30 <sup>१६७</sup>अस्यां षड्जमध्यमौ न्यासौ । सप्त स्वरा अपन्यासा: । <sup>१६८</sup>प्रस्तार: - main
via surya_layout
31 मा गा सग पा धप मा निध निम main
via surya_layout
32 (१) annotation_inline
parent ligne 31
via heuristic_short
33 मा मा सा रिंग मंग निध पंध पा main
via surya_layout
34 (२) main
via surya_layout

vol_II_p090 RIGHT — 38 lignes

page vol_II_p090 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 163 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Māngālī has pancama as its concluding note and is said to have dhaivata main
via surya_layout
4 as amśa. There is concert between şadja-dhaivata and similarly madhyama- main
via surya_layout
5 ṛṣabha; it is held to be always complete and should be known to be born of main
via surya_layout
6 ٠ page_number
via heuristic_pagenum
7 deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the main
via surya_layout
8 knowledgeable ones in music. main
via surya_layout
9 <math>(92-93)</math> main
via surya_layout
10 Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri editorial_bracket
parent ligne 9
via heuristic_brackets
11 mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam main
via surya_layout
12 adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. main
via surya_layout
13 Pamāmāpāpā. Mārigālī [iii] editorial_bracket
parent ligne 12
via heuristic_brackets
14 Having pañcama as amsa and the same as the concluding note, being main
via surya_layout
15 complete and brilliant with pañcama, saindhavī has been known to be a main
via surya_layout
16 vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama main
via surya_layout
17 is seen again and again. main
via surya_layout
18 (94) annotation_inline
parent ligne 17
via heuristic_short
19 Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari main
via surya_layout
20 sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī main
via surya_layout
21 māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] editorial_bracket
parent ligne 20
via heuristic_brackets
22 Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with main
via surya_layout
23 sparse madhyama. It has concert between sadja and madhyama, (and) is main
via surya_layout
24 always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be main
via surya_layout
25 complete. annotation_inline
parent ligne 24
via heuristic_short
26 (95) main
via surya_layout
27 Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- main
via surya_layout
28 ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- main
via surya_layout
29 dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- main
via surya_layout
30 nismismidhāmapāpā. Gūrjari [v] editorial_bracket
parent ligne 29
via heuristic_brackets
31 Combined with pañcama as the initial and concluding note, dākṣiṇātyā is main
via surya_layout
32 beautiful. This is complete and is said to be born in gandharapancama. 40 It main
via surya_layout
33 should always be known as a vibhāṣā born of pañcama bearing a regional main
via surya_layout
34 name.41 annotation_inline
parent ligne 33
via heuristic_short
35 (96) main
via surya_layout
36 Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- main
via surya_layout
37 garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri main
via surya_layout
38 gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi] editorial_bracket
parent ligne 37
via heuristic_brackets
155 lignes a valider — change uniquement les roles incorrects.