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 21506). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p051 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>g</b>., annotation_inline
parent ligne 4
via heuristic_height
2 85 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of main
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5 all gitis. annotation_inline
parent ligne 4
via heuristic_short
6 <math>(284 - 285)</math> main
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7 [6. Bhāṣā gīti] section_header
via surya_layout
8 This bhāṣā gīti is described by the experts in gīti as consisting of prayogas main
via surya_layout
9 (melodic phrases?) that are rendered by the body (voice), are smooth, main
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10 colourful with kākus, well composed, shaken, soft, brilliant, combined with main
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11 mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that main
via surya_layout
12 delights the people. main
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13 <math>(286 - 287)</math> main
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14 [7. Vibhāṣā gīti] section_header
via surya_layout
15 Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive, main
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16 numerous, brilliant, shaken, pertaining to the chest region, even, high and main
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17 very high, smooth, in which madhyama shines forth in between, that are main
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18 delightful to the ear and are attractive. This process of composition should main
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19 be spontaneous and should take the course that delights the people. main
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20 (288-289) annotation_inline
parent ligne 19
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21 [ Thus ends the description of gitis.] editorial_bracket
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22 [ The number and nomenclature of ragas ] section_header
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23 The lakṣaṇa (description) of gītis has been spoken of; now the number of main
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24 rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the main
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25 bhinna ones are of the same number. Gauda (rāgas) have been said to be main
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26 three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- main
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27 sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās main
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28 are only twelve and (now) know their names. main
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29 <math>(290 - 292)</math> main
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vol_I_p064 LEFT — 45 lignes

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1 BRHADDEŚI page_header
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2 110 page_number
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3 समनन्तरौ स्वरौ द्वौ विचरत्युद्वाहितो द्विकल एव । main
via surya_layout
4 आरोहत्येककलां पुनरेककलां प्रसादयति। ।१४८॥ main
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5 50otto annotation_inline
parent ligne 4
via heuristic_short
6 ++++ annotation_inline
parent ligne 4
via heuristic_height
7 उद्वाहित एव स्यादुपलोलकसंज्ञको द्विरभ्यस्तः । main
via surya_layout
8 एकं द्वौ त्रीन् गच्छन् स्वरान् क्रमेण [ स ] क्रमो ज्ञेयः ॥१४९॥ editorial_bracket
parent ligne 7
via heuristic_brackets
9 51सह् annotation_inline
parent ligne 7
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10 (डो १डे) त्रीणि main
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11 ۰₹۵ annotation_inline
parent ligne 10
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12 एकान्तरमारुह्य प्रत्येकान्तरं स्वरं यस्तु । main
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13 ्र भी (?) annotation_inline
parent ligne 12
via heuristic_short
14 निष्कृजितसंज्ञकोऽसौ ज्ञेयः सूरिभिरलङ्कारः ॥१५०॥ main
via surya_layout
15 क्रमयोगेनानेन तु सञ्चार्येकान्तरस्वरो द्विकलः । main
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16 <i>दे</i> (३)। annotation_inline
parent ligne 15
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17 ्नासी ज्ञेयः main
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18 द्वचवरः षट्पर एवं ह्यारोही हादमानः स्यात् ॥१५१॥ main
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19 ď annotation_inline
parent ligne 18
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20 त्रिकलत्वपरषड्जमेवमारोहि (?) main
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21 अथ रिक्षतस्तु समनन्तरस्वरे द्वे कले पुनः स्थित्वा । main
via surya_layout
22 अर्धकलामारोही पुनरेव तथावरोही स्यात्52 ॥१५२॥ main
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23 ।हि oतत् oचापको हि annotation_inline
parent ligne 22
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24 <b>.</b>4. main
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25 आवर्तकश्चतुर्षु स्वरेषु समनन्तरेषु सम्भवति । main
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26 आरोहणावरोहणविधिना चैकान्तरेष्विप वा ॥१५३॥ main
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27 ज्ञेयो निरन्तरकृतस्त्वष्टकलः सान्तरस्तथा कार्यः । main
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28 ,रुध्वंष्ट. unknown
via fallback
29 तज्ज्ञैः कलाश्चतसस्त्वावृत्त्या [ ऽऽ ] वर्तको भवति ॥१५४॥ editorial_bracket
parent ligne 27
via heuristic_brackets
30 प्राज्ञेः main
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31 अधिरुह्य च स्वरांस्त्रीन् स्वरान्तरं लङ्घयति च निवृत्तौ । main
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32 53से annotation_inline
parent ligne 31
via heuristic_height
33 पुनरपि च परावृत्त्या परीवर्तकोऽष्टकलो ज्ञेयः ॥१५५॥ main
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34 •र्तेषु 54कलो annotation_inline
parent ligne 33
via heuristic_short
35 यस्य स्वरावतीतौ तथा परं ह्यन्तरस्वरो भवति । main
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36 <b>.</b>पतितौ annotation_inline
parent ligne 35
via heuristic_short
37 परस्त्व, annotation_inline
parent ligne 35
via heuristic_height
38 य: annotation_inline
parent ligne 35
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39 एककलश्च तथा भवेत् तदुद्घट्टितो नित्यम् ॥१५६॥ main
via surya_layout
40 •द्वाहितो <sup>55</sup>,त्या main
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41 भव annotation_inline
parent ligne 40
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42 आक्षिप्तकस्त्रिस्वरजः कर्तव्यः षड्विधः कलामानः । main
via surya_layout
43 <b>०रारज प्रथगेककलात्रयकृतश्च (?)</b> main
via surya_layout
44 मा. annotation_inline
parent ligne 43
via heuristic_height
45 एककलस्त्वधरः स्यात् षट्कलिको वापरो ज्ञेयः ॥१५७॥ main
via surya_layout

vol_I_p045 RIGHT — 35 lignes

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1 73 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and main
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4 (114) annotation_inline
parent ligne 3
via heuristic_height
5 vișnuvikrama. annotation_inline
parent ligne 3
via heuristic_height
6 Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama- main
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7 grāma. annotation_inline
parent ligne 6
via heuristic_height
8 Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the main
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9 (115) annotation_inline
parent ligne 8
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10 seventh is known as mokşada. annotation_inline
parent ligne 8
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11 [ Thus end the names of auduvita tanas devoid of ni and ga in madhyama- editorial_bracket
parent ligne 8
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12 grāma.] editorial_bracket
parent ligne 8
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13 Thus end the fourteen names of auduvita tānas in madhyamagrāma. main
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14 [Thus end the thirty-five names of auduvita tanas seated in the two gramas.] editorial_bracket
parent ligne 13
via heuristic_brackets
15 (Anu. 46) annotation_inline
parent ligne 13
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16 The auduvita (tānas) of both the grāmas are thirty-five. The sādava and main
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17 auduva (tānas) of both the grāmas taken together are eithty-four tānas. main
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18 (Anu. 47) annotation_inline
parent ligne 17
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19 Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said - main
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20 sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that main
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21 begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and main
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22 kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda). main
via surya_layout
23 How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or main
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24 already expressed through 'sādhāraṇa' (the term forming part of the name of main
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25 the fourth type of murchanā viz. sadharaņakṛtā). main
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26 (116) annotation_inline
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27 And thus I have spoken of the fourfold mūrchanās. main
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28 [The performance of tanas] section_header
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29 (Anu. 48) annotation_inline
parent ligne 28
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30 How should the performance of these tanas be made, if this be asked, it is main
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31 being answered. The performance 41 of tana is twofold viz. with pravesa (lit. main
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32 entering) and nigraha (lit. restraint). main
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33 Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be main
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34 omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the main
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35 pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same main
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vol_II_p158 RIGHT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
via surya_layout
2 299 page_number
via heuristic_pagenum
3 Sixth or third below table
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4 <b>Gändhāra</b> table
via surya_layout
5 Şadja table
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6 Madhyama table
via surya_layout
7 Fifth or fourth below table
via surya_layout
8 Şadja table
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9 Fourth or fifth below table
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10 Pañcama table
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11 Şadja table
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12 Dhaivata table
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13 Third or sixth below table
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14 Şadja table
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15 It is obvious that when a svara other than sadja becomes the amsa, then main
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16 it will be necessary to search a path for sparseness and abundance. The main
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17 identity of sadjī will establish with this path and with nyasa. The paryayamsas main
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18 of ṣāḍjī also become amsás in many other jātis. In view of this, the distinct main
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19 identity of each jāti cannot be established on the basis of amśa because one main
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20 and the same intervals will obtain in many jātis. Hence, the distinct identity main
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21 of each jāti will depend on sparseness and abundance alone. main
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22 The above is true of the seven jātis bearing svara names. In samsargajā main
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23 vikṛtā jātis, the situation would be all the more complex because they involve main
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24 the mixture of more than one jāti in each case. The sparseness-abundance main
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25 of the jātis that are mixed in a given combination would emerge from time main
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26 to time. This is a more complex form of antara-mārga. main
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27 Abhi adds with regard to antara-mārga that sometimes a non-amśa svara main
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28 also is not sparse. For example, in kārmāravī, gāndhāra has concert (sangati) main
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29 with all svaras and thus, it has profuse usage in antara-mārga. main
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30 The citation from Bharata occurring after Anu. 129 says that nyāsa and main
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31 antara-mārga, the special use of sparseness and abundance, is responsible for main
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32 manifesting the identity of jātis. This statement appears to apply only to main
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33 samsargajā jātis. The weakness (abala) of a sparse svara and the abundance main
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34 of the balavan(strong) svara has also been mentioned in the description of main
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35 sparseness and abundance. main
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36 39. The description of kārmāravī is available only in the interpolated main
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37 portion (from SR) in our text. The line cited here occurs in NS XXVIII. as main
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38 the second half of verse 136. The interpolated portion from SR says - main
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39 "Many(svaras) are said to be non-amsas on account of antara-marga. main
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40 Gāndhāra is excessively abundant...... main
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41 (17) annotation_inline
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42 Thus gāndhāra is said to be abundant, inspite of its being non-amśa, on main
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43 account of antaramārga. main
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44 The use of future tense in our text, in relation to the description of main
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45 kārmāravī in NS is apparently somewhat queer, as it befits a commentary on main
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46 NS rather than an independent work. Incidentally, this line of our text main
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47 containing the use of future tense is found in Abhi Bhā on NŚ referred to main
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48 in note 38. main
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vol_II_p016 LEFT — 37 lignes

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1 14 page_number
via heuristic_pagenum
2 BRHADDESÏ page_header
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3 सोऽभिधीयते । अंशस्य विवादी ३९यो न भवति [स] प्रथमविदार्यन्ते४० editorial_bracket
parent ligne 4
via heuristic_brackets
4 यदि main
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5 प्रयुक्तो annotation_inline
parent ligne 4
via heuristic_short
6 <b>॰यन्तिर्यादि</b> annotation_inline
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via heuristic_markers
7 प्रवृत्तो annotation_inline
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via heuristic_height
8 यथा annotation_inline
parent ligne 4
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9 भवति, तदासौ संन्यास इत्यर्थ: । main
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10 ¥<sup>१</sup>तदा annotation_inline
parent ligne 9
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11 <sup>४२</sup> इत्युच्यते main
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12 यदा annotation_inline
parent ligne 11
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13 [अंशलक्षणान्तर्गतं विन्यासलक्षणम्] section_header
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14 [अनु॰१२३] editorial_bracket
parent ligne 13
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15 एष एव तु संन्यासस्वरः पदान्ते विन्यस्तो तदा विन्यासः । main
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16 <sup>४३</sup>०स्वरो यदा annotation_inline
parent ligne 15
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17 अतएव तदुक्तं भवति - main
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18 र्४४<br>एवांशस्य संवाद्यनुवादी वा पदिवदार्यन्ते भवतीत्युक्तम् । main
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19 भ्भ' रागश्च यस्मिन् वसति यस्माच्चैव प्रवर्तते । main
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20 अंशस्य संवादी या भवति annotation_inline
parent ligne 19
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21 नेता च तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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22 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
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23 अनुवृत्तश्च यश्चेह सोंऽश: स्याद् दशलक्षण:॥'४६ main
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24 स्या(दं?द्द)शलक्ष(णं?ण:) main
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25 [तुल॰ ना॰ शा॰ २८.६८,६९] editorial_bracket
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26 [३. तारलक्षणम्] section_header
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27 [अनु॰ १२४] editorial_bracket
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28 इदानीं तारलक्षणमुच्यते - main
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29 <sup>४७</sup>अंशस्वरप्रयोगादारभ्य main
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30 पञ्चस्वरपरा तारगति:। main
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31 किमुक्तं भवति ? main
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32 पञ्चमस्वरारोहणं तार इति, चतुःस्वरारोहणं तार इति [वा]। नन्दयन्त्यां यथासासानिधसा editorial_bracket
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33 <b>ल्सारो</b>॰ annotation_inline
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34 <b>ल्यमारो</b>॰ annotation_inline
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35 रिग annotation_inline
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36 इति, पञ्चमांशत्वात् षड्जस्तार: । आपञ्चमादिति योजना [गान्धार्या] अष्टम्या विदार्या editorial_bracket
parent ligne 31
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37 °ध्या page_footer
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194 lignes a valider — change uniquement les roles incorrects.