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 21538). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p048 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 78 page_number
via heuristic_pagenum
3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
via surya_layout
4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
via surya_layout
5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
via surya_layout
6 यापि वाचकः annotation_inline
parent ligne 5
via heuristic_height
7 मन्थवत् annotation_inline
parent ligne 5
via heuristic_height
8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
via surya_layout
9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
via heuristic_height
10 [गीति-भेदाः] section_header
via surya_layout
11 [तत्र मतङ्गमतम् ] section_header
via surya_layout
12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
via surya_layout
13 (त ? ती) annotation_inline
parent ligne 12
via heuristic_height
14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
via surya_layout
15 (त ? ति:) annotation_inline
parent ligne 14
via heuristic_height
16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
via surya_layout
17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
via surya_layout
18 (त ?ति) annotation_inline
parent ligne 17
via heuristic_height
19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
via surya_layout
20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
via surya_layout
21 सप्तगीत्यो मया annotation_inline
parent ligne 20
via heuristic_height
22 [॥ इति मतङ्गमतम्॥] editorial_bracket
parent ligne 20
via heuristic_brackets
23 [दुर्गशक्तिमतम्] section_header
via surya_layout
24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
via surya_layout
25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
via surya_layout
26 याष्ट्रिकेन महात्मना annotation_inline
parent ligne 25
via heuristic_height
27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
via surya_layout

vol_II_p122 RIGHT — 28 lignes

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

vol_II_p042 RIGHT — 50 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 67 page_number
via heuristic_pagenum
3 sā pā nī mā pā pā gā gā table
via surya_layout
4 <b>(7)</b> table
via surya_layout
5 mā pā mā nidha nī nī sā sā table
via surya_layout
6 (8) table
via surya_layout
7 pā pā mā dhani pā pā pā pā table
via surya_layout
8 (9) table
via surya_layout
9 mā pā mā riga gā gā gā gā table
via surya_layout
10 (10) table
via surya_layout
11 gā pā mā pā nī nī nī nī table
via surya_layout
12 (11) table
via surya_layout
13 mā pā mā pariga gā gā gā gā table
via surya_layout
14 (12) table
via surya_layout
15 gā gā gā mā mā nidha nī nī table
via surya_layout
16 (13) table
via surya_layout
17 nī nī dhapa mā nidha nidha pā pā table
via surya_layout
18 (14) table
via surya_layout
19 rī gā sā sā mā nidhani nī nī table
via surya_layout
20 (15) table
via surya_layout
21 nī nī dhā pā dhā pā mā mā table
via surya_layout
22 (16) table
via surya_layout
23 Thusends<i>inadhyamodīcyavā</i>. section_header
via surya_layout
24 [6. Kārmāravi] section_header
via surya_layout
25 In kārmāravī, niṣāda, ṛṣabha, pañcama and dhaivata become the ainśas. main
via surya_layout
26 (16) annotation_inline
parent ligne 25
via heuristic_short
27 Many (svaras) are said to be non-amsas on account of antara-marga. main
via surya_layout
28 Gāndhāra is excessively abundant. There is concert among all the amśa main
via surya_layout
29 svaras. annotation_inline
parent ligne 28
via heuristic_height
30 (17) main
via surya_layout
31 Caccatpuța (is the tāla), there are sixteen kalās. The mūrchanā beginning main
via surya_layout
32 with şadja obtains. The application is (prescribed) in the dhruvā of the fifth main
via surya_layout
33 act. annotation_inline
parent ligne 32
via heuristic_short
34 (18) main
via surya_layout
35 Pañcama is the nyāsa in this (jāti). The amsás themselves are apanyāsas. main
via surya_layout
36 The prastāra is thus- main
via surya_layout
37 ri ri ri ri ri ri ri ri table
via surya_layout
38 (1) table
via surya_layout
39 mā gā sā gā sā nī nī nī table
via surya_layout
40 (2) table
via surya_layout
41 nī mā nī mā pā pā gā gā table
via surya_layout
42 (3) table
via surya_layout
43 gā pā mā pā nī nī nī nī table
via surya_layout
44 (4) table
via surya_layout
45 rī gā sā nī rī gā rī gā table
via surya_layout
46 (5) table
via surya_layout
47 rī gā rī sā nī dhani pā pā table
via surya_layout
48 (6) table
via surya_layout
49 mā pā mā pariga gā gā gā gā table
via surya_layout
50 <b>(7)</b> table
via surya_layout

vol_II_p162 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŚA</b> annotation_inline
parent ligne 3
via heuristic_height
2 307 page_number
via heuristic_pagenum
3 52. The word gamaka seems to stand for shake here. list_item
via surya_layout
4 53. Dānavīra is one of the four varieties of vīra, the other three being list_item
via surya_layout
5 dharmavīra, yuddhavīra and dayāvīra. list_item
via surya_layout
6 54. The import seems to be that śuddha-bhinna has an independent list_item
via surya_layout
7 form and that it is not the modified form of a suddharaga. list_item
via surya_layout
8 55. Here the distinction of a bhinna raga is established only on the list_item
via surya_layout
9 basis of giti or distinctive tonal rendering. list_item
via surya_layout
10 56. Syasthāna is a word used in SR III.140 and III.191-192 in the list_item
via surya_layout
11 context of sthāya and ālapti respectively; it stands for the sections of rāgālapti list_item
via surya_layout
12 formed on the basis of the units of tonal range within an octave, the first unit list_item
via surya_layout
13 being formed in the range from the tonic and from below it upto the svara list_item
via surya_layout
14 preceding the fourth, the second unit touching the fourth, the third list_item
via surya_layout
15 reaching below the octave and the fourth touching the octave. list_item
via surya_layout
16 57. 'Leaving the svasthana' seems to imply that the lower register will list_item
via surya_layout
17 be used in this rāga, as distinct from śuddhakaiśika which is performed with list_item
via surya_layout
18 tāra svaras. Here svasthāna does not seem to signify the units of tonal range list_item
via surya_layout
19 described in note 56 above, rather it appears to mean ' the own sthana or list_item
via surya_layout
20 register' of a raga. list_item
via surya_layout
21 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie list_item
via surya_layout
22 fallacious statement because pañcama is not adjacent to niṣāda. But there list_item
via surya_layout
23 could be a hidden meaning, taking the two grāmas together, as follows - list_item
via surya_layout
24 Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. main
via surya_layout
25 Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. main
via surya_layout
26 Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The main
via surya_layout
27 above statement could be valid in terms of the two grāmas taken together. main
via surya_layout
28 59. The 'omission' of pancama comprised of three śrutis in list_item
via surya_layout
29 ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. list_item
via surya_layout
30 60. 'Mature' karuṇa rasa is a notable expression. list_item
via surya_layout
31 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) list_item
via surya_layout
32 also mentions it while describing the gaudi gita and defines it as the list_item
via surya_layout
33 "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." list_item
via surya_layout
34 62. There is a striking contradiction between the viniyoga or list_item
via surya_layout
35 application in terms of śringāra and the rasas mentioned separately, viz. list_item
via surya_layout
36 bībhatsa and bhayānaka that are incompatible to śṛṅgāra. list_item
via surya_layout
37 63. Here again the viniyoga is given in terms of karuņa and the rasa list_item
via surya_layout
38 is mentioned as vīra in accordance with the amśa that is ṣaḍja. list_item
via surya_layout
39 64. 'Rāga' is another name for vesarā gīti; this alternative name is also list_item
via surya_layout
40 mentioned in later texts like SR II.1.6. The basis of this alternative name as list_item
via surya_layout
41 cited in the name of Kasyapa seems to be that the ragas that are not list_item
via surya_layout

vol_II_p094 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 170 page_number
via heuristic_pagenum
3 धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका । main
via surya_layout
4 धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥ main
via surya_layout
5 बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी । main
via surya_layout
6 यङ्गाली annotation_inline
parent ligne 5
via heuristic_height
7 एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥ main
via surya_layout
8 एषा भाषा रसा च + थैवतः annotation_inline
parent ligne 7
via heuristic_height
9 प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥ main
via surya_layout
10 ॰सूक्ष्मध annotation_inline
parent ligne 9
via heuristic_markers
11 उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि main
via surya_layout
12 धाधा। बाङ्गाली । [६] editorial_bracket
parent ligne 11
via heuristic_brackets
13 वङ्गाली annotation_inline
parent ligne 11
via heuristic_height
14 <sup>१००</sup>मध्यमांशा धैवतान्ता <sup>१०१</sup>पञ्चमर्षभदुर्बला । main
via surya_layout
15 षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥ main
via surya_layout
16 सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥ main
via surya_layout
17 गासानिसानिधा unknown
via fallback
18 उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा unknown
via fallback
19 मापामामासामाधा annotation_inline
parent ligne 16
via heuristic_height
20 नी annotation_inline
parent ligne 16
via heuristic_height
21 मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी<sup>१०२</sup>।[७] editorial_bracket
parent ligne 16
via heuristic_brackets
22 गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा। main
via surya_layout
23 कालिन्दी annotation_inline
parent ligne 22
via heuristic_height
24 पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥ main
via surya_layout
25 एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते । main
via surya_layout
26 कालिङ्गे annotation_inline
parent ligne 25
via heuristic_height
27 हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥ main
via surya_layout
28 उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा- main
via surya_layout
29 साधानीगाधा । कालिङ्गी । [८] editorial_bracket
parent ligne 28
via heuristic_brackets
30 कालिन्दो annotation_inline
parent ligne 28
via heuristic_height
31 षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ । main
via surya_layout
32 धैवताऱ्यासा annotation_inline
parent ligne 31
via heuristic_height
33 <sup>९०६</sup>षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥ editorial_bracket
parent ligne 31
via heuristic_brackets
179 lignes a valider — change uniquement les roles incorrects.