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 21545). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p032 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 46 page_number
via heuristic_pagenum
3 यदा षाडवा गीयते तदा ऋषभस्याल्पत्वं कार्यम्, शेषाणां स्वराणां बहुत्वम् । main
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4 (था ? दा) annotation_inline
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5 [अनु॰ १४७] editorial_bracket
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6 अस्याश्च दशांशका: । तद्यथा - शुद्ध:, विकृताश्च पञ्च पूर्णाश्चत्वार: main
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7 <sup>१३५</sup>षाडवा:, main
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8 <sup>१३६</sup>गान्धारेंऽशे षाडवापवादात् । येनांशा: स्फुटयन्ते तेन लिखिता: । main
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9 षड्जांशेन शुद्धत्वं <sup>१३७</sup>षड्जश्चापन्यास:।सम्पूर्णावस्थायामष्टविधलक्षणम्।षाडवावस्थायां main
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10 नवविधत्वम् । शुद्धां परित्यज्य चतुर्विधा षाड्जी विकृता बोद्धव्या । main
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11 न(य ? व) annotation_inline
parent ligne 10
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12 अस्याश्च धैवतादिमूर्छना । पञ्चपाणिरेककलिश्चत्रे मार्गे मागधी गीति:। पञ्चपाणिर्द्विकलो main
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13 ॰श्चित्रे मार्गे annotation_inline
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14 र्वहकल: annotation_inline
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15 वार्तिकमार्गे सम्भाविता गीतिश्चतुष्कलः पञ्चपाणिर्दक्षिणे मार्गे पृथुला गीतिः । अनेन क्रमेण main
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16 र्णाः •द• annotation_inline
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17 सर्वासां जातीनां बोद्धव्यम्। वीररौद्राद्धतरसा: कार्या:। प्रथमे <sup>१३८</sup>प्रेक्षणके ध्रुवागाने विनियोग। main
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18 [२. आर्षभी] section_header
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19 [अनु॰ १४८] section_header
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20 १३९[आर्षभ्याम्]ऋषभधैवतनिषादा ग्रहा: स्वयमेवांशा:, त एवापन्यासा: पञ्चस्वरपरस्तारो१४० editorial_bracket
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21 ष्र: annotation_inline
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22 निषाद:[?] । ऋषभो न्यास: । न्यासपरस्तत्परो वा मन्द्र: । १४१षड्जधैवतयोर्ऋषभगान्धारयोश्च editorial_bracket
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23 ॰पञ्चम: ऋषभ॰ annotation_inline
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24 सङ्गति: । षड्जहीनं षाडवम्, षड्जपञ्चमहीनम् औडुवितम् । पूर्णावस्थायां main
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25 षङ्जगान्धारपञ्चमानामल्पत्वम् , औडुविते गान्धारमध्यमयोरल्पत्वम् , शेषाणां च बहुत्वम्। main
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26 [अनु॰१४९] section_header
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27 दशविधत्वं चास्याः। दशांशाः शुद्धः, विकृताः पूर्णास्त्रयः, त्रयः षाडवाः, त्रय main
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28 Πannotation_inline
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29 औडुवाश्चेति। पञ्चमादिमूर्छना, चच्चत्पुटस्ताल:। एककलेन चित्रेण मागधी,द्विकलेन वार्तिकेन main
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vol_II_p012 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 7 page_number
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3 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling main
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4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
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5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
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6 a vikṛtā state."7 annotation_inline
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7 (NŚ XXVIII.46) main
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8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
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9 are formulated or accomplished through ainsa svaras, omission (of one or main
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10 two notes) and the like. main
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11 (192) annotation_inline
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12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
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13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
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14 into being from the above two (ṣaḍjā and gāndhārī) with the addition of main
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15 dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī main
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16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
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17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
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18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
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19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
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20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
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21 of pañcami; these (three) go to make kārmāravī, with the omission of main
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22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
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23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
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24 and dhaivati, thus are the blendings or mixtures. main
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25 <math>(193-198)</math> main
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26 Now they (honorific for the author) have spoken of the classification (of main
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27 jātis) – annotation_inline
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28 Four jātis should be known by the wise to be always composed of seven main
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29 svaras, four are composed of six svaras and the other ten are known as being main
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30 composed of five svaras each. main
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31 (199) annotation_inline
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32 This itself becomes clear - main
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33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
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34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
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35 (200) main
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vol_II_p015 LEFT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 12 page_number
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2 BRHADDEŚĪ page_header
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3 [२. अंशलक्षणम्] section_header
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4 [अनु॰ १२०] section_header
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5 अथांश: कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्य: । यस्मिन् ३१ क्रियमाणे main
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6 अ(थवांश ख ? थांश:क) annotation_inline
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7 अंशविभाग: main
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8 न्त्रंशे annotation_inline
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9 गगाभिव्यक्तिर्भवति सोंऽश: [प्रथम:]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पित: सोंऽशो editorial_bracket
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10 (পি?) main
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11 ३२यस्माद्वाः annotation_inline
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12 गीत: main
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13 न ग्रहस्स्वरित: (स्वं?स्वां) शो। main
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14 द्वितीय: [1] तारमन्द्राभिव्यक्तिहेतु: सोंऽशस्तृतीय: । पञ्चमस्वरारोहणं तार:, कदाचित् editorial_bracket
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15 द्वितीया main
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16 <b>॰रगारो</b>॰ annotation_inline
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17 षष्ठस्वरारोहणमपि तार:, यथा गान्धार्या: षड्जस्तार:, निध निध सा इति । यथा main
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18 णं पि annotation_inline
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19 तथा annotation_inline
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20 तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:] editorial_bracket
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21 सप्तस्वरावरोहणा[तु]। editorial_bracket
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22 ३३प्यांश<sup>></sup> main
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23 यथा ३४पञ्चमांशाया: षाङ्ज्या: स्वस्थाने सासासाधा इति । यश्च बहुप्रयोगतर: सोऽप्यंश: [चतुर्थ:] editorial_bracket
parent ligne 22
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24 मन्द्रांशाया: annotation_inline
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25 <sup>३५</sup>संस्थाने main
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26 पड्जा annotation_inline
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27 यो रागस्य विषयत्वेनावस्थित: स्वर: सोऽप्यंश: [पञ्चम:] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास- editorial_bracket
parent ligne 25
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28 न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।] editorial_bracket
parent ligne 25
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29 [अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्] section_header
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30 [अनु॰ १२१] section_header
via surya_layout
31 यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा main
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32 च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादानां विदारणं main
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33 ॰णा annotation_inline
parent ligne 32
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34 खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् । main
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35 गीतकेशी annotation_inline
parent ligne 34
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36 [अंशलक्षणान्तर्गतं संन्यासलक्षणम्] section_header
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37 [अनु॰१२२] section_header
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38 इदानीं संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः main
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39 स न्यासोः annotation_inline
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40 राष्ट्र annotation_inline
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41 ॰क्ताः annotation_inline
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42 The state of the same of annotation_inline
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vol_I_p055 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 93 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 75) annotation_inline
parent ligne 4
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4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
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5 șadja and the like, having touched the octave36 (tara) of that like fire and main
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6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
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7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
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8 <b>(6)</b> annotation_inline
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9 (Anu. 76) annotation_inline
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10 Having touched (a svara) for the interval of one kalā (time-unit), on main
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11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
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12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
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13 <b>(7)</b> annotation_inline
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14 nivṛttapravṛtta. annotation_inline
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15 (Anu. 77) annotation_inline
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16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
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17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
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18 (8) annotation_inline
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19 (Anu 78) annotation_inline
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20 On account of the shake of (svara having) three srutis in the lower heptad, main
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21 kampita (is formed), that is composed of three kalās (time-units). As - main
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22 <b>(9)</b> annotation_inline
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23 sarigamapadhanisa,42 thus is (ends) kampita. main
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24 (Anu. 79) annotation_inline
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25 On account of the shake of (svara having) three śrutis 43 in the middle main
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26 heptad kuharita (is formed), that is composed of three kalās. As - main
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27 (10) annotation_inline
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28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
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29 (Anu. 80) annotation_inline
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30 On account of the shake of (svara having) three śrutis in the higher main
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31 heptad, recita (is formed), that is composed of three kalās. As - main
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32 (11) annotation_inline
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33 sarigamapadhanisa 45 Thus is (ends) recita. main
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34 (Anu. 81) annotation_inline
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35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
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36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
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vol_I_p036 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
parent ligne 28
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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176 lignes a valider — change uniquement les roles incorrects.