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 21554). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p124 RIGHT — 29 lignes

page vol_II_p124 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 231 page_number
via heuristic_pagenum
3 [4. Mālatī] section_header
via surya_layout
4 The elā composed with long and short (syllables), 64 adorned with sweet main
via surya_layout
5 sounds, similarly straight, having profuse gamakas and alankāras (and) beautiful, main
via surya_layout
6 is mālatī. annotation_inline
parent ligne 5
via heuristic_short
7 (452) main
via surya_layout
8 [5. Lalitā] section_header
via surya_layout
9 This <i>lalitā</i> (<i>elā</i>) should be sung by the <i>gandharvas</i> with graceful regulation main
via surya_layout
10 of syllables. (Its) two feet are like the first one, combined with gamakas and main
via surya_layout
11 hindu-mūrchanā.65 annotation_inline
parent ligne 10
via heuristic_short
12 (453) main
via surya_layout
13 [6. Hemavatī] section_header
via surya_layout
14 (It) is with graceful pada, ends in biruda and similarly there is gamaka main
via surya_layout
15 placed on the yati. 66 This is the order of the (first) two feet, then there is the main
via surya_layout
16 name of the object of description. main
via surya_layout
17 (454) main
via surya_layout
18 [7. Kusumavatī?] section_header
via surya_layout
19 Where that (third foot) composed with textual units comprised of short main
via surya_layout
20 syllables, is sung again after having sung the name of the singer (composer) main
via surya_layout
21 'preceded' (accompanied) by the description of the play of valour and the like, main
via surya_layout
22 that has been said to be <i>varṇailā</i> by Matanga<sup>67</sup> according to the accepted order. main
via surya_layout
23 Where the respectability brought about by the description of glory, enthusiasm, main
via surya_layout
24 steadfastness and the like is seen in a definite order, that is said to be varyailā. It main
via surya_layout
25 is sung in tālas like maņļha, dvitīya, kankāla (and) įmatitāla. main
via surya_layout
26 <math>(455-457)</math> main
via surya_layout
27 This is one manner in which (varnaila) has been described clearly, now the main
via surya_layout
28 seven varnailās are being described in a way similar (samarasa) to the same. main
via surya_layout
29 (458) main
via surya_layout

vol_II_p022 RIGHT — 26 lignes

page vol_II_p022 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 E. annotation_inline
parent ligne 4
via heuristic_height
2 27 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
via surya_layout
5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
via surya_layout
6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
via surya_layout
7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
via surya_layout
8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
via surya_layout
9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
via surya_layout
10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
via surya_layout
11 <math>(222-224)</math> annotation_inline
parent ligne 10
via heuristic_height
12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
via surya_layout
13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
via surya_layout
14 (225) annotation_inline
parent ligne 13
via heuristic_height
15 In madhyamā there are five amśas, excepting the two svaras composed of main
via surya_layout
16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
via surya_layout
17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
via surya_layout
18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
via surya_layout
19 madhyama are abundant. main
via surya_layout
20 (226) annotation_inline
parent ligne 19
via heuristic_short
21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
via surya_layout
22 pañcama is amsa in it. main
via surya_layout
23 (227) annotation_inline
parent ligne 22
via heuristic_height
24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
via surya_layout
25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
via surya_layout
26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
via surya_layout

vol_I_p019 RIGHT — 33 lignes

page vol_I_p019 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 21 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The distinction of svara and śruti (exists) because they are prasādhya (lit. main
via surya_layout
4 accomplished, here perceived) by different buddhis (apprehensions, main
via surya_layout
5 perceptions). And also on account of the distinction of aśraya (seat or main
via surya_layout
6 substratum, here śruti) and āśrayin (that which is seated, here svara) the main
via surya_layout
7 identification (of the two) does not stand. main
via surya_layout
8 (36) annotation_inline
parent ligne 7
via heuristic_height
9 The state of svaras being reflections, that has been spoken of, does not stand main
via surya_layout
10 reason (because) if the state of svaras being reflection (is accepted), then main
via surya_layout
11 perception having the nature of delusion becomes applicable. main
via surya_layout
12 (37) annotation_inline
parent ligne 11
via heuristic_height
13 The relationship of cause and effect between śruti and svara is not possible; main
via surya_layout
14 there is no pramana (means of valid knowledge or evidence) of the existence of main
via surya_layout
15 (38) annotation_inline
parent ligne 14
via heuristic_height
16 śrulis. annotation_inline
parent ligne 14
via heuristic_height
17 (Objection) If by arthāpatti 55 (negative inference) or by the pramāņa main
via surya_layout
18 presuming vyāpti-grahaņa, (the comprehension of concomitance, i.e. anumāna,56 main
via surya_layout
19 inference) svara is proved to be the bheda (modification or result) of the gagana- main
via surya_layout
20 gunas<sup>57</sup> (qualities of space or ether i.e. sounds) that are the progenitors of svara main
via surya_layout
21 (then the kārya-kāraņa relationship between the two would be established). (39) main
via surya_layout
22 (Answer) It is true. annotation_inline
parent ligne 21
via heuristic_height
23 Although the kārya-kāraņa difference (between svara and śruti) is evident, main
via surya_layout
24 (40) annotation_inline
parent ligne 23
via heuristic_height
25 yet the kāraņatva (causality) of śrutis is impossible. main
via surya_layout
26 (This is so) because (here) the cause (śruti) is available (perceptible) (even) main
via surya_layout
27 when the kāryas (svaras) are present, (but) when the jar and the like are main
via surya_layout
28 existent, the lump of clay is not available (perceptible). main
via surya_layout
29 (41) annotation_inline
parent ligne 28
via heuristic_height
30 Pariņāma 58 (transformation) (and, or) abhivyakti (manifestation) is main
via surya_layout
31 understood to be the justified proposition by the wise; thus the alternatives main
via surya_layout
32 (42) annotation_inline
parent ligne 31
via heuristic_height
33 starting with tādātmya have been spoken of by me. main
via surya_layout

vol_II_p068 RIGHT — 35 lignes

page vol_II_p068 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 119 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [Anu. 202] editorial_bracket
parent ligne 4
via heuristic_brackets
4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
via surya_layout
5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
via surya_layout
6 is due to its application in passionate performance of caris, mandalas and main
via surya_layout
7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
via surya_layout
8 sadjakaisika alone is prominent. Why? On account of its falling under the main
via surya_layout
9 order of the state of sādava (rāga).76 That is thus - main
via surya_layout
10 [1. Narta-rāga] section_header
via surya_layout
11 Having pañcama as its amśa and madhyama as its concluding note, being main
via surya_layout
12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
via surya_layout
13 as sparse the svaras comprised of two śrutis each. main
via surya_layout
14 (333) annotation_inline
parent ligne 13
via heuristic_height
15 [Anu. 203] editorial_bracket
parent ligne 13
via heuristic_brackets
16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
via surya_layout
17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
via surya_layout
18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
via surya_layout
19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
via surya_layout
20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
via surya_layout
21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
via surya_layout
22 [Anu. 204] editorial_bracket
parent ligne 21
via heuristic_brackets
23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
via surya_layout
24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
via surya_layout
25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
via surya_layout
26 related to şadjagrāma. annotation_inline
parent ligne 25
via heuristic_height
27 [2. Saka] section_header
via surya_layout
28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
via surya_layout
29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
via surya_layout
30 (334) annotation_inline
parent ligne 29
via heuristic_height
31 [Anu. 205] editorial_bracket
parent ligne 29
via heuristic_brackets
32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
via surya_layout
33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
via surya_layout
34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
via surya_layout
35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
via surya_layout

vol_II_p038 LEFT — 47 lignes

page vol_II_p038 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 58 page_number
via heuristic_pagenum
3 मा गारी गामा मासा सा table
via surya_layout
4 (3) table
via surya_layout
5 [मा मगम मा मा निध पध पम गमम] table
via surya_layout
6 (8) table
via surya_layout
7 धा गध परि रिग गरि गस धस धा table
via surya_layout
8 (4) table
via surya_layout
9 निध सा री मृगम मा मा मा मा table
via surya_layout
10 (६) table
via surya_layout
11 मां मां मंगमं मंधं धंपं पंधं पंमं गंमंगं table
via surya_layout
12 (৩) table
via surya_layout
13 धा पध परि रिंग मंग रिंग संधस सा table
via surya_layout
14 (८) table
via surya_layout
15 मां मां धनि धस धप पम पा पा table
via surya_layout
16 (9) table
via surya_layout
17 मा मग मां मां पध पम गम गस table
via surya_layout
18 (१०) table
via surya_layout
19 धा पध परि रिम मग रिग सधस सा table
via surya_layout
20 (११) table
via surya_layout
21 निंधं सां री मगम मा मा मा मा table
via surya_layout
22 (१२) table
via surya_layout
23 ॥ [इति] षड्जमध्यमा ॥ table
via surya_layout
24 (स॥ table
via surya_layout
25 [२. गान्धारोदीच्यवा] section_header
via surya_layout
26 गान्धारोदीच्यवायां तु द्वावंशौ षड्जमध्यमौ । main
via surya_layout
27 रिलोपात् षाडवं ज्ञेयं पूर्णत्वेंऽशेतराल्पता ॥४॥ main
via surya_layout
28 ॰(शोन्तरात्मना? शेतराल्पता) annotation_inline
parent ligne 27
via heuristic_markers
29 अल्पा निधपगान्धारा: षाडवत्वे प्रकीर्तिता: । main
via surya_layout
30 रिधयो: सङ्गतिर्ज्ञेया धैवतादिश्च मूर्छना ॥ ५॥ main
via surya_layout
31 स(गनिज्ञे ? ङ्गतिर्जे)या main
via surya_layout
32 तालश्चचत्पुटो ज्ञेय: कला: षोडश कीर्तिता: । main
via surya_layout
33 विनियोगो ध्रुवागाने चतुर्थप्रेक्षणे मत: ॥ ६॥ main
via surya_layout
34 <sup>१६९</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । १७°प्रस्तार: - annotation_inline
parent ligne 33
via heuristic_markers
35 म(ध्य)मो main
via surya_layout
36 (१) table
via surya_layout
37 सा सा पा मा पा धप पा मा table
via surya_layout
38 (२) table
via surya_layout
39 धा पा मा मा सा सा सा सा table
via surya_layout
40 धा नी सा सा मा मा पा पा table
via surya_layout
41 (3) table
via surya_layout
42 नी नी नी नी नी नी नी table
via surya_layout
43 <b>(</b>8) table
via surya_layout
44 मा मा धा निस नी नी नी नी table
via surya_layout
45 (4) table
via surya_layout
46 मा पा मा परि गा गा सा सा table
via surya_layout
47 <b>(</b>\(\xi\) table
via surya_layout
170 lignes a valider — change uniquement les roles incorrects.