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 21657). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p014 RIGHT — 38 lignes

page vol_II_p014 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 n er annotation_inline
parent ligne 4
via heuristic_height
2 11 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 the jātis (castes). Just as in human beings there are castes such as brahmin main
via surya_layout
5 and the like, that are both pure and mixed (or altered), similarly these jātis main
via surya_layout
6 are also (twofold). annotation_inline
parent ligne 5
via heuristic_height
7 [Thus ends the general definition.] editorial_bracket
parent ligne 5
via heuristic_brackets
8 [4. The tenfold lakṣaṇas or characteristics] section_header
via surya_layout
9 Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - main
via surya_layout
10 Graha (initial note), amśa (fundamental note), tāra (high), mandra (low) main
via surya_layout
11 and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly main
via surya_layout
12 alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are main
via surya_layout
13 said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. main
via surya_layout
14 The definition of this group of ten is being given in brief. main
via surya_layout
15 <math>(209-210)</math> annotation_inline
parent ligne 14
via heuristic_height
16 [1. The definition of graha] section_header
via surya_layout
17 [Anu.119] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Out of these (lakṣaṇas), graha is that with which the performance of jāti main
via surya_layout
19 and the like is begun (lit . held or caught). That ( graha ) should be known main
via surya_layout
20 to have sixty-three varieties just like aniśa. main
via surya_layout
21 (Objection) What is the difference between graha and anisa? It is being main
via surya_layout
22 answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the main
via surya_layout
23 amsa,but graha is fourfold according to the distinction of vādī and the like main
via surya_layout
24 1 page_number
via heuristic_pagenum
25 (samvādī, vivādī and anuvādī). Or there is the distinction of predominance main
via surya_layout
26 and subordination between the two. Graha is subordinate ( to amśa). main
via surya_layout
27 ŧ annotation_inline
parent ligne 26
via heuristic_height
28 (Objection) Why is the predominance of amsa alone being spoken of? main
via surya_layout
29 Because of its being the progenitor 11 of raga (delight or colour) and main
via surya_layout
30 because of its being pervasive, the predominance of anisa alone (is accepted). main
via surya_layout
31 Although graha and anisa are predominant in all the jatis and this is proved main
via surya_layout
32 by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup> main
via surya_layout
33 (operation) of samvādī and anuvādī. main
via surya_layout
34 Similarly said Bharata – annotation_inline
parent ligne 33
via heuristic_height
35 "Graha is said to be like the amsa in all the jātis. The amsa that becomes the main
via surya_layout
36 starting point of geya (melodic organisation and performance) assumes an main
via surya_layout
37 alternative form as graha." main
via surya_layout
38 (NŚ XXVIII.67) main
via surya_layout

vol_II_p058 RIGHT — 35 lignes

page vol_II_p058 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 99 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Jāti-bhinna] section_header
via surya_layout
4 Now he (the author) has spoken of the description of jāti-bhinna - main
via surya_layout
5 The amśa of jātis should be established and so should be the sparse and the main
via surya_layout
6 abundant. Sparseness and abundance come about on account of sparse and main
via surya_layout
7 abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma main
via surya_layout
8 (short and very short in time) and curved (phrases).<sup>50</sup> main
via surya_layout
9 (308) annotation_inline
parent ligne 8
via heuristic_height
10 [Anu. 178] section_header
via surya_layout
11 This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. main
via surya_layout
12 Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being main
via surya_layout
13 born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up main
via surya_layout
14 of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short main
via surya_layout
15 in time) phrases, this is the import. Its description is thus - main
via surya_layout
16 [3. Bhinnakaisikamadhyama] section_header
via surya_layout
17 Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa, main
via surya_layout
18 <math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52} main
via surya_layout
19 (309) annotation_inline
parent ligne 18
via heuristic_height
20 [Anu. 179] editorial_bracket
parent ligne 18
via heuristic_brackets
21 This means-bhinnakaisikamadhyama is related to şadjagrāma on account main
via surya_layout
22 of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama main
via surya_layout
23 is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) main
via surya_layout
24 is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 main
via surya_layout
25 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja main
via surya_layout
26 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed main
via surya_layout
27 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
via surya_layout
28 prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
via surya_layout
29 comprised of svara and pada. main
via surya_layout
30 [Śuddhabhinna] section_header
via surya_layout
31 Now he (the author) has spoken of the definition of śuddhabhinna- main
via surya_layout
32 (The rāga) that bedecks itself with its own jāti (from which it is born) and main
via surya_layout
33 kula (family), leaving the other jāti and taking up (the qualities of) its own main
via surya_layout
34 family, is called <i>śuddhabhinna</i>. main
via surya_layout
35 (310) annotation_inline
parent ligne 34
via heuristic_height

vol_II_p078 RIGHT — 27 lignes

page vol_II_p078 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 139 page_number
via heuristic_pagenum
3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
via surya_layout
4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
via surya_layout
5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
parent ligne 4
via heuristic_brackets
6 That which has sadja as its concluding note, madhyama as its amsa, is main
via surya_layout
7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
via surya_layout
8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
via surya_layout
9 (40) annotation_inline
parent ligne 8
via heuristic_short
10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
via surya_layout
11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
via surya_layout
12 nīsasā. Travaņodbhavā [ii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 Verañjikā should be known to have gandhāra as its amśa and weak main
via surya_layout
14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
via surya_layout
15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
via surya_layout
16 should be known (this) bhāṣā; it is said to be hexatonic. main
via surya_layout
17 <math>(41-42)</math> main
via surya_layout
18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
via surya_layout
19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
via surya_layout
20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
via surya_layout
21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
parent ligne 20
via heuristic_brackets
22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
via surya_layout
23 complete, brilliant 15 with madhyama, there being the mutual concert main
via surya_layout
24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
via surya_layout
25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
via surya_layout
26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
via surya_layout
27 (43) page_footer
via surya_layout

vol_II_p063 LEFT — 27 lignes

page vol_II_p063 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 108 page_number
via heuristic_pagenum
3 [घ. रागगीतिगता वेसरागीतिगता वा रागा:] section_header
via surya_layout
4 [अनु॰ १९०] section_header
via surya_layout
5 नन् वेसराणां कथं रागशब्द: प्रवर्तते ? आसोपदेशात् । तथा चाह कश्यप: - main
via surya_layout
6 आ(टो?प्तो)फ annotation_inline
parent ligne 5
via heuristic_height
7 <sup>६७</sup> ‘चतुर्णामपि वर्णानां यो राग: शोभनो भवेत् । main
via surya_layout
8 योगा राग:+शोभना(?) annotation_inline
parent ligne 7
via heuristic_height
9 स सर्वो दृश्यते येषु तेन रागा इति स्मृता: ॥'' main
via surya_layout
10 [अनु॰ १९१] section_header
via surya_layout
11 दुर्गशक्तिमते रागा एव वेसरा गण्यन्ते । तथा चाह दुर्गशक्ति: - main
via surya_layout
12 ६८‘‘स्वरा: सरन्ति यद्वेगात् तस्माद् वेसरका: स्मृता: ।’’ main
via surya_layout
13 दुर्गशक्तिमते वेसरषाडव एव मुख्य:, षाडवत्वेन क्रमायातत्वात् । कश्यपमते तु टक्कराग main
via surya_layout
14 एव मुख्य:, लक्ष्मीप्रीतिकरत्वात् । तद्यथा - main
via surya_layout
15 [१. टक्करागः] section_header
via surya_layout
16 <sup>६९</sup>षड्जांशन्याससंयुक्तष्टक्करागोऽल्पपञ्चम: । main
via surya_layout
17 कारणं चास्य निर्दिष्टे धैवतीषड्जमध्यमे ॥३२०॥ main
via surya_layout
18 कार(णा?णं चा)स्य annotation_inline
parent ligne 17
via heuristic_height
19 [अनु॰ १९२] section_header
via surya_layout
20 अस्यार्थः - टक्करागः षड्जग्रामसम्बन्धः , धैवतीषड्जमध्यमासमुत्पत्रत्वात् । षड्जोऽस्य main
via surya_layout
21 ग्रहोंऽशश्च न्यासश्च। निषादपञ्चमयोरत्राल्पत्वम् <sup>७९</sup> निषादगान्धारावत्र काकल्यन्तरौ। पूर्णश्चायम् । main
via surya_layout
22 युद्धवीरेऽस्य प्रयोग: । वीराद्धुतौ रसौ । षड्जादिमूर्छना । वर्ण: सञ्चारी । प्रसन्नान्तोऽलङ्कार: । main
via surya_layout
23 शुद्ध annotation_inline
parent ligne 22
via heuristic_height
24 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
25 [२. सौवीर:] section_header
via surya_layout
26 अंशश्च षड्जो न्यासश्च कारणं षड्जमध्यमा । main
via surya_layout
27 सौवीरकस्य गान्धारो निषादश्चापि दुर्बल: ॥३२१॥ main
via surya_layout

vol_I_p031 LEFT — 30 lignes

page vol_I_p031 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 44 page_number
via heuristic_pagenum
2 <b>BRHADDESI</b> page_header
via surya_layout
3 प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः। main
via surya_layout
4 स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।। main
via surya_layout
5 स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥ main
via surya_layout
6 वाचं गानात्मिकां धत्त इति गान्धारसंज्ञकः। main
via surya_layout
7 स्वराणां मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥ main
via surya_layout
8 स्वरान्तराणां विस्तारं यो मिमीते स पञ्चमः। main
via surya_layout
9 पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।। main
via surya_layout
10 धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः । main
via surya_layout
11 यद्वा annotation_inline
parent ligne 10
via heuristic_short
12 २१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥ main
via surya_layout
13 पञ्चमेन annotation_inline
parent ligne 12
via heuristic_height
14 <sup>30</sup>•त्ततोऽसी annotation_inline
parent ligne 12
via heuristic_height
15 ललाटे धैवत इत्यर्थः। main
via surya_layout
16 निषीदन्ति स्वराः सर्वे निषादस्तेन कथ्यते।।६०॥ main
via surya_layout
17 [ स्वराणां सप्तसंख्यानियमः ] section_header
via surya_layout
18 [ अनु. २९ ] editorial_bracket
parent ligne 17
via heuristic_brackets
19 31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते— main
via surya_layout
20 यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो main
via surya_layout
21 रसादयो जेयाः । तथा चाह सुश्रुतः — main
via surya_layout
22 'त्वगसृङ्मांसमेदोऽस्थिमज्जाशुक्राणि धातवः' । main
via surya_layout
23 इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति। main
via surya_layout
24 स्वरजातयः ] section_header
via surya_layout
25 चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ। main
via surya_layout
26 वैश्यौ द्विश्वतिकौ ज्ञेयौ शूद्रौ चान्तरकौ स्वरौ ३२।।६१।। main
via surya_layout
27 [ आगमस्थः स्वरोद्धारः ] editorial_bracket
parent ligne 26
via heuristic_brackets
28 वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्। main
via surya_layout
29 वर्णमात्राः अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥ main
via surya_layout
30 স page_footer
via surya_layout
157 lignes a valider — change uniquement les roles incorrects.