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 21714). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p034 LEFT — 30 lignes

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1 BRHADDEŚÏ page_header
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2 50 page_number
via heuristic_pagenum
3 पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र: । main
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4 <b>(</b>Y) annotation_inline
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5 [अनु॰ १५३] editorial_bracket
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6 गान्धारादिमूर्छना । तालश्चच्चत्पुट: । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] editorial_bracket
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via heuristic_brackets
7 चतुष्यष्टिः annotation_inline
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8 चित्रेऽष्टौ । दशविधत्वं चास्या: । दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय editorial_bracket
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9 शुद्धास्त्रयो annotation_inline
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10 औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: । editorial_bracket
parent ligne 3
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11 [५. षड्जकैशिकी] section_header
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12 [अनु॰ १५४] editorial_bracket
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13 षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तार: । editorial_bracket
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14 न्हाः annotation_inline
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15 न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् । main
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16 - ऋषभस्याल्पतरत्वम्, annotation_inline
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17 थैवतनिषादग्रहा । मध्यमानामल्पत्वम् annotation_inline
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18 शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च । main
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19 (ना ? न्या)सस्तु गा(मागा ? न्या)रः । main
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20 ्याः अष्टधैव annotation_inline
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21 [अनु॰ १५५] editorial_bracket
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22 नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः, main
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23 अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः main
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24 द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुण: । प्रथमप्रवेशगीते main
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25 द्वितीयप्रेक्षणके विनियोग:। main
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26 [६. षड्जोदीच्यवा] section_header
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27 [अनु॰ १५६] editorial_bracket
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28 षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो main
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29 ्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् । main
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30 <sup>१५२</sup>पूर्णावस्थायामृषभ- main
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1 143 page_number
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2 TRANSLATION page_header
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3 This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is main
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4 Gamāgāmāsādhāsārīmāmāmāsā main
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5 Gārimāmāmā. annotation_inline
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6 Dhānisā. annotation_inline
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7 rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā main
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8 gāmāmāmāsāsā. Saindhavī [viii] editorial_bracket
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9 brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of main
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10 şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional main
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11 bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. main
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12 <math>(47-48)</math> annotation_inline
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13 Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. main
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14 Combined with sadja as the initial and concluding note, being devoid of main
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15 pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the main
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16 performers. The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is main
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17 seen from moment to moment. annotation_inline
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18 <math>(49-50)</math> annotation_inline
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19 Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. main
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20 Vesarikā [ix] editorial_bracket
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21 Having pañcama as amsa and şadja as the concluding note, being main
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22 complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. main
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23 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- main
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24 madhyama annotation_inline
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25 (51) annotation_inline
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26 Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri main
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27 Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. main
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28 Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] editorial_bracket
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29 Having middle and lower registers (as its range), şadja as its concluding main
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30 note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, main
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31 ravicandrikā, should be known to be sankīrņā (mixed). It should be so main
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vol_I_p054 LEFT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> main
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2 90 page_number
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3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
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4 आवर्तकः annotation_inline
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5 (२३) main
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6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
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7 (धिन ? धुतः) annotation_inline
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8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
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9 [ अनु₀ ७० ] editorial_bracket
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10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
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11 oसाo annotation_inline
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12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
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13 तारगति annotation_inline
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14 १ page_number
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15 नी सा इति प्रसन्नादिः। main
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16 [ अनु₀ ७१ ] editorial_bracket
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17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
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18 | २ | main
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19 इति प्रसन्नान्तः। annotation_inline
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20 [ अनु॰ ७२ ] editorial_bracket
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21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
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22 सरिगमधन(सा) annotation_inline
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23 [ ३ ] editorial_bracket
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24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
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25 निध प म गरि annotation_inline
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26 अनु₀ ७३ editorial_bracket
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27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
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28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
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29 4 page_number
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30 ग annotation_inline
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31 [ अनु₀ ७४ ] editorial_bracket
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32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
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33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
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34 स्व annotation_inline
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35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
parent ligne 32
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36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
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37 । ५ । annotation_inline
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38 मध्यमग्रामे annotation_inline
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vol_II_p042 LEFT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 66 page_number
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3 (৬) table
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4 सा पा नी मा पा पा गां गां table
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5 मां पां मां निधं नी नी सा सा table
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6 (८) table
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7 पां पां मां धंनिं पां पां पां पां table
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8 (९) table
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9 (१०) table
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10 मां पां मां रिग गा गा गा गा table
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11 (११) table
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12 गा पा मा पा नी नी नी नी table
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13 (१२) table
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14 मा पा मा परि गा गा गा गा table
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15 (१३) table
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16 गा गा गा मा मा निध नी नी table
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17 (१४) table
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18 नी नी धप मा निध निध पा पा table
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19 (१५) table
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20 रीं गां सां सां मा नी नी नी table
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21 (१६) table
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22 नी नी धा पा धा पा मा मा table
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23 ॥ [इति] मध्यमोदीच्यवा ॥ table
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24 141 page_number
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25 [६. कामारवी] section_header
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26 कार्मारव्यां भवन्त्यंशा निषादरिपधैवता: ॥ १६॥ main
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27 बहवोऽन्तरमार्गत्वादनंशा: परिकीर्तिता: । main
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28 गान्धारोऽत्यन्तबहुल: सर्वाशस्वरसंगति: ॥ १७॥ main
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29 सर्वाशत्वं(?)स्वसंगतैः main
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30 चच्चत्पृट: षोडशात्र कला: षड्जादिमूर्छना । main
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31 (জা) annotation_inline
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32 पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥ १८॥ main
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33 <sup>१७८</sup>अस्यां पञ्चमो न्यास:, अंशा एवापन्यासा: । <sup>१७९</sup>प्रस्तार: - main
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34 ए(व?वा) main
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35 री री री री री री री री table
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36 (१) table
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37 मां गां सां गां सा नी नी नी table
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38 (२) table
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39 (3) table
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40 नी मा नी मा पा पा गा गा table
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41 (8) table
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42 गा पा मा पा नी नी नी नी table
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43 (4) table
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44 री गासानी री गारी गा table
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45 री गारी सानिध नी पापा table
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46 <b>(</b>\(\xi\) table
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47 (৩) table
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48 मा पा मा परि गा गा गा गा table
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L#Texte OCRRole autoCorriger si incorrect
1 ¶ Visi annotation_inline
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
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9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
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10 and gändhära. main
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11 [Anu. 163] section_header
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12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
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13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
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15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
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16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
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29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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188 lignes a valider — change uniquement les roles incorrects.