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 21722). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p053 RIGHT — 42 lignes

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1 89 page_number
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2 <b>TRANSLATION</b> page_header
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3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
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4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
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5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
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6 (bodily) svaras (in the verse of NS quoted above). main
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7 So has been said - annotation_inline
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8 These four varnas should be known as the constructors23 of melodic main
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9 (NŚ XXIX, 19ab) annotation_inline
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10 rendering. annotation_inline
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11 [Thus end the varnas] editorial_bracket
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12 [The Alankaras] section_header
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13 (Anu. 68) annotation_inline
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14 Now the well-known thirty-three 24 alankāras are being described by name main
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15 and application. What is spoken of through the word alankara and what is its main
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16 etymology? It is being answered. Ornament25 is being spoken of by the word main
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17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
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18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
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19 that subsists in varņas (and is) adorned by these alankāras (known as) main
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20 prasannādi and the like, becomes delightful to the performers and listeners. main
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21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
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22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
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23 (derived thereby) means that which makes something sufficient or adequate. main
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24 This word alankara has the end-suffix ghan. main
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25 (Anu. 69) annotation_inline
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26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
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27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
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28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
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29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
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30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
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31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
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32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
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33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
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34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
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35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
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36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
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37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
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38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
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39 i annotation_inline
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40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
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41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
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42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
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vol_II_p061 LEFT — 32 lignes

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1 . 4 unknown
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2 2 a - annotation_inline
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3 104 page_number
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4 BRHADDEŚĪ page_header
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5 [ग. गौडरागाः] section_header
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6 [अनु॰ १८६] editorial_bracket
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7 नन् गौडाः कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात् । main
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8 किं लक्षणम् ? उच्यते । तद्यथा - main
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9 ओहाटी मन्द्रजोपात्ता प्रयोगे ध्वनिकम्पितै:। * main
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10 ओहाडी मन्त्रजा(?)+तु प्रयोगै (दूं?र्हू)तकम्पितै:। main
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11 अविश्रामेण त्रिस्थाने गौडी गीतिरुदाहृता ॥३१५॥ main
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12 गौह॰ annotation_inline
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13 [१.गौडपञ्चम:] section_header
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14 गौडपञ्चमस्य लक्षणम् - main
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15 गौडपञ्चमनिष्पत्तौ धैवतीषड्जमध्यमे । main
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16 धैवतांशो मध्यमान्तो रहित: पञ्चमेन तु ६३॥३१६॥ main
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17 (वि? र)हित: annotation_inline
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18 [अन्॰ १८७] editorial_bracket
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19 अस्यार्थ: -गौडपञ्चम: षड्जग्रामसम्बन्ध:,धैवतीषड्जमध्यमाजात्यो: समुत्पन्नत्वात्। main
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20 धैवतोंऽशो ग्रहश्च। मध्यमो न्यासः। निषादगान्धारौ काकल्यन्तरौ । पञ्चमरहितोऽयं षट्स्वरः । main
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21 प्र(ह)स annotation_inline
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22 उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोग:।बीभत्सभयानकरसौ।धैवतादिमूर्छना।आरोही main
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23 (क)रसो रसः annotation_inline
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24 प्रसन्नमध्योऽलङ्कार: । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते main
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25 वर्णः। annotation_inline
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26 चच्चत्पुटादिताल:। main
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27 चचत्पुटताल: annotation_inline
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28 [२.गौडकैशिक:] section_header
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29 उत्पन्नः कैशिकीषड्जमध्यमाजातितो मतः। main
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30 षड्जांशः पञ्चमन्यासः सम्प्रोक्तो गौडकैशिकः ॥३१७॥ main
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31 (स:) annotation_inline
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32 (vide) annotation_inline
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vol_II_p059 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BŖHADDEŚĪ page_header
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2 100 page_number
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3 [अनु॰ १८०] editorial_bracket
parent ligne 4
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4 अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति । main
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5 [४. भिन्नकैशिकः] section_header
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6 [अनुः १८१] editorial_bracket
parent ligne 5
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7 शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो भेदः main
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8 (कटी?गी) annotation_inline
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9 शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते। एतदुक्तं भवति - येन main
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10 स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति। लक्षणं चास्य यथा- main
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11 <b>(?)</b> annotation_inline
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12 (स्थं ?)संस्थानेन main
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13 •केन annotation_inline
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14 <b>ण्य</b>ने annotation_inline
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15 संस्थानेन annotation_inline
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16 शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:। editorial_bracket
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17 षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥ main
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18 [अन्॰ १८२] editorial_bracket
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19 अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात् । main
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20 ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयं यद्यपि रागः main
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21 उदयं(?) annotation_inline
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22 तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम् । येन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं main
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23 संस्थाने(न) annotation_inline
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24 विहाय तैरेव स्वरैरालाप: कर्तव्य:। शुद्धकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं main
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25 विभिन्नकैशिके annotation_inline
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26 (य) annotation_inline
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27 भिद्यते । दानवीरे चास्य विनियोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । main
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28 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
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29 [श्रुतिभिन्नः] section_header
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30 साम्प्रतं श्रुतिभिन्नस्य लक्षणमाह - main
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31 भिन्नतानस्य annotation_inline
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32 ६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु । main
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33 गान्धारो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥ ३१२॥ main
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34 (आधा ? गान्या)रो annotation_inline
parent ligne 33
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vol_II_p108 RIGHT — 21 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 199 page_number
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2 TRANSLATION page_header
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3 Illustration-.....Śuddhā[xiv] table
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4 [.....] table
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5 Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. main
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6 Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. main
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7 Madhyamā [xv] editorial_bracket
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8 Pārvatī (bhāṣā) has paṇcama as amśa (and) dhaivata as the concluding note main
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9 and is born of a region<sup>31</sup>; it is sung in the assembly of kşatrīyas, is complete main
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10 and born of bhinna (şadja). main
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11 (33) annotation_inline
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12 Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani main
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13 dhāpāpādhā. Pārvatī [xvi] editorial_bracket
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14 Thus end the sixteen bhāṣās of bhinnaṣaḍja according to main
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15 the opinion of Śardūla. main
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16 The proper bhāṣās adorned with vibhāṣās have been spoken of in main
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17 combination with practice and theory (and) blended with prastāra (lit. main
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18 elaboration, here notational illustration). main
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19 (34) annotation_inline
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20 Thus ends the description of bhāṣās. main
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21 [Thus ends the fourth chapter.] editorial_bracket
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vol_II_p051 LEFT — 27 lignes

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1 84 page_number
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2 BRHADDEŚĪ page_header
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3 प्रयोगैर्मसृणै: सूक्ष्मकाकुभिश्च३३ सुयोजितै: । main
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4 ॰क्ष्मै: annotation_inline
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5 ॰िमेत्रै: annotation_inline
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6 <sup>३४</sup>एवं साधारणी ज्ञेया सर्वगीतिसमाश्रया ॥२८५॥ main
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7 [६. भाषा गीति:] section_header
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8 प्रयोगैर्गात्रजै: शृक्ष्णै: काकुरक्तै: सुयोजितै: । main
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9 कम्पितैः कोमलैर्दीप्तैर्मालवीकाकुनान्वितैः ॥२८६॥ main
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10 लितै: सुकुमारैश्च प्रयोगैश्च सुसंयुतै:। main
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11 (सीं ? सं) annotation_inline
parent ligne 10
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12 भाषा गीति: समाख्याता एषा गीतिविचक्षणै: ॥ main
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13 यथा वै रज्यते लोकस्तथा वै सम्प्रयुज्यते ॥२८७॥ main
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14 [७. विभाषा गीति:] section_header
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15 लिलतैर्बहुभिर्दीतै: कम्पितैरौरसै: समै:। main
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16 (र ? रौ) annotation_inline
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17 तारातितारैर्मसृणैर्मध्ये मध्यमदीपितै: ॥२८८॥ main
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18 गमकै: श्रोत्रसुखदैर्ललितैस्तु यदुच्छया। main
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19 विभाषागीतिस्तु संयोज्या यथा लोकोऽनुरज्यते ॥२८९॥ main
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20 [॥ इति गीतिलक्षणम् ॥] editorial_bracket
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via heuristic_brackets
21 [रागसङ्ख्या, उद्देशश्च] section_header
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22 गीतीनां लक्षणं प्रोक्तं रागसङ्ख्योच्यतेऽधुना । main
via surya_layout
23 गीतानां annotation_inline
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24 पञ्च चोक्षा: समाख्यातास्तत्प्रमाणाश्च भित्रका: ॥२९०॥ main
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25 गौडास्त्रयस्तु कथिता रागाश्चाष्टौ प्रकीर्तिता: । main
via surya_layout
26 सप्त साधारणा: प्रोक्ता भाषाश्चैवात्र षोडश ॥२९१॥ main
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27 द्वादशैव विभाषा: स्युर्नामानि च निबोधत ॥२९२॥ main
via surya_layout
156 lignes a valider — change uniquement les roles incorrects.