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 21746). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p071 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
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2 124 page_number
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3 [अनु॰ २१०] section_header
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4 अस्यार्थ: - पञ्चमषाडव: १०७षड्जग्रामसम्बन्ध: । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो main
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5 ॰( ঘ:) annotation_inline
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6 न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ editorial_bracket
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7 ॰(जी?दी) annotation_inline
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8 (स्र?कृ)॰ annotation_inline
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9 विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, main
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10 चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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11 [९.रेवगुप्त:]<sup>१०९</sup> section_header
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12 ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा । main
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13 (₹) annotation_inline
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14 आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित: ॥३४०॥ main
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15 [अन्॰ २११] section_header
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16 अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि main
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17 षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव main
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18 च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ विनियोग: । main
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19 वीरादिरस:। annotation_inline
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20 ॰(जी?दी) annotation_inline
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21 ऋषभादिमूर्छना । आरोही वर्ण: प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला । main
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22 चच्चत्पुटादिताल:। ११० main
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23 [१०. टक्सैन्धवः] section_header
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24 स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:। main
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25 षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥ main
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26 [अनु २१२] section_header
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27 [अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य editorial_bracket
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28 ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् । main
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29 ग्रहोंऽशो न्यासश्च । main
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30 ॰(रेष ? चै) annotation_inline
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31 (चित्रे ? चात्र) annotation_inline
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32 210 page_number
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vol_II_p045 RIGHT — 54 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 73 page_number
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2 TRANSLATION page_header
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3 (11) table
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4 ni ni ni ni ri ri ri ri table
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5 (12) table
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6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
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7 (13) table
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8 pā pā mā gari gā gā gā gā table
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9 (14) table
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10 rī rī mā sama mā mā pā pā table
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11 (15) table
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12 mā mā nī nī sā rī gā pā table
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13 riga gã gã gã gã gã gã gã table
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14 (16) table
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15 Thus ends andhri. section_header
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16 [9. Nandayanti] section_header
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17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
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18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
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19 gīta (melody). annotation_inline
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20 (23) main
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21 There is the abundance of the lower rṣabha. The hexatonic form comes main
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22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
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23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
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25 (24) main
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26 The application is (prescribed) in the singing of dhruvās in the first act. main
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27 (25) annotation_inline
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28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
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29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
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35 pā pā pā pā pā pā pā pā ` table
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36 (4) table
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37 dhā nī mā pā gā gā gā gā table
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38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
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40 (6) table
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41 mã mã pã pã dhã nidha pã pã table
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42 (7) table
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43 dhã nĩ mã pã gã gã gã gã table
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44 (8) table
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45 gama pā pā pā mā mā gā gā table
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46 (9) table
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47 dhā nī mā pā gā gā gā gā table
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48 (10) table
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49 mā mā mā mā mā mā mā mā table
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50 (11) table
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51 rī gā mā pā pama pā pā nī table
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52 (12) table
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53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 29
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vol_I_p010 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (朝:) page_header
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2 श्रीमतङ्गमुनिप्रणीता section_header
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3 बृहद्देशी section_header
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4 प्रथमोऽध्यायः table
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5 [देशी-प्रकरणम्] table
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6 .............. table
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7 --------------------------------------- table
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8 - 11 table
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9 [ तत्र ध्वनेर्देशीत्वम् ] table
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10 [ मतङ्ग उवाच ] table
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11 नानाविधेषु देशेषु जन्तूनां सुखदो भवेत् table
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12 - 1 table
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13 ततः प्रभृति लोकानां नरेन्द्राणां यदृच्छया ॥१॥ table
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14 देशे देशे प्रवृत्तोऽसौ ध्वनिर्देशीति संज्ञितः । table
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15 [ ग्रन्थकृत्वचनम् ] table
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16 मतङ्गस्य वचः श्रुत्वा नारदो मुनिरब्रवीत् ॥२॥ table
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17 [ नारद उवाच ] table
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18 ननु ध्वनेस्तु देशीत्वं कथं जातं महामुने । table
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19 अमूर्तत्वाच्च तस्येति सत्यं मे वक्तुमर्हसि ॥३॥ table
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20 2 तेषां हि इति table
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21 मतङ्ग उवाच table
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22 यथादेशानुभूतत्वाद् ध्वनेः स्थानानुगत्वतः ॥४॥ table
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23 <sup>3</sup> ₀नुभूतदेशाञ्च table
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24 ³<sub>०</sub>गादपि table
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25 --------------------------------------- table
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26 11 page_number
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27 ------- table
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28 ततो बिन्दुस्ततो नादस्ततो मात्रास्त्वनुक्रमात् ॥५॥ table
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29 वर्णास्तु मातृकोद्भूता मातृका द्विविधा मताः । table
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30 स्वर-व्यञ्जनरूपेण जगज्ज्योतिरिहोच्यते ॥६॥ table
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31 इ्वर्यते देशभाषायां कादिक्षान्तं यथाविधि । table
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32 ५ यामादि, table
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33 तेन स्वराः समाख्याता अन्ये षड्जादयः स्वराः ॥७॥ table
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vol_II_p061 RIGHT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 105 page_number
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4 [C. Gauda rāgas] section_header
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5 [Anu. 186] section_header
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6 (Contention) Why are they known as gaudas? It is being answered, on main
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7 account of being related to gaudigiti. What is its description? It is being main
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8 answered. That is thus - annotation_inline
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9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
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10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
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11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
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12 (315) annotation_inline
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13 [1. Gaudapañcama] section_header
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14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
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17 pañcama. annotation_inline
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18 (316) annotation_inline
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19 [Anu. 187] section_header
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20 This means - gaudapañcama is related to sadjagrāma on account of being main
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21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
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22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
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23 hexatonic, being devoid of pañcama. Its application is prescribed in main
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24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
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25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
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26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
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27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
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28 the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [2. Gaudakaisika] section_header
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31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
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vol_I_p047 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
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2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
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189 lignes a valider — change uniquement les roles incorrects.