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 21753). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p027 LEFT — 28 lignes

page vol_I_p027 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDEŚ</b>I page_header
via surya_layout
2 36 page_number
via heuristic_pagenum
3 [ अनु. २३ ] section_header
via surya_layout
4 अनुवादित्वं च पुनरेकश्रुत्यन्तरहीनत्वेन स्यात्। ननु किं तदनुवादित्वम्? main
via surya_layout
5 <sup>20</sup>श्रुतिहीनत्वेन main
via surya_layout
6 21त्ववनु annotation_inline
parent ligne 5
via heuristic_short
7 यत् संवादिना रागस्य रागत्वं सम्पादितं तत्प्रतिपादकत्वं नामानुवादित्वम्। main
via surya_layout
8 22,द वादिना annotation_inline
parent ligne 7
via heuristic_short
9 ₀दक annotation_inline
parent ligne 7
via heuristic_markers
10 अनुवादिमण्डलं यथा- main
via surya_layout
11 स annotation_inline
parent ligne 10
via heuristic_height
12 नि unknown
via surya_layout
13 रि unknown
via surya_layout
14 घ annotation_inline
parent ligne 10
via heuristic_height
15 म annotation_inline
parent ligne 10
via heuristic_height
16 4 page_number
via heuristic_pagenum
17 ॥ इति षड्जग्रामे ] अनुवादिमण्डलम्॥ caption
via surya_layout
18 [ अनु. २४ ] section_header
via surya_layout
19 अनुवादिप्रयोगो यथा—षड्जस्थाने ऋषभ ऋषभस्थाने main
via surya_layout
20 षड्जः annotation_inline
parent ligne 19
via heuristic_short
21 प्रयुज्यमानः स्वरूपं भजन् जातिरागहा न भवति । पञ्चमस्य स्थाने main
via surya_layout
22 ॰धैवतः प्रयुज्यमानो धैवतस्य स्थाने पञ्चमः प्रयुज्यमानो २३[ जाति- ] editorial_bracket
parent ligne 21
via heuristic_brackets
23 रागहा न भवेत् । षड्जस्थाने धैवतः प्रयुज्यमानो धैवतस्थाने षड्जः main
via surya_layout
24 प्रयुज्यमानो जातिरागविनाशकरो न भवति। पञ्चमस्थान ऋषभः main
via surya_layout
25 प्रयुज्यमान ऋषभस्थाने पञ्चमः प्रयुज्यमानो जातिरागहा न भवेत् । main
via surya_layout
26 24 मध्यमस्थान ऋषभ ऋषभस्थाने च मध्यमस्तथा धैवतस्थाने main
via surya_layout
27 मध्यमो मध्यमस्थाने च धैवतः प्रयुज्यमानो जातिरागनाशको न main
via surya_layout
28 भवति। main
via surya_layout

vol_II_p018 RIGHT — 26 lignes

page vol_II_p018 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 19 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
via surya_layout
4 varieties. The said regulation (number 47) is according to the varieties of main
via surya_layout
5 amśa svara (in fourteen jātis)." annotation_inline
parent ligne 4
via heuristic_height
6 (NŚ XXVIII, p. 49) annotation_inline
parent ligne 4
via heuristic_height
7 [6. The definition of auduva] section_header
via surya_layout
8 ----- annotation_inline
parent ligne 7
via heuristic_height
9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
via surya_layout
10 according to those knowledgeable in prayoga (performance). It is prescribed main
via surya_layout
11 to have thirty varieties and its definition is as has been said before." main
via surya_layout
12 (NŚ XXVIII.76) annotation_inline
parent ligne 11
via heuristic_height
13 [Anu. 127] editorial_bracket
parent ligne 11
via heuristic_brackets
14 (The structure) beginning with the group of four svaras is deśi,33 not main
via surya_layout
15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
via surya_layout
16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
via surya_layout
17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
via surya_layout
18 understood here. When there is the usage of four svaras, then it is said to be main
via surya_layout
19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
via surya_layout
20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
via surya_layout
21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
via surya_layout
22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
via surya_layout
23 (NŚ XXVIII.77) annotation_inline
parent ligne 22
via heuristic_height
24 By the word 'api' (in the above verse) meaning 'also', the complete main
via surya_layout
25 (structure) should also be understood. Thus should be known the fourfold main
via surya_layout
26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
via surya_layout

vol_I_p071 LEFT — 45 lignes

page vol_I_p071 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 124 page_number
via heuristic_pagenum
2 <b>BRHADDES!</b> main
via surya_layout
3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
parent ligne 2
via heuristic_brackets
4 .त्रे अना. main
via surya_layout
5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
via surya_layout
6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
parent ligne 5
via heuristic_brackets
7 अभिप्रवीं (?) ,प्रयोगः main
via surya_layout
8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
parent ligne 7
via heuristic_brackets
9 सोऽधःपाणिरुच्यते । main
via surya_layout
10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
parent ligne 9
via heuristic_brackets
11 न् main
via surya_layout
12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
via surya_layout
13 •पा annotation_inline
parent ligne 12
via heuristic_short
14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
parent ligne 12
via heuristic_brackets
15 (मना ? मा) main
via surya_layout
16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
via surya_layout
17 मागधी सम्भाविताः annotation_inline
parent ligne 16
via heuristic_short
18 यवा annotation_inline
parent ligne 16
via heuristic_height
19 •पा main
via surya_layout
20 शब्दाः वादाव्या (?) annotation_inline
parent ligne 19
via heuristic_short
21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
parent ligne 19
via heuristic_brackets
22 .मो main
via surya_layout
23 •णा annotation_inline
parent ligne 22
via heuristic_height
24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
parent ligne 22
via heuristic_brackets
25 ,र्गः main
via surya_layout
26 [ अनु॰ १११ ] editorial_bracket
parent ligne 25
via heuristic_brackets
27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
parent ligne 25
via heuristic_brackets
28 का. annotation_inline
parent ligne 25
via heuristic_height
29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
parent ligne 25
via heuristic_brackets
30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
parent ligne 25
via heuristic_brackets
31 चिने main
via surya_layout
32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
parent ligne 31
via heuristic_brackets
33 मागधी गीतिः सम्भाविताशब्दवाच्या main
via surya_layout
34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
parent ligne 33
via heuristic_brackets
35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
via surya_layout
36 नीनीत्रि, annotation_inline
parent ligne 35
via heuristic_short
37 ,मा, main
via surya_layout
38 ∙मे annotation_inline
parent ligne 37
via heuristic_short
39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
via surya_layout
40 •वयेन (?) unknown
via fallback
41 ,प्प, main
via surya_layout
42 .ला unknown
via fallback
43 या annotation_inline
parent ligne 41
via heuristic_height
44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
via fallback
45 <b>यरदेन</b> unknown
via fallback

vol_II_p019 RIGHT — 32 lignes

page vol_II_p019 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 21 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [7. The definition of alpatva] section_header
via surya_layout
4 [Anu. 128] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Now I speak of alpatva (sparseness) and bahutva (abundance). Out of main
via surya_layout
6 these, alpatva comes into being on account of the sparse use of svaras and main
via surya_layout
7 bahutva is on account of (their) abundant use. Alpatva and bahutva are main
via surya_layout
8 twofold each, one operating in samnyāsa and the like and the other through main
via surya_layout
9 antaramārga. 38 The definition of antaramārga is thus—sometimes in jātis even main
via surya_layout
10 the svara that is not an amsa (anamsa) is not sparse (alpa). Similarly in main
via surya_layout
11 Kārmāravī, gāndhāra (which is not an amśa), is used in antaramārga with main
via surya_layout
12 abundance through concert (saigati) with all the other svaras; thus will be main
via surya_layout
13 said-39 annotation_inline
parent ligne 12
via heuristic_short
14 "Specially gāndhāra has movement towards all (svaras)." main
via surya_layout
15 (NŚ XXVIII.136) main
via surya_layout
16 [8. The definition of bahutva] section_header
via surya_layout
17 [ Anu. 129 ] editorial_bracket
parent ligne 16
via heuristic_brackets
18 After this he (the author) spoke (speaks) of bahutva. Bahutva is like main
via surya_layout
19 alpatva; it is to be perceived, thus is the special implication of the said main
via surya_layout
20 statement (about bahutva). How is that? Thus spoke (speaks) he (the main
via surya_layout
21 author), the inversion of strong and weak, i.e. the weak one is sparse (by main
via surya_layout
22 rule), in the case of inversion it becomes strong, thus is understood the main
via surya_layout
23 characteristic of strong (svara). Hence it has been said - main
via surya_layout
24 "The sparseness in jātis is always manifested through their svaras. There main
via surya_layout
25 is sañcāra (to and fro movement) among the amsas and the strong svaras. main
via surya_layout
26 Sparseness occurs in those jātis which have weak (svaras). Antaramārga main
via surya_layout
27 (inversion of strength and weakness) and nyāsa brings about the manifestation main
via surya_layout
28 of jātis." annotation_inline
parent ligne 27
via heuristic_height
29 (Cf. NŚ XXVIII 74cd, 75) main
via surya_layout
30 [9. The definition of nyasa] section_header
via surya_layout
31 [ Anu. 130 ] editorial_bracket
parent ligne 30
via heuristic_brackets
32 Now he (the author) spoke (speaks) of nyāsa - that (svara) on which or main
via surya_layout

vol_II_p064 RIGHT — 42 lignes

page vol_II_p064 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 14.00 annotation_inline
parent ligne 4
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 111 page_number
via heuristic_pagenum
4 [Anu. 193] section_header
via surya_layout
5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
via surya_layout
6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
via surya_layout
7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
via surya_layout
8 the context of entry and the like in the behaviour of those who perform domestic main
via surya_layout
9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
via surya_layout
10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
via surya_layout
11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
via surya_layout
12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
via surya_layout
13 in the songs comprised of svara and pada. main
via surya_layout
14 [3. Mālavapañcama] section_header
via surya_layout
15 Mālavapancamashould be known to have pancamaasits anistand concluding main
via surya_layout
16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
via surya_layout
17 are comprised of two śrutis (gāndhāra and niṣāda). main
via surya_layout
18 (322) main
via surya_layout
19 [Anu. 194] section_header
via surya_layout
20 This means-Mālavapañcamais related to madhyamagrāma on account of main
via surya_layout
21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
via surya_layout
22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
via surya_layout
23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
via surya_layout
24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
via surya_layout
25 female apartments). The mūrchanā beginning with pañcama obtains. main
via surya_layout
26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
via surya_layout
27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
via surya_layout
28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
via surya_layout
29 like caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
30 [4. Vesarașādava] section_header
via surya_layout
31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
via surya_layout
32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
via surya_layout
33 (323) main
via surya_layout
34 [Anu. 195] section_header
via surya_layout
35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
via surya_layout
36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
via surya_layout
37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
via surya_layout
38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
via surya_layout
39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
via surya_layout
40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
via surya_layout
41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
via surya_layout
42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
via surya_layout
173 lignes a valider — change uniquement les roles incorrects.