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 21773). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p099 RIGHT — 22 lignes

page vol_II_p099 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 181 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- main
via surya_layout
4 mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the main
via surya_layout
6 mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made main
via surya_layout
7 hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with main
via surya_layout
8 the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\ main
via surya_layout
9 delightful to the people. main
via surya_layout
10 <math>(139-140)</math> main
via surya_layout
11 Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. main
via surya_layout
12 Nādākhyā [ii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 These two are there in vesarașādava. main
via surya_layout
14 13. Now the bhāṣās in bhinnatāna section_header
via surya_layout
15 Having pañçama as amsa and the same as the concluding note, this table
via surya_layout
16 sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid table
via surya_layout
17 of rṣabha, by the knowledgeable ones in music. table
via surya_layout
18 (141) table
via surya_layout
19 .....[Tānodbhavā] table
via surya_layout
20 [This one is in bhinnatāna] table
via surya_layout
21 [14. Bhāṣās in gāndhārapancama] table
via surya_layout
22 .....[Gāndhārī] table
via surya_layout

vol_II_p056 LEFT — 33 lignes

page vol_II_p056 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BŖHADDEŚĪ page_header
via surya_layout
2 94 page_number
via heuristic_pagenum
3 संहारे कैशिक: प्रोक्त: पूर्वरङ्गे तु षाडव: । main
via surya_layout
4 चित्रस्याष्टादशाङ्गस्य त्वन्ते कैशिकमध्यमः॥ main
via surya_layout
5 शुद्धानां विनियोगोऽयं ब्रह्मणा समुदाहतः ।'"५० main
via surya_layout
6 [NŚ as quoted in Kalā on SR. II p.32] editorial_bracket
parent ligne 5
via heuristic_brackets
7 [ख. भिन्नरागाः] section_header
via surya_layout
8 इदानीं भिन्नानां लक्षणमाह - main
via surya_layout
9 श्रुतिभिन्नो जातिभिन्नः शुद्धभिन्नः ५१स्वरस्तथा । main
via surya_layout
10 स्वरै॰ annotation_inline
parent ligne 9
via heuristic_markers
11 चतुर्धिर्भिद्यते यस्मात् तस्माद् भित्रक उच्यते ॥३०४॥ main
via surya_layout
12 [अनुः १७२] editorial_bracket
parent ligne 11
via heuristic_brackets
13 ५२ननु भित्रशब्देन किमभिधीयते ? किं विदारितोऽर्थः, एतदस्मादयं व्यतिरिक्त इत्यर्थो वा main
via surya_layout
14 भित्रशब्दस्य। एतत्र वाच्यम्। भित्रोऽत्र विकृत उच्यते। विकृतत्वं च पूर्वोक्तश्रुतिभित्रेत्यादिलक्षणात्। main
via surya_layout
15 ५३[स्वरभिन्न:] section_header
via surya_layout
16 [अनु॰ १७३] editorial_bracket
parent ligne 15
via heuristic_brackets
17 इदानीं भिन्नानां प्रागुक्तलक्षणप्रकटनार्थं तत्रादौ स्वरभिन्नस्य लक्षणमुच्यते - main
via surya_layout
18 यदा वादी गृहीत: स्यात् संवादी च विमोक्ष्यते । main
via surya_layout
19 विवादी वानुवादी वा स्वरिभन्न: स उच्यते ॥ ३०५॥ main
via surya_layout
20 ५४चानुवादी च annotation_inline
parent ligne 19
via heuristic_height
21 [अन्॰ १७४] editorial_bracket
parent ligne 19
via heuristic_brackets
22 अस्यार्थ:-मध्यमग्रामाश्रितस्य शुद्धषाडवस्य योऽसौ मध्यमो ग्रहांश: तत्स्थाने धैवतो main
via surya_layout
23 धैवतोऽपि annotation_inline
parent ligne 22
via heuristic_height
24 योऽसा annotation_inline
parent ligne 22
via heuristic_height
25 ५५विवादित्वेन वा[ऽ]नुवादित्वेन वा गृहीतो भवति। मध्यमस्वरस्य संवादी त्यज्यते न्यस्यते editorial_bracket
parent ligne 22
via heuristic_brackets
26 नानुवादित्वेन annotation_inline
parent ligne 22
via heuristic_height
27 विवादित्वे (न?) annotation_inline
parent ligne 22
via heuristic_height
28 वा तदासौ स्वरिभन्न उच्यते । भिन्नषड्जेऽत्र वदनाद् वादी धैवतः, पुनर्बहुप्रयोगो भवति [तस्य]। editorial_bracket
parent ligne 22
via heuristic_brackets
29 व्यह्ज: अत्र annotation_inline
parent ligne 22
via heuristic_height
30 ननु पश्चसु रागेषु मध्ये भित्रषड्जस्य लक्षणमुच्यते इत्यादावेवाभिधानं कृत:? main
via surya_layout
31 सत्यमुक्तम् annotation_inline
parent ligne 30
via heuristic_height
32 मुख्यत्वादस्य । मुख्यत्वं च यथा शुद्धगीतिषु शुद्धषाडवस्य एवं भिन्नगीतिषु भिन्नषड्जस्येति main
via surya_layout
33 तद्भेद[त्व]ादस्येति । editorial_bracket
parent ligne 32
via heuristic_brackets

vol_II_p097 RIGHT — 27 lignes

page vol_II_p097 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 177 page_number
via heuristic_pagenum
3 Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā main
via surya_layout
4 pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga main
via surya_layout
5 risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- main
via surya_layout
6 dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] editorial_bracket
parent ligne 5
via heuristic_brackets
7 Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is main
via surya_layout
8 charming. This is complete in svaras and has to and fro movement between main
via surya_layout
9 sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup> main
via surya_layout
10 (130) annotation_inline
parent ligne 9
via heuristic_height
11 Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā main
via surya_layout
12 māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- main
via surya_layout
13 nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- main
via surya_layout
14 hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. main
via surya_layout
15 Sāsāmadhāpādhānidhā. Viśālā [iv] editorial_bracket
parent ligne 14
via heuristic_brackets
16 These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. main
via surya_layout
17 [9. Now in Bottaraga] section_header
via surya_layout
18 Having pañcama as amsa, madhyama as the concluding note, being complete main
via surya_layout
19 and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and main
via surya_layout
20 fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all main
via surya_layout
21 auspicious occasions. Since it is auspicious and commendable, it is known main
via surya_layout
22 as mangalā. annotation_inline
parent ligne 21
via heuristic_height
23 <math>(131-132)</math> annotation_inline
parent ligne 21
via heuristic_height
24 Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- main
via surya_layout
25 pāmā. Maṅgalā [i] editorial_bracket
parent ligne 24
via heuristic_brackets
26 [10. Bhāṣās in mālavapañcama] table
via surya_layout
27 .....[Bhāvinī] table
via surya_layout

vol_II_p033 RIGHT — 32 lignes

page vol_II_p033 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1400 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 49 page_number
via heuristic_pagenum
4 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika main
via surya_layout
5 (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa main
via surya_layout
6 (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its main
via surya_layout
7 application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup> main
via surya_layout
8 (associated with exit) dhruvā in the first scene (or act). main
via surya_layout
9 [3. Dhaivati] section_header
via surya_layout
10 [Anu. 150] section_header
via surya_layout
11 In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā main
via surya_layout
12 state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and main
via surya_layout
13 madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is main
via surya_layout
14 devoid of pañcama and the auduva formation is devoid of pañcama, șadja. main
via surya_layout
15 The same two svaras, viz. şadja and pañcama should be made weak and should main
via surya_layout
16 sometimes be leapt over. The tara is upto five svaras. The mandra is upto the main
via surya_layout
17 nyāsa<sup>66</sup> or upto the svara next to nyāsa. main
via surya_layout
18 [Anu. 151] section_header
via surya_layout
19 It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās main
via surya_layout
20 in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā main
via surya_layout
21 beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), main
via surya_layout
22 citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and main
via surya_layout
23 sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā main
via surya_layout
24 (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in main
via surya_layout
25 the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, main
via surya_layout
26 bhayānaka are the rasas. Its application is (prescribed) in the singing of main
via surya_layout
27 dhruvā in the first scene (or act). main
via surya_layout
28 [4. Naisādī] section_header
via surya_layout
29 [Anu. 152] section_header
via surya_layout
30 In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. main
via surya_layout
31 Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava main
via surya_layout
32 formation is devoid of pañcama and the auduvita formation is devoid of main
via surya_layout

vol_II_p012 RIGHT — 35 lignes

page vol_II_p012 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 7 page_number
via heuristic_pagenum
3 "The jātis are born as śuddhā and vikṛtā through samavāya (commingling main
via surya_layout
4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
via surya_layout
5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
via surya_layout
6 a vikṛtā state."7 annotation_inline
parent ligne 5
via heuristic_short
7 (NŚ XXVIII.46) main
via surya_layout
8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
via surya_layout
9 are formulated or accomplished through ainsa svaras, omission (of one or main
via surya_layout
10 two notes) and the like. main
via surya_layout
11 (192) annotation_inline
parent ligne 10
via heuristic_short
12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
via surya_layout
13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
via surya_layout
14 into being from the above two (ṣaḍjā and gāndhārī) with the addition of main
via surya_layout
15 dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī main
via surya_layout
16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
via surya_layout
17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
via surya_layout
18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
via surya_layout
19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
via surya_layout
20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
via surya_layout
21 of pañcami; these (three) go to make kārmāravī, with the omission of main
via surya_layout
22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
via surya_layout
23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
via surya_layout
24 and dhaivati, thus are the blendings or mixtures. main
via surya_layout
25 <math>(193-198)</math> main
via surya_layout
26 Now they (honorific for the author) have spoken of the classification (of main
via surya_layout
27 jātis) – annotation_inline
parent ligne 26
via heuristic_short
28 Four jātis should be known by the wise to be always composed of seven main
via surya_layout
29 svaras, four are composed of six svaras and the other ten are known as being main
via surya_layout
30 composed of five svaras each. main
via surya_layout
31 (199) annotation_inline
parent ligne 30
via heuristic_short
32 This itself becomes clear - main
via surya_layout
33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
via surya_layout
34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
via surya_layout
35 (200) main
via surya_layout
149 lignes a valider — change uniquement les roles incorrects.