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 20626). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p061 RIGHT — 33 lignes

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1 1 page_number
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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_II_p004 RIGHT — 103 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 General Section annotation_inline
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2 <b>CONTENTS</b> table
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3 ix table
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4 . table
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5 83 page_number
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6 Sādhāraņīgīti table
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7 5. table
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8 85 page_number
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9 6. table
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10 Bhāṣāgīti table
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11 85 page_number
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12 Vibhāṣāgīti table
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13 7. table
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14 85 page_number
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15 The number and nomenclature of ragas table
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16 87 page_number
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17 The specific description of rāgas table
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18 87 page_number
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19 A. Out of them <i>śuddha rāgas</i> table
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20 87 page_number
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21 Suddhaşādava table
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22 1. table
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23 Śuddhapańcama table
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24 89 page_number
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25 2. table
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26 89 page_number
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27 Suddhasādhārita table
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28 3. table
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29 91 page_number
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30 Suddhakaisikamadhyama table
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31 4. table
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32 91 page_number
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33 Śuddhakaiśika table
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34 5. table
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35 93 page_number
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36 The assignment of grāmas to śuddha rāgas table
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37 93 page_number
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38 The application of <i>suddha rāgas</i> table
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39 95 page_number
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40 B. Bhinna rāgas table
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41 95 page_number
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42 Svara-bhinna table
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43 97 page_number
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44 Bhinna-şadja table
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45 l. table
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46 97 page_number
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47 Bhinna-pañcama table
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48 2. table
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49 99 page_number
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50 Jāti-bhinna table
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51 99 page_number
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52 3. table
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53 Bhinnakaisikamadhyama table
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54 99 page_number
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55 Suddhabhinna table
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56 101 page_number
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57 Bhinnakaisika table
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58 4. table
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59 101 page_number
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60 Śruti-bhinna table
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61 103 page_number
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62 Bhinnatāna table
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63 5. table
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64 103 page_number
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65 The assignment of bhinna-rāgas to grāmas table
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66 105 page_number
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67 C. Gauda rāgas table
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68 105 page_number
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69 1. Gaudapañcama table
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70 105 page_number
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71 Gaudakaisika table
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72 2. table
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73 107 page_number
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74 Gaudakaisikamadhyama table
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75 3. table
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76 107 page_number
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77 The assignment of gauda rāgas to grāmas table
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78 109 page_number
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79 D. The rāgas pertaining to rāga-gīti or vesarā-gīti table
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80 109 page_number
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81 1. Takkarāga table
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82 109 page_number
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83 Sauvīra table
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84 2. table
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85 111 page_number
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86 Mālavapancama table
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87 3. table
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88 111 page_number
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89 Vesarașādava table
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90 4. table
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91 113 page_number
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92 Botta-rāga table
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93 5. table
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94 113 page_number
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95 Hindola table
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96 6. table
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97 115 page_number
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98 Takkakaisika table
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99 7. table
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100 115 page_number
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101 Mālavakaišika unknown
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102 8. unknown
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103 . . unknown
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vol_I_p066 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 115 page_number
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2 <b>TRANSLATION</b> page_header
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3 Giti (musical rendering) without alankāra is like a night without the moon, main
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4 a river without water, a creeper without flowers (and) a woman without main
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5 (168) annotation_inline
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6 ornaments.119 main
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7 Thus have been described these thirty-three alankāras by me. Those that main
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8 have not been indicated here, they should also be understood. main
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9 (169) annotation_inline
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10 (Anu. 103) main
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11 Thus are the prastaras (notational representations) in (svaras) beginning main
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12 with şadja.120 main
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13 (1) table
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14 sarigamapadhanisa,121 prasannādi table
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15 (2) table
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16 sanidhapamagarisa, 122 prasannānta table
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17 (3) table
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18 sarigamapadhanisa 123 nidhapamagarisa, prasannādyanta table
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19 <b>(4)</b> table
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20 sanidhapamagarisa 124 sarigamapadhanisa, prasannamadhyama table
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21 <b>(5)</b> table
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22 sā rī gā mā pā dhā nī sā,125 sama table
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23 (6) table
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24 sā sā 126 sā, bindu table
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25 <b>(7)</b> table
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26 sā sā sā, 127 nivītta pravītta table
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27 (8) table
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28 sarigamapadhaninidhapamagarisa, veņu table
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29 (9) table
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30 sarigamapadhanisa.<sup>128</sup> kampita table
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31 (10) table
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32 sarigamapadhanisa,129 kuharita table
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33 (11) table
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34 sarigamapadhanisa,150 recita table
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35 sarīrisā rigagarī gamāmagā mapāpamā padhādhapā, dhanīnidhā 151 nisāsani, table
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36 (12) table
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37 prenkholita unknown
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38 mapadhanisama, main
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39 gamapadhaniga annotation_inline
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40 rigamapadhari main
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41 sarigamapasa annotation_inline
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42 (13) main
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43 tāramandraprasanna annotation_inline
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44 masanidhapama, 132 main
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45 ganidhapamaga annotation_inline
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46 ridhapamagari main
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47 sapamagarisa annotation_inline
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48 (14) main
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49 mandratāraprasanna main
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vol_I_p031 LEFT — 30 lignes

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1 44 page_number
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2 <b>BRHADDESI</b> page_header
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3 प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः। main
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4 स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।। main
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5 स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥ main
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6 वाचं गानात्मिकां धत्त इति गान्धारसंज्ञकः। main
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7 स्वराणां मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥ main
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8 स्वरान्तराणां विस्तारं यो मिमीते स पञ्चमः। main
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9 पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।। main
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10 धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः । main
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11 यद्वा annotation_inline
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12 २१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥ main
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13 पञ्चमेन annotation_inline
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14 <sup>30</sup>•त्ततोऽसी annotation_inline
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15 ललाटे धैवत इत्यर्थः। main
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16 निषीदन्ति स्वराः सर्वे निषादस्तेन कथ्यते।।६०॥ main
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17 [ स्वराणां सप्तसंख्यानियमः ] section_header
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18 [ अनु. २९ ] editorial_bracket
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19 31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते— main
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20 यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो main
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21 रसादयो जेयाः । तथा चाह सुश्रुतः — main
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22 'त्वगसृङ्मांसमेदोऽस्थिमज्जाशुक्राणि धातवः' । main
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23 इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति। main
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24 स्वरजातयः ] section_header
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25 चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ। main
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26 वैश्यौ द्विश्वतिकौ ज्ञेयौ शूद्रौ चान्तरकौ स्वरौ ३२।।६१।। main
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27 [ आगमस्थः स्वरोद्धारः ] editorial_bracket
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28 वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्। main
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29 वर्णमात्राः अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥ main
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30 স page_footer
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vol_II_p095 LEFT — 28 lignes

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1 BŖHADDEŚĪ page_header
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2 172 page_number
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3 एषा ह्यन्तरभाषा वै पुलिन्देन तु गीयते । main
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4 पुलिन्दिकेति विख्याता पड्ज औडुविता तथा ॥ ११७॥ main
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5 व्केत् annotation_inline
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6 •तास्तथा annotation_inline
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7 उदाहरणम् - [धाधा]सासासाधानिसारिसा धानिधाधाधारिरिसासासा रिरिधाधाधारिसा- editorial_bracket
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8 धानिसासारिसा रिसाधनीपा[सा] । [पुलिन्दी]। [९] editorial_bracket
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9 एता याष्ट्रिकनिर्दिष्टा भाषा वै भिन्नषङ्जके ॥ ११८॥ main
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10 <sup>१०७</sup>याष्ट्रिकेन निर्दिष्टा annotation_inline
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11 भाषा:। annotation_inline
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12 ७. अतः परं सौवीरकभाषाः main
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13 (रीरवीर?सीवीर)के annotation_inline
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14 षड्जाद्यन्तसमायुक्ता मूलभाषा मनोहरा । main
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15 सुसम्पूर्णस्वरा होषा बहुलौ १०८षड्जपञ्चमौ ॥ ११९॥ main
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16 धनिपञ्चमी annotation_inline
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17 षड्जधैवतसंवाद ऋषभधैवतयोस्तथा। main
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18 एषा सौवीरके प्रोक्ता सौवीरी दिव्यरूपिणी १०९ ॥ १२०॥ main
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19 दुछ्य annotation_inline
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20 उदाहरणम्-सागासासा साधानीधापापापारीपा धामागममपापामाधाधासासासानिधानिगारि- main
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21 मामागारिसा साधानिधासासा । [सौवीरी]। [१] editorial_bracket
parent ligne 20
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22 १९॰मध्यमांशा तु षड्जान्ता सम्पूर्णा मध्यमोज्ज्वला । annotation_inline
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23 १११मध्यमपञ्चमानां तु वेगवत्त्वं च दृश्यते ॥ main
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24 एषा भाषा तु विज्ञेया गीतज्ञैर्वेगमध्यमा ॥ १२१॥ main
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25 उदाहरणम् - [मामा] पामामामधापापापमामानिधासासा निमसानिसानिधानिपापानिनिसा- editorial_bracket
parent ligne 24
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26 निसासारिगारिसासासा सागासानिपापाधानिनिसासा । वेगमध्यमा । [२] editorial_bracket
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27 षड्जांशा मध्यमन्यासा ज्ञेया साधारिता तु सा<sup>११२</sup>॥ १२२॥ main
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28 साधारि(धा?ता) annotation_inline
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243 lignes a valider — change uniquement les roles incorrects.