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 20646). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p040 RIGHT — 35 lignes

page vol_I_p040 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION annotation_inline
parent ligne 3
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2 63 page_number
via heuristic_pagenum
3 sa X ga ma pa dha ni main
via surya_layout
4 ni sa X ga ma pa dha main
via surya_layout
5 dha ni sa X ga ma pa main
via surya_layout
6 pa dha ni sa X ga ma main
via surya_layout
7 ma pa dha ni sa X ga main
via surya_layout
8 ga ma pa dha ni sa X main
via surya_layout
9 X ga ma pa dha ni sa main
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10 (Tānas) devoid of rṣabha. main
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11 sa ri ga ma X dha ni main
via surya_layout
12 ni sa ri ga ma X dha main
via surya_layout
13 dha ni sa ri ga ma X main
via surya_layout
14 X dha ni sa ri ga ma main
via surya_layout
15 ma X dha ni sa ri ga main
via surya_layout
16 ga ma X dha ni sa ri main
via surya_layout
17 ri ga ma X dha ni sa main
via surya_layout
18 (Tānas) devoid of pañcama. main
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19 sa ri ga ma pa dha X main
via surya_layout
20 X sa ri ga ma pa dha main
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21 dha X sa ri ga ma pa main
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22 pa dha X sa ri ga ma main
via surya_layout
23 ma pa dha X sa ri ga main
via surya_layout
24 ga ma pa dha X sa ri main
via surya_layout
25 ri ga ma pa dha X sa main
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26 (Tānas) devoid of niṣāda. main
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27 Thus end the sadava [ tanas ]. editorial_bracket
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28 X ri ga ma X dha ni main
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29 ni X ri ga ma X dha annotation_inline
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30 dha ni X ri ga ma X main
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31 X dha ni X ri ga ma annotation_inline
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32 ma X dha ni X ri ga main
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33 ga ma X dha ni X ri annotation_inline
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34 ni ga ma X dha ni X main
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35 (Tānas) devoid of sa-pa. main
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vol_II_p121 RIGHT — 32 lignes

page vol_II_p121 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 225 page_number
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3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
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11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
parent ligne 25
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
parent ligne 28
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_I_p061 LEFT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> page_header
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2 104 page_number
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3 [ अनु, १०२ ] editorial_bracket
parent ligne 8
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4 हुङ्कारवत् सम [ न ] न्तरं संयुक्तं त्रिस्वराक्षरमारोहेत् ततो द्वौ द्वौ स्व [रौ] editorial_bracket
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5 .क्त डि॰ annotation_inline
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6 .तः annotation_inline
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7 म्रो annotation_inline
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8 कम्पनयुक्तौ कलान्तरयोगादेव प्रसन्नौ मन्द्रौ कार्यौ। इत्येककलस्वरयोगाद् गात्रवर्णः। main
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9 [ यथा - ] ३३धनिस निनि धध, पधनि धध पप, मपध पप मम, गमप मम गग, editorial_bracket
parent ligne 8
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10 रिगम गग रिरि, सरिग रिरि सस इति गात्रवर्णः ३४। main
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11 [ 33 ] editorial_bracket
parent ligne 10
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12 भरतमतेनालङ्कारनिरूपणम् section_header
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13 यस्मिन् वर्णे स्थिता ये च अलङ्कारा मनोहराः। main
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14 तानिदानी प्रवक्ष्यामि भरतोक्तविधानतः ॥१२१॥ main
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15 प्रसन्नादिः प्रसन्नान्तः प्रसन्नाद्यन्त एव च। main
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16 तथा प्रसन्नमध्यस्तु समो रेचित एव च॥१२२॥ main
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17 पुस्तारम्च प्रसादश्च स्थायिवर्णसमाश्रयाः। main
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18 •र्णाः annotation_inline
parent ligne 17
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19 प्रसाद+ annotation_inline
parent ligne 17
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20 ज्ञेया ह्येते त्वलङ्कारा अध्यथालक्षणलक्षिताः ॥१२३॥ main
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21 ₀रादमी annotation_inline
parent ligne 20
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22 ∘धेतद₀ annotation_inline
parent ligne 20
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23 अथ सञ्चारिजान् भूयः कीर्त्यमानाव्निबोधत। main
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24 •णी annotation_inline
parent ligne 23
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25 मन्द्रतारप्रसन्नश्च बिन्दुः प्रेङ्खोलितस्तथा।।१२४।। main
via surya_layout
26 उ६ तारमन्द्रप्रसन्नश्च स्यान्निवृत्तप्रवृत्तकः । ] editorial_bracket
parent ligne 25
via heuristic_brackets
27 .র্ব. annotation_inline
parent ligne 25
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28 कुहरश्चैव वेणुश्च रिक्षतश्चोपलोलकः ॥१२५॥ main
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29 ₀ला。 annotation_inline
parent ligne 28
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30 ₹₀ annotation_inline
parent ligne 28
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31 आवर्तकः परावर्त इति सञ्चारिसम्भवाः। main
via surya_layout
32 अलङ्कारास्तु विज्ञेया अएकादश मनोहराः ॥१२६॥ main
via surya_layout
33 निष्कूजितम्च कुहरो हसितो अबिन्दुरेव च। main
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34 कोरो annotation_inline
parent ligne 33
via heuristic_height
35 प्रेह्मोलितस्तथाऽऽक्षिप्तो विधुतोद्वाहितौ तथा।।१२७।। main
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36 .योत्सि. annotation_inline
parent ligne 35
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37 ह्रादमानः सम्प्रदानः सन्धिप्रच्छादनस्तथा। main
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38 (ना ? मा) annotation_inline
parent ligne 37
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39 प्रा annotation_inline
parent ligne 37
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40 प्रसन्नादिः प्रसन्नान्त आरेहिणि त्रयोदश।।१२८।। main
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41 ०णी page_footer
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vol_II_p147 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 276 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
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3 appears to be incomplete. main
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4 115. In spite of the description of this bhāṣā as its being complete, the main
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5 illustration omits <i>ṛṣabha</i>. main
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6 ì annotation_inline
parent ligne 5
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7 116. cf. (i) main
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8 ्विभाषा रागराजस्य पञ्चमस्य वराटिका । main
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9 अंश: षड्जग्रहन्यास: नितारा मन्द्रमध्यमा ॥ main
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10 समशेषस्वरा पूर्णा शृङ्गारे याष्टिकोदिता ॥ main
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11 Jagadekamalla cited in BhaKo p. 584. main
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12 विभाषा रागराजस्य पञ्चमस्य वराटिका । list_item
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13 (ii) list_item
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14 समशेषस्वरा पूर्णा शृङ्गारे याष्ट्रिकोदिता ॥ list_item
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15 117. cf. (i) तथैव पञ्चमे भिन्ने मध्यमग्रामगानयुक्। list_item
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16 मध्यमांशग्रहा धान्ता मन्द्रर्षभविभूषिता ॥ list_item
via surya_layout
17 मध्यमर्पभसंवादा ऋषभस्वरदुर्बला । list_item
via surya_layout
18 द्रुतमध्यलया तारपङ्जा स्फुरितधैवता ॥ list_item
via surya_layout
19 पूर्णारोह्मवरोहिभ्यां वर्णाभ्यामुपशोभिता । list_item
via surya_layout
20 लिलतेर्गमकैर्युक्ता भाषा धैवतभूषिता ॥ list_item
via surya_layout
21 S Rāj II.2.I.898-900 main
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22 (ii) पूर्णा धांशग्रहन्यासा सधयो रिधयोर्युता । main
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23 भित्रपञ्चमसंभूता भाषा धैवतभूषिता ॥ main
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24 Kalā (appendix) on SR II, p.136. main
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25 118. Reconstruction based on Kalā (appendix) on SR II, p. 137 list_item
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26 ŀ annotation_inline
parent ligne 25
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27 reading 'sadhasañcārini' and 'dhabhūṣitā' and S Rāj II.2.I.902 reading 'ṣadja- list_item
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28 dhaivatasangatā'. list_item
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29 119. S Rāj II.2.1.956 ab describes a samvāda (to and fro movement) list_item
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30 between niṣada-dhaivata, but Kalā (appendix) on SR II, p. 138 reads 'ridha- list_item
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31 sañcārā'; it appears that 'ni' has been replaced here with 'ri' on account of list_item
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32 error in deciphering or copying at some stage. list_item
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33 वाहुल्यं दृश्यते त्वस्या: सर्वस्वरगतं वृधै: । main
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34 120. cf. annotation_inline
parent ligne 33
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35 S Rāj II.2.1.956 cd. main
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36 121. P. t. does not contain the description of bhāvinī, the bhāṣā of main
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37 mālavapanīcama, although it is included in the initial enumeration (uddeša) main
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38 in verse 33 cd of this chapter. Kalā (appendix) on SR II, p. 142 describes two main
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39 vibhāṣās named bhāvanī and vibhāvanī under mālavapañcama as- main
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40 भावनी पञ्चमांशान्तग्रहा मालवपञ्चमात् । main
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41 जाता विभाषा षड्जापन्यासा ऋषभवर्जिता ॥ main
via surya_layout
42 विभावनी विभाषा स्यात् पूर्णा मालवपञ्चमे । main
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43 पञ्चमांशग्रहन्यासा मगधाल्पा पमन्द्रभाक् ॥ main
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44 S Rāj II.2.1.1084 describes vibhāvanī according to Yāṣṭika, but bhāvanī is not main
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45 ł annotation_inline
parent ligne 44
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46 mentioned there. main
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47 Districted the fire annotation_inline
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vol_II_p082 RIGHT — 26 lignes

page vol_II_p082 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
parent ligne 3
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
parent ligne 20
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
parent ligne 23
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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181 lignes a valider — change uniquement les roles incorrects.