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 20670). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p082 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 147 page_number
via heuristic_pagenum
3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
via surya_layout
4 in music. annotation_inline
parent ligne 3
via heuristic_short
5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
via surya_layout
7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
via surya_layout
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
via surya_layout
12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
parent ligne 12
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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
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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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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 159 page_number
via heuristic_pagenum
3 [4. Bhāṣās in hindolaka] section_header
via surya_layout
4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
via surya_layout
5 is formed with the (profuse) use of gandhara. The to and fro movement main
via surya_layout
6 between şadja and gandhara should be arranged there by the performers. main
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7 (83) unknown
via fallback
8 Illustration main
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9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
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10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
parent ligne 9
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11 Having pancama as amśa, şadja as the concluding note, being devoid of main
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12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
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13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
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14 (84) annotation_inline
parent ligne 13
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15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
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16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
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17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
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18 thus has been described chevāțī and concert between șadja-madhyama and main
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19 similarly şadja-gāndhāra should always be put up. main
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20 (85) annotation_inline
parent ligne 19
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21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
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22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
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23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
parent ligne 22
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24 Having şadja às amśa and madhyama as concluding note, being weak in main
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25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
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26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
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27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
via surya_layout
28 nature. It is sung also by Kinnaras.<sup>33</sup> main
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29 <math>(86-87)</math> main
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vol_II_p098 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 178 page_number
via heuristic_pagenum
3 [११. अथ टककैशिके] section_header
via surya_layout
4 धैवताद्यन्तसंयुक्ता ज्ञेया <sup>१२२</sup>मालवपञ्चमी । main
via surya_layout
5 <sup>१२३</sup>षड्जर्षभसंवाद: स्यात् <sup>१२४</sup>षड्जधैवतयोस्तथा ॥ main
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6 बहुधैव तयोस्तथा annotation_inline
parent ligne 5
via heuristic_height
7 <sup>१२५</sup>सम्पूर्णा सुस्वरा ह्येषा देशभाषा मनोहरा ॥ १३३॥ main
via surya_layout
8 उदाहरणम्-धैवत धापाधैवत धाधाधारिमामाधा । पामधाधापामागरिमाधापाधा। मालवा [१] editorial_bracket
parent ligne 7
via heuristic_brackets
9 षड्जांशा धैवतन्यासा विज्ञेया <sup>१२६</sup>भित्रवालिका । main
via surya_layout
10 भित्रलालिका annotation_inline
parent ligne 9
via heuristic_height
11 धैवतनिषादबाहुल्यं दृश्यते च परस्परम् ॥ १३४॥ main
via surya_layout
12 •बाहु<del>ल्</del>या annotation_inline
parent ligne 11
via heuristic_height
13 क्वचिद् दृष्टं न दृष्टं च भित्रपञ्चमसंज्ञिता[?]। editorial_bracket
parent ligne 11
via heuristic_brackets
14 किशिद् प्रष्टं annotation_inline
parent ligne 11
via heuristic_height
15 एषा तु कथिता लोके भाषा सङ्कीर्णशोभना ॥ १३५॥ main
via surya_layout
16 उदाहरणम् - सासासागासाधा नीसासाधानीमधा निधाधाधा निधामाधा निमधापाधाधाधा main
via surya_layout
17 भित्रवालिका।[२] editorial_bracket
parent ligne 16
via heuristic_brackets
18 भित्रलालिता annotation_inline
parent ligne 16
via heuristic_height
19 <sup>१२७</sup>गान्धारांशा धैवतान्ता द्राविडी सम्प्रकीर्तिता । main
via surya_layout
20 द्विश्रुतीनां च गमनं षड्जधैवतयोस्तथा ॥ main
via surya_layout
21 द्राविडविषये होषा देशाख्या सुमनोहरा<sup>१२८</sup> ॥ १३६॥ main
via surya_layout
22 उदाहरणम्-[गा]धानिमधानिधाधाधानिधामधापाधाधा पामाधाधागामाधाधा सागासानि- editorial_bracket
parent ligne 21
via heuristic_brackets
23 धाधा पामागाममनि[धा] । द्राविडी । [३] editorial_bracket
parent ligne 21
via heuristic_brackets
24 ॥ एताष्ट्रक्ककैशिकभाषास्तिस्र: ॥ main
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25 [१२. अथ वेसरपाडवे ] editorial_bracket
parent ligne 24
via heuristic_brackets
26 मध्यमाद्यन्तसंयुक्ता विज्ञेया बाह्यषाडवा । main
via surya_layout
27 ॰पाडवं annotation_inline
parent ligne 26
via heuristic_markers
28 १२९द्विश्रुत्यो: स्याच्च संवादो मध्यमर्पभयोस्तथा ॥ १३७॥ main
via surya_layout
29 वि? द्वित्र्तिभ्यां च annotation_inline
parent ligne 28
via heuristic_height

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
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4 of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further main
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5 there are other eleven (jātis) that have been made 'impure', i.e. have only main
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6 a vikṛtā state."7 annotation_inline
parent ligne 5
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7 (NŚ XXVIII.46) main
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8 Out of these (jātis) I shall describe briefly here in sequence the jātis that main
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9 are formulated or accomplished through ainsa svaras, omission (of one or main
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10 two notes) and the like. main
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11 (192) annotation_inline
parent ligne 10
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12 Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and main
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13 madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes main
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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
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16 and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of main
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17 the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī main
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18 arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the main
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19 fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone; main
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20 nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition main
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21 of pañcami; these (three) go to make kārmāravī, with the omission of main
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22 gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī main
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23 and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī main
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24 and dhaivati, thus are the blendings or mixtures. main
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25 <math>(193-198)</math> main
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26 Now they (honorific for the author) have spoken of the classification (of main
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27 jātis) – annotation_inline
parent ligne 26
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28 Four jātis should be known by the wise to be always composed of seven main
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29 svaras, four are composed of six svaras and the other ten are known as being main
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30 composed of five svaras each. main
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31 (199) annotation_inline
parent ligne 30
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32 This itself becomes clear - main
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33 Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly main
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34 gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. main
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35 (200) main
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vol_II_p015 LEFT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 12 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 [२. अंशलक्षणम्] section_header
via surya_layout
4 [अनु॰ १२०] section_header
via surya_layout
5 अथांश: कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्य: । यस्मिन् ३१ क्रियमाणे main
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6 अ(थवांश ख ? थांश:क) annotation_inline
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7 अंशविभाग: main
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8 न्त्रंशे annotation_inline
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via heuristic_height
9 गगाभिव्यक्तिर्भवति सोंऽश: [प्रथम:]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पित: सोंऽशो editorial_bracket
parent ligne 7
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10 (পি?) main
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11 ३२यस्माद्वाः annotation_inline
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12 गीत: main
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13 न ग्रहस्स्वरित: (स्वं?स्वां) शो। main
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14 द्वितीय: [1] तारमन्द्राभिव्यक्तिहेतु: सोंऽशस्तृतीय: । पञ्चमस्वरारोहणं तार:, कदाचित् editorial_bracket
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15 द्वितीया main
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16 <b>॰रगारो</b>॰ annotation_inline
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17 षष्ठस्वरारोहणमपि तार:, यथा गान्धार्या: षड्जस्तार:, निध निध सा इति । यथा main
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18 णं पि annotation_inline
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19 तथा annotation_inline
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20 तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:] editorial_bracket
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21 सप्तस्वरावरोहणा[तु]। editorial_bracket
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22 ३३प्यांश<sup>></sup> main
via surya_layout
23 यथा ३४पञ्चमांशाया: षाङ्ज्या: स्वस्थाने सासासाधा इति । यश्च बहुप्रयोगतर: सोऽप्यंश: [चतुर्थ:] editorial_bracket
parent ligne 22
via heuristic_brackets
24 मन्द्रांशाया: annotation_inline
parent ligne 22
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25 <sup>३५</sup>संस्थाने main
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26 पड्जा annotation_inline
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27 यो रागस्य विषयत्वेनावस्थित: स्वर: सोऽप्यंश: [पञ्चम:] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास- editorial_bracket
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28 न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।] editorial_bracket
parent ligne 25
via heuristic_brackets
29 [अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्] section_header
via surya_layout
30 [अनु॰ १२१] section_header
via surya_layout
31 यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा main
via surya_layout
32 च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादानां विदारणं main
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33 ॰णा annotation_inline
parent ligne 32
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34 खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् । main
via surya_layout
35 गीतकेशी annotation_inline
parent ligne 34
via heuristic_height
36 [अंशलक्षणान्तर्गतं संन्यासलक्षणम्] section_header
via surya_layout
37 [अनु॰१२२] section_header
via surya_layout
38 इदानीं संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः main
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39 स न्यासोः annotation_inline
parent ligne 38
via heuristic_height
40 राष्ट्र annotation_inline
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41 ॰क्ताः annotation_inline
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via heuristic_markers
42 The state of the same of annotation_inline
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via heuristic_height
161 lignes a valider — change uniquement les roles incorrects.