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 20833). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p018 LEFT — 36 lignes

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1 18 page_number
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2 BRHADDESI page_header
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3 [ श्रुति-स्वर-सम्बन्धमधिकृत्य पञ्च विकल्पाः, तेषां दूषणं च ] editorial_bracket
parent ligne 4
via heuristic_brackets
4 इदानी श्रुतीनां तादात्म्यादिविकल्पः कथ्यते— main
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5 तादातम्यं च विवर्तत्वं कार्यत्वं परिणामिता। main
via surya_layout
6 अभिव्यञ्जकता चापि श्रुतीनां परिकथ्यते ॥२८॥ main
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7 57कल्प्यते annotation_inline
parent ligne 6
via heuristic_short
8 इदानीमेतदेव विवृणोति— main
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9 विशेषस्पर्शशून्यत्वाच्छ्रवणेन्द्रियग्राह्ययोः 58। main
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10 <sup>59</sup>गम्य ०ताः main
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11 स्वरश्रुत्योस्तु तादात्म्यं जातिव्यक्त्योरिवानयोः ॥२९॥ main
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12 <del>هُ (10</del> annotation_inline
parent ligne 11
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13 नराणां च मुखं यद्वद्दर्पणे तु विवर्तितम्। main
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14 614 page_number
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15 ुते6≥ annotation_inline
parent ligne 13
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16 प्रतिभाति स्वरस्तद्वच्छुतिष्वेव विवर्तितः॥३०॥ main
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17 ०न्ति<sup>63</sup> ०रा<sub>०</sub>64 main
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18 65 ल : annotation_inline
parent ligne 17
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19 स्वराणां श्रुतिकार्यत्वमिति केचिद् वदन्ति हि। main
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20 श्रुतीना annotation_inline
parent ligne 19
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21 मृत्पिण्डदण्डकार्यत्वं घटंस्येह यथा भवेत्।।३१।। main
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22 व67 annotation_inline
parent ligne 21
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23 श्रुतयः स्वररूपेण परिणमन्ति न संशयः । main
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24 68परिणाम annotation_inline
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25 व्रजन्ति हि main
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26 भजन्ति ५९ annotation_inline
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27 परिणमेद्यथा क्षीरं दिधरूपेण सर्वथा।।३२।। main
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28 षड्जादयः स्वराः सप्त व्यज्यन्ते श्रुतिभिः सदा। main
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29 अन्धकारस्थिता यद्वत् प्रदीपेन घटादयः ॥ ३३॥ main
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30 इति तावन्मया प्रोक्तं श्रुतीनां च विकल्पनम्। main
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31 इदानी संप्रवक्ष्यामि विकल्पस्य च दूषणम्।।३४।। main
via surya_layout
32 भेदः ७०स्वलक्षणानां सामान्येनान्यवस्तुवत् सिद्धः।। main
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33 स्वर् annotation_inline
parent ligne 32
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34 तिद्धं विशेषैः शून्यं भवति नभःपुष्पसङ्काशम्॥३५॥ main
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35 <sup>71</sup>विशेषस्तु भवति पुनः main
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36 स₀ annotation_inline
parent ligne 35
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vol_II_p064 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 110 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
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3 [अनु॰ १९३] section_header
via surya_layout
4 अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
via surya_layout
5 ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां main
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6 संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:। main
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7 वास्य annotation_inline
parent ligne 6
via heuristic_height
8 षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला । main
via surya_layout
9 स्वरपदगीते चच्चत्पुटादितालः। main
via surya_layout
10 [३. मालवपञ्चम:] section_header
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11 पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:। main
via surya_layout
12 स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥ main
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13 [अन्॰ १९४] section_header
via surya_layout
14 अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो main
via surya_layout
15 ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे main
via surya_layout
16 कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः । main
via surya_layout
17 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
18 [४. वेसरपाडव:] section_header
via surya_layout
19 मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा । main
via surya_layout
20 अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥ main
via surya_layout
21 [अनु॰ १९५] section_header
via surya_layout
22 अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो main
via surya_layout
23 न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे main
via surya_layout
24 (गान्धारनिपादयोरल्पत्वम्) annotation_inline
parent ligne 23
via heuristic_height
25 चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: । main
via surya_layout
26 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
27 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
parent ligne 26
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vol_II_p060 RIGHT — 35 lignes

page vol_II_p060 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 103 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 183] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is editorial_bracket
parent ligne 5
via heuristic_brackets
5 comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because main
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6 pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take main
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7 up two śrutis? It is being answered. It is said to be comprised of four śrutis main
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8 on the analogy of its former position. Just as in bhinnakaiśika rāga, the main
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9 pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking main
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10 recourse to its form comprised of four śrutis, similarly it will happen here also main
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11 and hence there is no fault. And its description is thus - main
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12 . . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 11
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13 [5. Bhinnatāna] section_header
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14 Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh main
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15 (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of main
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16 rsabha. annotation_inline
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17 (313) annotation_inline
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18 [Anu. 184] editorial_bracket
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19 This means-bhinnatāna is related to madhyamagrāma on account of being main
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20 born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa, main
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21 madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. main
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22 Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa main
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23 (rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the main
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24 varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga), main
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25 the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math main
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26 A tāla like caccatpuţa obtains in the songs comprised of svara and pada. main
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27 [The assignment of bhinna-rāgas to grāmas] section_header
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28 [Anu. 185] editorial_bracket
parent ligne 27
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29 The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That main
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30 is thus - annotation_inline
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31 ٠ page_number
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32 "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. main
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33 (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma." main
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34 Thus bhinnas have been explained, now listen to the gaudas. main
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35 (314) annotation_inline
parent ligne 34
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vol_I_p009 RIGHT — 4 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ main
via surya_layout
2 <b>OF</b> annotation_inline
parent ligne 1
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3 ŚRĪ MATANGA MUNI main
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4 (Volume I) main
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vol_II_p036 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 55 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [8. Gändhārī] section_header
via surya_layout
4 Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, main
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5 the same are amsas of gandhari. The tara extends upto five svaras. The mandra main
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6 , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid main
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7 of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete main
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8 state there is sparseness of rṣabha-dhaivata, and abundance of the remaining main
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9 ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara, main
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10 gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is main
via surya_layout
11 sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That main
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12 is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}< main
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13 prayoga (performance). main
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14 Thus is the performance. When it is sung with the omission of rṣabha then main
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15 while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) main
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16 mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic main
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17 form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the main
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18 performance. Mā-pa-ri-dhā is never to be performed. main
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19 [Anu. 161] editorial_bracket
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20 This is eleven-fold. There are eleven ainsas - there is one in the suddhā main
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21 state, five in the vikṛtā complete state, four are hexatonic (and) one is main
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22 pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța main
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23 is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala main
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24 vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there main
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25 is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā main
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26 in the third act of a drama. annotation_inline
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27 [9. Raktagāndhāri] section_header
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28 [Anu. 162] editorial_bracket
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29 Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas main
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30 of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra main
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31 extends up to the nyāsa or the svara next to it. The hexatonic form is devoid main
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32 of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the main
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33 paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) main
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34 have abundance. On account of niṣāda being the amśa, its abundance is main
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35 indicated. Its non-abundance comes about on account of the stated main
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36 prescription. Dhaivata being non-aniśa, its sparseness is indicated, its main
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138 lignes a valider — change uniquement les roles incorrects.