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 20834). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p071 RIGHT — 36 lignes

page vol_II_p071 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 125 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 210] editorial_bracket
parent ligne 4
via heuristic_brackets
4 Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha main
via surya_layout
5 and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it main
via surya_layout
6 sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete. main
via surya_layout
7 Its application is prescribed in the passionate performance of cārīs, maṇḍalas and main
via surya_layout
8 (situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning main
via surya_layout
9 with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the main
via surya_layout
10 dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in main
via surya_layout
11 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and main
via surya_layout
12 pada annotation_inline
parent ligne 11
via heuristic_height
13 [9. Revagupta] section_header
via surya_layout
14 Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as main
via surya_layout
15 its amsa and madhyama as its concluding note and is with complete svaras. main
via surya_layout
16 (340) annotation_inline
parent ligne 15
via heuristic_height
17 [Anu. 211] editorial_bracket
parent ligne 15
via heuristic_brackets
18 Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born main
via surya_layout
19 of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of main
via surya_layout
20 pañcama being comprised of four śrutis. Rṣabha is its graha and amśa, main
via surya_layout
21 <math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he main
via surya_layout
22 svaras. Its application is prescribed in the passionate performance of cārīs, main
via surya_layout
23 mandalas and (situations of) combat. Vira and the like is the rasa. The main
via surya_layout
24 mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is main
via surya_layout
25 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
via surya_layout
26 the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like main
via surya_layout
27 caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
28 [10. Takkasaindhava] section_header
via surya_layout
29 The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is main
via surya_layout
30 combined with sadja as amsa and nyāsa and is weak in pancama. main
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31 (341) annotation_inline
parent ligne 30
via heuristic_height
32 [Anu. 212] editorial_bracket
parent ligne 30
via heuristic_brackets
33 Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on main
via surya_layout
34 account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and main
via surya_layout
35 nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of main
via surya_layout
36 pañcama and this (rāga) is complete in svaras. Its application is prescribed main
via surya_layout

vol_II_p063 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 . ..... ... ... ....................... annotation_inline
parent ligne 5
via heuristic_height
2 r . annotation_inline
parent ligne 5
via heuristic_height
3 TRANSLATION page_header
via surya_layout
4 109 page_number
via heuristic_pagenum
5 [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] section_header
via surya_layout
6 [Anu. 190] editorial_bracket
parent ligne 5
via heuristic_brackets
7 (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On main
via surya_layout
8 account of the statement by the authorities. Similarly has said Kaśyapa - main
via surya_layout
9 "Where the raga that is attractive in all the four varnas, is seen in its totality, main
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10 they are known as rāgas." main
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11 [Anu. 191] section_header
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12 In the opinion of Durgaśakti , 'rāgas' themselves are known as being main
via surya_layout
13 'vesara'. Thus has said Durgaśakti - main
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14 "Vesaras are known to be so because the svaras move with speed." main
via surya_layout
15 In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account main
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16 of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion main
via surya_layout
17 of Kasyapa, on the other hand, takkarāga alone is prominent on account of main
via surya_layout
18 being gratifying to Laksmi.65 That is thus - main
via surya_layout
19 [1. Takkarāga] section_header
via surya_layout
20 Takkarāga is combined with şadja as amśa and nyāsa and is weak in main
via surya_layout
21 pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. main
via surya_layout
22 (320) main
via surya_layout
23 [Anu. 192] section_header
via surya_layout
24 This means—takkarāga is related to ṣaḍjagrāma on account of being born of main
via surya_layout
25 dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the main
via surya_layout
26 sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here main
via surya_layout
27 and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta main
via surya_layout
28 are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. main
via surya_layout
29 Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
via surya_layout
30 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like main
via surya_layout
31 caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
32 [2. Sauvīra] section_header
via surya_layout
33 Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra main
via surya_layout
34 and niṣāda also is weak. main
via surya_layout
35 (321) main
via surya_layout

vol_II_p076 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
via surya_layout
4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
via surya_layout
5 (田) annotation_inline
parent ligne 4
via heuristic_height
6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
via surya_layout
7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
via surya_layout
8 ॰पुत्री annotation_inline
parent ligne 7
via heuristic_markers
9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
via surya_layout
10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
via surya_layout
11 ६ नी annotation_inline
parent ligne 10
via heuristic_height
12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
via surya_layout
13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
via surya_layout
14 सालवाहा annotation_inline
parent ligne 13
via heuristic_height
15 чP annotation_inline
parent ligne 13
via heuristic_height
16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
via surya_layout
17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
via surya_layout
18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
via surya_layout
19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
via surya_layout
20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
via surya_layout
21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
via surya_layout
22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
via surya_layout
23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
via surya_layout
24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
via heuristic_markers
25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
via surya_layout
26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
via surya_layout
27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
via surya_layout
28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
via surya_layout
29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
via surya_layout
30 ॰ न्दो annotation_inline
parent ligne 29
via heuristic_markers
31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
via surya_layout

vol_II_p043 LEFT — 50 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 68 page_number
via heuristic_pagenum
3 रों रों गां सम मा मा पा पा table
via surya_layout
4 (८) table
via surya_layout
5 (8) table
via surya_layout
6 मा पा मा परि गा गा गा गा table
via surya_layout
7 (१०) table
via surya_layout
8 धानी पामा धानी सासा table
via surya_layout
9 (११) table
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10 नी नी नी नी नी नी नी table
via surya_layout
11 (१२) table
via surya_layout
12 मा मा धा नी नी धा पा पा table
via surya_layout
13 (१३) table
via surya_layout
14 मा पा मा परि गा गा गा गा table
via surya_layout
15 (88) table
via surya_layout
16 नी नी पा धनि गा गा गा गा table
via surya_layout
17 सारी गासानी नी नी नी table
via surya_layout
18 (१५) table
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19 (१६) table
via surya_layout
20 नी नी धा पा पा पा पा पा table
via surya_layout
21 ॥ [इति] कार्मारवी ॥ table
via surya_layout
22 1411 page_number
via heuristic_pagenum
23 [७. गान्धारपञ्चमी] section_header
via surya_layout
24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
via surya_layout
25 (育) annotation_inline
parent ligne 24
via heuristic_short
26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
via surya_layout
27 १८००भूरिभि: annotation_inline
parent ligne 26
via heuristic_short
28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
via surya_layout
29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
via surya_layout
30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
via fallback
31 (१) table
via surya_layout
32 मा मा पम धनि धप मा धा नी table
via surya_layout
33 (२) table
via surya_layout
34 सनि धा पा पा पा पा पा पा table
via surya_layout
35 (3) table
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36 धा नी सा सा मा मा पा पा table
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37 नी नी नी नी नी नी नी table
via surya_layout
38 (8) table
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39 (4) table
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40 नी नी धप मा निध निध पा पा table
via surya_layout
41 <b>(६)</b> table
via surya_layout
42 पा पा री री री री पा पा table
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43 (७) table
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44 मा रिग सा सध नी नी नी नी table
via surya_layout
45 (८) table
via surya_layout
46 नी री सा रिस री री री री table
via surya_layout
47 नी गा सा निग सा नी नी नी table
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48 (९) table
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49 (१०) table
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50 नी मां नी मां पा पा गां गां table
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vol_II_p079 RIGHT — 24 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 141 page_number
via heuristic_pagenum
3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
via surya_layout
4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
via surya_layout
5 nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] editorial_bracket
parent ligne 4
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6 Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there main
via surya_layout
7 being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā main
via surya_layout
8 should be known as hexatonic. Mālavesarī bears the name mūlā. main
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9 (44) annotation_inline
parent ligne 8
via heuristic_height
10 Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. main
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11 Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] editorial_bracket
parent ligne 10
via heuristic_brackets
12 Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is main
via surya_layout
13 immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding main
via surya_layout
14 notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly main
via surya_layout
15 pañcama-ṛṣabha should be known there. annotation_inline
parent ligne 14
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16 (45) annotation_inline
parent ligne 14
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17 Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. main
via surya_layout
18 Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] editorial_bracket
parent ligne 17
via heuristic_brackets
19 This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its main
via surya_layout
20 amsa, sadja as its concluding note, is always complete and is sung by people. main
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21 (46) annotation_inline
parent ligne 20
via heuristic_height
22 Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini main
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23 ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. main
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24 Saurāstrī [vii] editorial_bracket
parent ligne 23
via heuristic_brackets
176 lignes a valider — change uniquement les roles incorrects.