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 20910). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p070 LEFT — 27 lignes

page vol_II_p070 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 122 page_number
via heuristic_pagenum
3 [अनु॰ २०८] editorial_bracket
parent ligne 5
via heuristic_brackets
4 अस्यार्थः - रूपसाधारितः षड्जग्रामसम्बन्धः षड्जमध्यमानिषाद-[वती]-सकाशादुत्पन्नत्वात्। editorial_bracket
parent ligne 5
via heuristic_brackets
5 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । पञ्चमर्षभयोरल्पत्वम् । निषादोऽत्र काकली। main
via surya_layout
6 पूर्णश्चायम्। annotation_inline
parent ligne 5
via heuristic_short
7 (पञ्चमर्पभयोरल्पत्वम्) annotation_inline
parent ligne 5
via heuristic_height
8 वीरकरुणेऽस्य प्रयोग: । वीरादिरस: । षङ्जादिमूर्छना । <sup>१०२</sup>आरोही वर्ण: । अलङ्कार: प्रसन्नमध्य: । दक्षिणे main
via surya_layout
9 कला, वार्तिक कला, चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः। main
via surya_layout
10 [६. गान्धारपञ्चम:] section_header
via surya_layout
11 गान्धारीरक्तगान्धार्योर्जातो गान्धारपञ्चम:। main
via surya_layout
12 गान्धारोऽस्य भवेदंशो न्यासो गान्धार एव च ॥३३८॥ main
via surya_layout
13 [अनु॰ २०९] section_header
via surya_layout
14 अस्यार्थ: – गान्धारपञ्चमो मध्यमग्रामसम्बन्धः, गान्धारीरक्तगान्धारीसमुत्पन्नत्वात् । यद्यपि main
via surya_layout
15 १॰३दुर्गशक्तिमते धैवतीसमुत्पत्रोऽसौ, तथापि पञ्चमस्य त्रिश्रुतिकत्वादुभयग्रामजातिजातोऽपि मध्य[म]- editorial_bracket
parent ligne 14
via heuristic_brackets
16 सम्बन्ध एव । गान्धारोऽस्य ग्रहोंऽशो न्यासश्च, प्रयोक्त्रपेक्षया गान्धारो धैवतो भवेत् <sup>१०४</sup>। निषादोऽत्र काकली। main
via surya_layout
17 पूर्णश्चायम्। १०५अद्भुते विस्मये हास्ये चास्य विनियोगः। करुणो रसः। गान्धारादिमूर्छना सञ्चारी वर्णः । main
via surya_layout
18 र(स): annotation_inline
parent ligne 17
via heuristic_height
19 अद्भुते( ऽस्य विनियोग:) main
via surya_layout
20 प्रसन्नमध्यमोऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चपुयदितालः। main
via surya_layout
21 [७. षड्जकैशिक:]<sup>१०६</sup> table
via surya_layout
22 .............. annotation_inline
parent ligne 20
via heuristic_height
23 [८. पञ्चमषाडवः] editorial_bracket
parent ligne 20
via heuristic_brackets
24 धैवत्यार्षभिकाजात्योर्जात: पञ्चमषाडव:। main
via surya_layout
25 (भी?भिका) annotation_inline
parent ligne 24
via heuristic_height
26 ऋषभांशसमायुक्तो मध्यमो न्यास एव च ॥३३९॥ main
via surya_layout
27 <b>(</b>श) annotation_inline
parent ligne 26
via heuristic_height

vol_II_p080 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 142 page_number
via heuristic_pagenum
3 सैन्धवी मध्यमांशा तु षड्जान्ता धैवतोज्वला । main
via surya_layout
4 सै(वमी?न्धवी) annotation_inline
parent ligne 3
via heuristic_height
5 सुसम्पूर्णस्वरा होषा षड्जधैवतयोस्तथा ॥४७॥ main
via surya_layout
6 ३१गान्धारमध्यमानां तु गमनं दृश्यते घनम् । unknown
via fallback
7 गमकं annotation_inline
parent ligne 5
via heuristic_height
8 गाभारः annotation_inline
parent ligne 5
via heuristic_height
9 देशभाषा तु देश्याख्या सैन्धवी टक्करागजा ३२॥४८॥ main
via surya_layout
10 सनीनीनीचाधासरिसा नीधाधाधरिनिधाधा । धानिसा गारीमा । main
via surya_layout
11 उदाहरणम् – मामासासा । main
via surya_layout
12 सासा annotation_inline
parent ligne 11
via heuristic_height
13 मामा गमागामासाधासारीमामामासा रिगामापापाधानिपधापामा गारीरीनिरिनि- धाधाधनीसा main
via surya_layout
14 रीगामामागामामा गामामामासासा । सैन्धवी । [८] editorial_bracket
parent ligne 13
via heuristic_brackets
15 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
via surya_layout
16 धैवतनिषादयोश्च षड्जधैवतयोस्तथा ॥४९॥ main
via surya_layout
17 परस्परं तु गमनं दृश्यते च क्षणे क्षणे । main
via surya_layout
18 भाषेयं षाडवा ज्ञेया वेसरिका प्रयोक्तृभि: ॥५०॥ main
via surya_layout
19 र्श<sup>े देरे</sup> सकाकली annotation_inline
parent ligne 18
via heuristic_height
20 उदाहरणम् - सासा । सधानि । धासासासा मामागामा गामासाधा मागारीसासासा । main
via surya_layout
21 वेसरिका।[९] editorial_bracket
parent ligne 20
via heuristic_brackets
22 पञ्चमांशा तु षड्जान्ता सम्पूर्णा लोकरञ्जिका । main
via surya_layout
23 प्ञुमर्षभसंवाद: षड्जमध्यमयोस्तथा ॥ main
via surya_layout
24 भाषेयं पञ्चमाख्या तु सम्पूर्णा समुदाहता ॥ ५१॥ main
via surya_layout
25 उदाहरणम् – पापापारिपा । रिपापापापमापापामपमा सासासरीरीरि । निधाधपापा । main
via surya_layout
26 पसामामा annotation_inline
parent ligne 25
via heuristic_height
27 रिरोगगरिसपा पगारिसागारिसारिपापारिरिगरि। गाधामागारिरि धपरिगसासा। पञ्चमाख्या ३४। [१०] editorial_bracket
parent ligne 25
via heuristic_brackets
28 offlo annotation_inline
parent ligne 25
via heuristic_height
29 ध्यमन्द्रा तु षड्जान्ता गान्धारांशाल्पसप्तमा । main
via surya_layout
30 ३५ऋषभगान्धारयोस्त् षड्जमध्यमयोस्तथा ॥५२॥ main
via surya_layout
31 +र्षगान्धार॰ annotation_inline
parent ligne 30
via heuristic_markers

vol_I_p076 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 135 page_number
via heuristic_pagenum
2 PÄTHA VIMARŠA page_header
via surya_layout
3 100 page_number
via heuristic_pagenum
4 80. Bha Ko, p. 755. list_item
via surya_layout
5 81. Suggested by the ed. in the place of 'su'. list_item
via surya_layout
6 82. Bha Ko, p. 755. list_item
via surya_layout
7 83. C.r. in Sam S Sā, p. 10. list_item
via surya_layout
8 84. Bha Ko, p. 756. list_item
via surya_layout
9 85, 86. C.r. in S R I Sudhā, p. 84. list_item
via surya_layout
10 87. C.r. in Sam S Sā, p. 10. list_item
via surya_layout
11 88. Reading suggested by the ed. list_item
via surya_layout
12 89. MS B reading as recorded by the ed. list_item
via surya_layout
13 Section IV (Svara) section_header
via surya_layout
14 1, 2, 3. C.r. in S R I Sudhā, p. 84. list_item
via surya_layout
15 4. Bha Ko, p. 754. list_item
via surya_layout
16 5. C.r. in Sam S Sā, p. 10. list_item
via surya_layout
17 6. Bha Ko, p. 754. list_item
via surya_layout
18 7. Added by the ed. list_item
via surya_layout
19 8. 'Nāda' of the MSS has been replaced with 'pada' because 'nāda' cannot list_item
via surya_layout
20 be said to be the associate of svara, it is only the subtle or undifferentiated form list_item
via surya_layout
21 of svara. The association of pada with svara has been explained in the list_item
via surya_layout
22 annotations. list_item
via surya_layout
23 "l'alamiti' has been modified, as 'tvalamiti' because 'alamiti kṛtau' could be main
via surya_layout
24 construed as standing for alankṛti or alankāra, whereas tālamiti is neither main
via surya_layout
25 grammatically correct, nor does it fit into the context. An alternative reading main
via surya_layout
26 could be 'tālamitaḥ' (cf. Saṃ S Sā, p. 11) meaning that svara is measured with main
via surya_layout
27 tāla, but even then 'kṛtau' would pose a problem. main
via surya_layout
28 9. cf. अत्र मिरगादिप्वाद्याक्षराणा व्यञ्जनत्वात् कथ स्वरत्विमत्याक्षिप्याचार्यपरिभाषया सङ्केतमात्रमेतिर्दित main
via surya_layout
29 पृत्याह मनङ्गः । annotation_inline
parent ligne 28
via heuristic_short
30 (SRI Kalā, p. 82) main
via surya_layout
31 10. The use of first person is notable here. list_item
via surya_layout
32 11. MS B reading as recorded by the ed. list_item
via surya_layout
33 12. C.r. in S R I Kalā, p. 92. list_item
via surya_layout
34 13. Added in accordance with C.r. in ibid. and Sudhā, p. 93. list_item
via surya_layout
35 14. Reading suggested by the ed. as tri (. te? ke). list_item
via surya_layout
36 15. C.r. in S R I Sudhā, p. 94. list_item
via surya_layout
37 16. Bha Ko, p. 765 adds 'rāga-svareņa'. list_item
via surya_layout
38 17. Portion added according to S R I Sudhā, p. 94. list_item
via surya_layout
39 18. Ed. suggests rşabhasya. list_item
via surya_layout
40 19. Ed. suggests dhaivalasya. list_item
via surya_layout
41 20. MS A reading as recorded by the ed. list_item
via surya_layout
42 21. MSS reading, reconstructed by the ed. as 'tadanu'. list_item
via surya_layout
43 Se STATISTICS annotation_inline
parent ligne 42
via heuristic_height

vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
via surya_layout
4 Ravicandrā [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
via surya_layout
6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
via surya_layout
7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
via surya_layout
8 (10) annotation_inline
parent ligne 7
via heuristic_short
9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
via surya_layout
10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
via heuristic_brackets
11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
via surya_layout
12 born of drāvida region is always sung in the (context of the ) search on the main
via surya_layout
13 part of one who has lost his way.8 main
via surya_layout
14 (11) annotation_inline
parent ligne 13
via heuristic_short
15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
via surya_layout
16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
parent ligne 15
via heuristic_brackets
17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
via surya_layout
18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
via surya_layout
19 Umādevī.9 annotation_inline
parent ligne 18
via heuristic_short
20 (12) main
via surya_layout
21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
via surya_layout
22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
via surya_layout
23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
via surya_layout
25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
via surya_layout
26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
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27 (13) annotation_inline
parent ligne 26
via heuristic_short
28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
via surya_layout
29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
via surya_layout
30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
parent ligne 29
via heuristic_brackets
31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
via surya_layout
32 the opinion of Śārdūla. main
via surya_layout

vol_II_p022 RIGHT — 26 lignes

page vol_II_p022 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 E. annotation_inline
parent ligne 4
via heuristic_height
2 27 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are main
via surya_layout
5 always to be omitted respectively (for making ṣāḍava and auḍava forms). main
via surya_layout
6 Şadja and pañcama are to be known as the two apanyāsas. One should move main
via surya_layout
7 from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this main
via surya_layout
8 (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be main
via surya_layout
9 accorded abundant usage. Sañcāra (to and fro movement) is to be rendered main
via surya_layout
10 in this (jāti) between ṣaḍja and gāndhāra by the performers. main
via surya_layout
11 <math>(222-224)</math> annotation_inline
parent ligne 10
via heuristic_height
12 Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama main
via surya_layout
13 are the two amsas and the auduvita (pentatonic) form is not desirable in it. main
via surya_layout
14 (225) annotation_inline
parent ligne 13
via heuristic_height
15 In madhyamā there are five amśas, excepting the two svaras composed of main
via surya_layout
16 two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming main
via surya_layout
17 the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by main
via surya_layout
18 omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and main
via surya_layout
19 madhyama are abundant. main
via surya_layout
20 (226) annotation_inline
parent ligne 19
via heuristic_short
21 Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; main
via surya_layout
22 pañcama is amsa in it. main
via surya_layout
23 (227) annotation_inline
parent ligne 22
via heuristic_height
24 In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. main
via surya_layout
25 These two alongwith niṣāda are apanyāsa and there is the sangati (concert) main
via surya_layout
26 between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse. main
via surya_layout
159 lignes a valider — change uniquement les roles incorrects.