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 20916). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p122 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 227 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [General Prescription] section_header
via surya_layout
4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
via surya_layout
5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
via surya_layout
6 (439) annotation_inline
parent ligne 5
via heuristic_short
7 Then one should properly put in the name of the one being described. It main
via surya_layout
8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
via surya_layout
9 comes after this. annotation_inline
parent ligne 8
via heuristic_short
10 (440) main
via surya_layout
11 Thus ends the fourfold ganaila. main
via surya_layout
12 [5. Saṅkarailā] section_header
via surya_layout
13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
via surya_layout
14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
via surya_layout
15 said to be named sankara. main
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16 (441) annotation_inline
parent ligne 15
via heuristic_short
17 [Thus ends gaņailā.] editorial_bracket
parent ligne 15
via heuristic_brackets
18 [B. The varieties of Mātrailā] section_header
via surya_layout
19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
via surya_layout
20 of) mātrailā spoken of by Vallabha.54 main
via surya_layout
21 (442) main
via surya_layout
22 [1. Raulekhā] section_header
via surya_layout
23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
via surya_layout
24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
via surya_layout
25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
via surya_layout
26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
via surya_layout
27 ratilekhā by the experts in the science of music (gītaśāstra). main
via surya_layout
28 <math>(443-444)</math> main
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vol_I_p052 RIGHT — 41 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 87 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 When in the gita (melodic rendering) the svaras move (to and fro) in main
via surya_layout
4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
via surya_layout
5 the beginning of the succeeding phrase), or two by two, that is known as the main
via surya_layout
6 (119) annotation_inline
parent ligne 5
via heuristic_height
7 sañcārin9 (circulatory) varņa. annotation_inline
parent ligne 5
via heuristic_height
8 (Anu. 65) section_header
via surya_layout
9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
via surya_layout
10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
via surya_layout
11 is formed). annotation_inline
parent ligne 10
via heuristic_height
12 (Anu. 66) section_header
via surya_layout
13 Where the svaras of the gita ascend one by one or with intervening gaps, main
via surya_layout
14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
via surya_layout
15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
via surya_layout
16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
via surya_layout
17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
via surya_layout
18 (ascending) varņa (comes into being). main
via surya_layout
19 Where the svaras descend in one order alone, that is called avarohin with main
via surya_layout
20 (120) annotation_inline
parent ligne 19
via heuristic_height
21 'equal' (gapless) svaras (or) with gaps. annotation_inline
parent ligne 19
via heuristic_height
22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
via surya_layout
23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
via surya_layout
24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
via surya_layout
25 Hence it has been said - annotation_inline
parent ligne 24
via heuristic_height
26 "These varnas ought to be known for the sake of the structuring" of main
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27 alankāras and the like, as being born of svaras produced by the human body 12 main
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28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
via surya_layout
29 (Anu. 67) section_header
via surya_layout
30 How is varna brought about? It is being answered. When the svaras stretch main
via surya_layout
31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
via surya_layout
32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
via surya_layout
33 melodic movement) is effected. annotation_inline
parent ligne 32
via heuristic_height
34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
via surya_layout
35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
via surya_layout
36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
via surya_layout
37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
via surya_layout
38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
via surya_layout
39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
via surya_layout
40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
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41 These varņas obtain also in the wooden20 (viņā), just as they are main
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vol_II_p096 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 174 page_number
via heuristic_pagenum
3 .....साधारिता । [३] editorial_bracket
parent ligne 4
via heuristic_brackets
4 निषादांशा तु षड्जान्ता गान्धारी पूर्णसुस्वरा । main
via surya_layout
5 भाषा सौवीरके ह्येषा गीयते करुणे सदा ११३॥ १२३॥ main
via surya_layout
6 उदाहरणम् – निनिगागापामामानिसामागानी । धासासासा<sup>११४</sup>। गान्धारी । [४] editorial_bracket
parent ligne 5
via heuristic_brackets
7 ॥ [इति]सौवीरकभाषा: समाप्ता: ॥ editorial_bracket
parent ligne 5
via heuristic_brackets
8 ८. अतःपरं भिन्नपञ्चमस्य भाषाः कथ्यन्ते main
via surya_layout
9 ॰पञ्चमेऽस्य annotation_inline
parent ligne 8
via heuristic_markers
10 धैवतांशा तदन्ता च ११५सम्पूर्णा शुद्धभित्रका । main
via surya_layout
11 धैवतर्षभसंवाद: षड्जमध्यमयोस्तथा ॥ १२४॥ main
via surya_layout
12 भित्रपञ्चमजा होषा शुद्धभित्रा प्रकीर्तिता । main
via surya_layout
13 लोकस्य रञ्जनं दृष्ट्वा किन्नरैर्गीयते सदा ॥ १२५॥ main
via surya_layout
14 रञ्जकं annotation_inline
parent ligne 13
via heuristic_height
15 उदाहरणम्-धानिधानिससधा नीधानीसागासनिगानिधा पापानिनिमपामापापमाधा main
via surya_layout
16 धापाधापा annotation_inline
parent ligne 15
via heuristic_height
17 धापाधाधा । शुद्धभिन्ना । [१] editorial_bracket
parent ligne 15
via heuristic_brackets
18 मध्यमांशा धैवतान्ता ऋषभेण तु दुर्बला । main
via surya_layout
19 षड्जधैवतसंवादो द्विश्रुतीनां सधैवतम् ॥ १२६॥ main
via surya_layout
20 भाषा तु षाडवा ह्येषा बहुधैवतमध्यमा । main
via surya_layout
21 वराटी चेति विख्याता गीता विद्याधरै: किल<sup>११६</sup>॥ १२७॥ main
via surya_layout
22 उदाहरणम् - माधासधानिधा पानिमामागासासागामागा साधानीधा। main
via surya_layout
23 धाधाधाधासाधा annotation_inline
parent ligne 22
via heuristic_height
24 नीपापामागासासागामा[धाधा] । वराटी । [२] editorial_bracket
parent ligne 22
via heuristic_brackets
25 (वराटी) annotation_inline
parent ligne 22
via heuristic_height
26 मन्द्रेऽत्र ऋषभः कार्यो [धैवतश्च] मुहुर्मुहुः ॥ १२८॥ editorial_bracket
parent ligne 22
via heuristic_brackets
27 स्फुरितं तत्र कर्तव्यं द्रुतमध्यविलम्बितम् । main
via surya_layout
28 तारमन्द्रगतिं कुर्यात् तथारोहावरोहकम् ॥ main
via surya_layout
29 तारं म(न्त्र?न्द्र) annotation_inline
parent ligne 28
via heuristic_height
30 तथा भाषा च विज्ञेया भित्रपञ्चमसम्भवा १९७॥ १२९॥ unknown
via fallback

vol_II_p109 LEFT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 10 page_number
via heuristic_pagenum
2 [ पञ्चमोऽध्याय: ] section_header
via surya_layout
3 [देशीरागाः] section_header
via surya_layout
4 [मङ्गलाचरणम् ] section_header
via surya_layout
5 बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां main
via surya_layout
6 पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् । main
via surya_layout
7 सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति main
via surya_layout
8 देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥ main
via surya_layout
9 अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥ main
via surya_layout
10 [त्रिविधदेशीरागा:] section_header
via surya_layout
11 ै[लक्ष्यलक्षणसंयुक्तं त्रिविधं वाऽपि संयुतम् । editorial_bracket
parent ligne 10
via heuristic_brackets
12 रागाङ्गं चैव भाषाङ्गं क्रियाङ्गं च तृतीयकम् ॥ ३४७॥ main
via surya_layout
13 प्रत्येकं लक्षणं चैषां प्रवक्ष्याम्यनुपूर्वश: ॥ ३४८॥ main
via surya_layout
14 रेउक्तानां ग्रामरागाणां छायामात्रं भजन्ति हि । main
via surya_layout
15 गीतज्ञै: कथिता: सर्वे रागाङ्गास्तेन हेतुना ॥ ३४९॥ main
via surya_layout
16 भाषाछायाश्रिता येन जायन्ते सदृशा: किल । main
via surya_layout
17 भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥ main
via surya_layout
18 <sup>३</sup>स्तौतिकादिभि: annotation_inline
parent ligne 17
via heuristic_height
19 <sup>४</sup>करुणोत्साहशोकादिप्रभवा या क्रिया तत: । main
via surya_layout
20 जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥ main
via surya_layout
21 ५तदत्र मार्गरागेषु नियमो य: पुरोदित: । main
via surya_layout
22 स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [भाषाङ्गरागा: ?] editorial_bracket
parent ligne 21
via heuristic_brackets
24 [१. कच्छेल्ली] section_header
via surya_layout
25 मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा । main
via surya_layout
26 कच्छेल्ली <sup>६</sup>गधहीना च विज्ञेया परिभूरिगा<sup>७</sup> ॥ ३५३॥ main
via surya_layout
27 गतिसीना annotation_inline
parent ligne 26
via heuristic_height
28 (या) annotation_inline
parent ligne 26
via heuristic_height
29 ॰जा annotation_inline
parent ligne 26
via heuristic_markers
30 مروره هم و العرب العرب العربي و العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب ا annotation_inline
parent ligne 26
via heuristic_height

vol_II_p043 RIGHT — 51 lignes

page vol_II_p043 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 69 page_number
via heuristic_pagenum
3 rī rī gā sama mā mā pā pā table
via surya_layout
4 (8) table
via surya_layout
5 mā pā mā pariga gā gā gā gā table
via surya_layout
6 (9) table
via surya_layout
7 dhā nī pā mā dhā nī sā sā table
via surya_layout
8 (10) table
via surya_layout
9 nī nī nī nī ņī nī nī nī table
via surya_layout
10 (11) table
via surya_layout
11 mā mā dhā nī nī dhā pā pā table
via surya_layout
12 (12) table
via surya_layout
13 mā pā mā pariga gā gā gā gā table
via surya_layout
14 (13) table
via surya_layout
15 nī nī pā dhani gā gā gā gā table
via surya_layout
16 (14) table
via surya_layout
17 sā rī gā sā nī nī nī nī table
via surya_layout
18 (15) table
via surya_layout
19 nī nī dhā dhā pā pā pā pā table
via surya_layout
20 (16) table
via surya_layout
21 Thus ends Kārmāravī. section_header
via surya_layout
22 [7.Gāndhārapañcami] section_header
via surya_layout
23 Pañcama is the amsa in gandharapañcami. The wise should produce main
via surya_layout
24 concert (among svaras) here also as in gāndhārī and pancamī. main
via surya_layout
25 (19) annotation_inline
parent ligne 24
via heuristic_short
26 Caccatpuța ( is the tāla), there are sixteen kalās here. The mūrchanā main
via surya_layout
27 beginning with gandhara obtains. Application is (prescribed) in the singing main
via surya_layout
28 of dhruvās pertaining to the fourth act. main
via surya_layout
29 (20) annotation_inline
parent ligne 28
via heuristic_short
30 Gāndhārais the nyāsain this (jāti). Ŗṣabhaand pañcamaare apanyāsas. The main
via surya_layout
31 prastāra is thus - main
via surya_layout
32 mā mā pama dhanī dhapa mā dhā nī table
via surya_layout
33 (1) table
via surya_layout
34 sani dhā pā pā pā pā pā table
via surya_layout
35 (2) table
via surya_layout
36 dhā nī sā sā mā mā pā pā table
via surya_layout
37 (3) table
via surya_layout
38 ការី ការី ការី ការី ការី ការី ការី ការី table
via surya_layout
39 (4) table
via surya_layout
40 nī nī dhapa mā nidha nidha pā pā table
via surya_layout
41 (5) table
via surya_layout
42 pā pā rī rī rī rī pā pā table
via surya_layout
43 (6) table
via surya_layout
44 mā riga sā sadha nī nī nī nī table
via surya_layout
45 (7) table
via surya_layout
46 nī rī sā risa rī rī rī rī table
via surya_layout
47 (8) table
via surya_layout
48 ni gā sā niga sā nī nī nī table
via surya_layout
49 (9) table
via surya_layout
50 nī mā nī mā pā pā gā gā table
via surya_layout
51 (10) table
via surya_layout
180 lignes a valider — change uniquement les roles incorrects.