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 21016). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p073 LEFT — 22 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 128 page_number
via heuristic_pagenum
3 ‘‘क्वचिदंशः क्वचित्र्यासः षाडवौडुविते क्वचित्। main
via surya_layout
4 अल्पत्वं च बहुत्वं च ग्रहापन्याससंयुतम् ॥ main
via surya_layout
5 मन्द्रतारौ तथा ज्ञात्वा योजनीयं मनीिषभि:। main
via surya_layout
6 ११९ नीया annotation_inline
parent ligne 5
via heuristic_height
7 ग्रामरागाः प्रयोक्तव्या विधिवद् दशरूपके ॥ main
via surya_layout
8 १२० एरूपकाः annotation_inline
parent ligne 7
via heuristic_short
9 प्रवेशाक्षेपनिष्क्रामप्रासादिकमथान्तरम् । main
via surya_layout
10 ॰(म?प)नि(प:फ्नाम)॰ annotation_inline
parent ligne 9
via heuristic_markers
11 गानं पञ्चविधं यत्तद् रागैरेभि: प्रयोजयेत् ॥'' main
via surya_layout
12 ď annotation_inline
parent ligne 11
via heuristic_height
13 १२१मीतं annotation_inline
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via heuristic_height
14 [गीतीनां विनियोगः] section_header
via surya_layout
15 १२२पूर्वरङ्गे तु शुद्धा स्याद् भिन्ना प्रस्तावनाश्रया । main
via surya_layout
16 (तु) annotation_inline
parent ligne 15
via heuristic_height
17 वेसरा मुखयो: कार्या गर्भे गौडी विधीयते। main
via surya_layout
18 १२३साधारिताऽवमर्शे स्यात् सन्धौ निर्वहणे तथा ॥३४४॥ main
via surya_layout
19 स्या+हणे स्यात् + सर्वदा main
via surya_layout
20 ॥ इति मतङ्गमुनिविरचितबृहद्देश्यां रागलक्षणं [नाम] तृतीया[ध्याय:] समाप्त:॥ editorial_bracket
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via heuristic_brackets
21 •सम् annotation_inline
parent ligne 19
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22 न्यं annotation_inline
parent ligne 19
via heuristic_height

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 141 page_number
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3 Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. main
via surya_layout
4 Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā main
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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
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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
via surya_layout
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
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15 pañcama-ṛṣabha should be known there. annotation_inline
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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

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L#Texte OCRRole autoCorriger si incorrect
1 L annotation_inline
parent ligne 5
via heuristic_height
2 · - 1 1 1 annotation_inline
parent ligne 5
via heuristic_height
3 232 page_number
via heuristic_pagenum
4 BRHADDESĪ page_header
via surya_layout
5 [घ. पुनर्वर्णेला-सप्तकम्] section_header
via surya_layout
6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
via surya_layout
7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
via surya_layout
8 [१. रमणी] section_header
via surya_layout
9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
via surya_layout
10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
via heuristic_height
11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
via surya_layout
12 ॰द्यो॰ annotation_inline
parent ligne 11
via heuristic_markers
13 [२.चन्द्रिका] section_header
via surya_layout
14 स्रोतोगता समा चैव यत्र पादद्वये भवेत्। main
via surya_layout
15 बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥ main
via surya_layout
16 [३.लक्ष्मी] section_header
via surya_layout
17 गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च । main
via surya_layout
18 मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥ main
via surya_layout
19 [४.पद्मिनी] section_header
via surya_layout
20 आद्ये पादे द्वितीये च तृतीये च चतुर्थके । main
via surya_layout
21 वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥ main
via surya_layout
22 [५.रञ्जिनी] section_header
via surya_layout
23 प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके । main
via surya_layout
24 स्रोता annotation_inline
parent ligne 23
via heuristic_height
25 गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥ main
via surya_layout
26 [६. मालती] section_header
via surya_layout
27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
via surya_layout
28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
via surya_layout

vol_II_p048 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 78 page_number
via heuristic_pagenum
3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
via surya_layout
4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
via surya_layout
5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
via surya_layout
6 यापि वाचकः annotation_inline
parent ligne 5
via heuristic_height
7 मन्थवत् annotation_inline
parent ligne 5
via heuristic_height
8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
via surya_layout
9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
via heuristic_height
10 [गीति-भेदाः] section_header
via surya_layout
11 [तत्र मतङ्गमतम् ] section_header
via surya_layout
12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
via surya_layout
13 (त ? ती) annotation_inline
parent ligne 12
via heuristic_height
14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
via surya_layout
15 (त ? ति:) annotation_inline
parent ligne 14
via heuristic_height
16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
via surya_layout
17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
via surya_layout
18 (त ?ति) annotation_inline
parent ligne 17
via heuristic_height
19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
via surya_layout
20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
via surya_layout
21 सप्तगीत्यो मया annotation_inline
parent ligne 20
via heuristic_height
22 [॥ इति मतङ्गमतम्॥] editorial_bracket
parent ligne 20
via heuristic_brackets
23 [दुर्गशक्तिमतम्] section_header
via surya_layout
24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
via surya_layout
25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
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26 याष्ट्रिकेन महात्मना annotation_inline
parent ligne 25
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27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
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L#Texte OCRRole autoCorriger si incorrect
1 ¶ Visi annotation_inline
parent ligne 4
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2 57 page_number
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3 TRANSLATION page_header
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4 abundance comes about on account of the stated prescription. In the main
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5 hexatonic form, there is the non-abundance of dhaivata but it is never so in main
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6 the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the main
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7 case of any svara on acount of all of them being amsas. In this way there is main
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8 the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is main
via surya_layout
9 madhyama alone. There is the sancāra 76 or to and fro movement of sadja main
via surya_layout
10 and gändhära. main
via surya_layout
11 [Anu. 163] section_header
via surya_layout
12 It is ten-fold. There are ten amsas - five pertain to the complete state, four main
via surya_layout
13 to the hexatonic state, on account of there being an exception when pañcama main
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14 is the ainsa. One pertains to the auduvita state. The mūrchanā beginning main
via surya_layout
15 with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the main
via surya_layout
16 ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga), main
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17 sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It main
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18 is applied in the dhruva gana in the third act. main
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19 . . . . . . . . . . . . . . . . . . . . annotation_inline
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20 [12. 77 Description of nine jātis in the interpolated portion] section_header
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21 ٠ page_number
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22 [1.Şadjamadhyamā] section_header
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23 Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro main
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24 movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other main
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25 words) except the vādin state of (gāndhāra). main
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26 (1) annotation_inline
parent ligne 25
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27 The hextatonic and pentatonic states are known to be when niṣāda and main
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28 niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are main
via surya_layout
29 the adversaries of the hexatonic and pentatonic states. main
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30 (2) annotation_inline
parent ligne 29
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31 The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which main
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32 ፥ annotation_inline
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33 begins with madhyama and the viniyoga is as (prescribed) before. main
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34 (3) annotation_inline
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35 Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The main
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36 prastāra is thus - main
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37 ı annotation_inline
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38 (1) annotation_inline
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39 mā gā saga pā dhapa mā nidha nima main
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40 (2) annotation_inline
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41 mā mā sā riga maga nidha padha pā main
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142 lignes a valider — change uniquement les roles incorrects.