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 21064). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p061 RIGHT — 33 lignes

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1 1 page_number
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2 TRANSLATION page_header
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3 105 page_number
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4 [C. Gauda rāgas] section_header
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5 [Anu. 186] section_header
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6 (Contention) Why are they known as gaudas? It is being answered, on main
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7 account of being related to gaudigiti. What is its description? It is being main
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8 answered. That is thus - annotation_inline
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9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
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10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
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11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
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12 (315) annotation_inline
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13 [1. Gaudapañcama] section_header
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14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
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17 pañcama. annotation_inline
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18 (316) annotation_inline
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19 [Anu. 187] section_header
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20 This means - gaudapañcama is related to sadjagrāma on account of being main
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21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
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22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
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23 hexatonic, being devoid of pañcama. Its application is prescribed in main
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24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
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25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
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26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
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27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
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28 the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [2. Gaudakaisika] section_header
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31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
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vol_I_p037 RIGHT — 193 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>TRANSLATION</b> page_header
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2 57 page_number
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3 dha - ni main
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4 - n annotation_inline
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5 - sa main
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6 - ga annotation_inline
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7 ma main
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8 - pa annotation_inline
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9 - annotation_inline
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10 - dha - ni main
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11 - sa annotation_inline
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12 n main
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13 - annotation_inline
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14 • - main
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15 ga annotation_inline
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16 рa main
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17 (vide) annotation_inline
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18 ma main
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19 dha - ni annotation_inline
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20 ni main
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21 sa annotation_inline
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22 - pa main
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23 - annotation_inline
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24 - main
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25 • annotation_inline
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26 - ga main
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27 ma annotation_inline
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28 - dha - main
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29 ni annotation_inline
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30 - pa main
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31 - ni annotation_inline
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32 - ma main
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33 sa annotation_inline
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34 - main
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35 ga main
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36 ŧ annotation_inline
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37 dha - main
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38 ni annotation_inline
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39 ni - sa main
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40 - ma - þa - annotation_inline
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41 - ga main
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42 Thus is in sadjagrāma. main
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43 - dha - ni - annotation_inline
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44 - pa main
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45 - 17 annotation_inline
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46 54 page_number
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47 ma main
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48 - ga annotation_inline
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49 - dha - main
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50 ni annotation_inline
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51 - pa main
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52 ma annotation_inline
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53 - main
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54 sa annotation_inline
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55 ฑ main
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56 ga annotation_inline
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57 • main
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58 dha - annotation_inline
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59 ni main
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60 ni - annotation_inline
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61 - pa main
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62 - ma annotation_inline
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63 sa main
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64 - ga annotation_inline
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65 - main
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66 dha - annotation_inline
parent ligne 65
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67 pa main
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68 ni annotation_inline
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69 - ni main
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70 - ma annotation_inline
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71 - ga main
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72 - annotation_inline
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73 - main
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74 sa annotation_inline
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75 dha main
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76 - pa annotation_inline
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77 ni main
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78 - n annotation_inline
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79 - ga main
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80 ma annotation_inline
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81 - sa main
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82 - annotation_inline
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83 - main
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84 ١ page_number
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85 dha - ni - sa main
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86 - ni annotation_inline
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87 ga main
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88 • annotation_inline
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89 - ma - pa main
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90 pa - dha - ni annotation_inline
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91 - sa main
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92 ni annotation_inline
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93 - main
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94 ga annotation_inline
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95 ma main
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96 - annotation_inline
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97 Thus is in madhyama-grāma. main
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98 ! unknown
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99 Mūrchanā-maņdala (cycle) section_header
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100 dha | pa table
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101 ni table
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102 ni table
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103 ma table
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104 ga table
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105 sa table
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106 dha| pa table
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107 ni table
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108 ni table
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109 ma table
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110 50 page_number
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111 ga table
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112 dha table
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113 ni table
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114 ni table
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115 þa table
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116 50 page_number
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117 ga table
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118 ma table
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119 1 page_number
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120 dha| pa table
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121 ni table
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122 ni table
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123 Sa table
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124 ga table
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125 ma table
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126 dha table
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127 ni table
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128 ni table
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129 pa table
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130 ma table
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131 sa table
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132 ga table
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133 dha table
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134 n table
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135 ni table
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136 pa table
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137 ma table
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138 ga table
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139 Sa table
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140 ni table
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141 ni table
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142 dha pa table
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143 ga table
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144 ma table
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145 sa table
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146 Thus is the mūrchanā-maṇḍala in ṣaḍja-grāma. main
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147 dha | pa table
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148 ni table
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149 ni table
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150 ma table
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151 sa table
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152 ga table
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153 <math>\pi^{i}</math> table
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154 dha| pa table
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155 ni table
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156 ma table
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157 ga table
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158 sa table
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159 ni table
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160 dha table
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161 ni table
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162 рa table
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163 ga table
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164 sa table
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165 ma table
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166 dha| pa table
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167 ni table
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168 ni table
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169 SA table
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170 ma table
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171 ga table
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172 dha table
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173 71 page_number
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174 ni table
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175 рa table
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176 sa table
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177 ma table
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178 ga table
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179 ni table
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180 dha table
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181 ni table
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182 þа table
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183 ma table
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184 ga table
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185 sa table
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186 ni table
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187 ni table
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188 dha pa table
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189 ma table
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190 ga table
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191 Sa table
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192 1 page_number
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193 Thus is the mūrchanā-maṇḍala in madhyama-grāma. main
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vol_II_p050 RIGHT — 34 lignes

page vol_II_p050 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
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2 TRANSLATION page_header
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3 [3. Gaudī giti and its component ohāțī] section_header
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4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
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5 to consist of a combination of the sound 'ha' and 'o'. main
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6 (277) annotation_inline
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7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
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8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
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9 svara. annotation_inline
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10 (278) annotation_inline
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11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
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12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
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13 in the three registers. annotation_inline
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14 (279) annotation_inline
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15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
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16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
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17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
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19 (280) annotation_inline
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20 Gaudī gīti is said to subsist without rest in the three registers. main
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21 (281) annotation_inline
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22 [4. Rāga giti] section_header
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23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
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24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
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vol_II_p028 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
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2 38 page_number
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3 योजनीया इत्यर्थः। चतसृणां जातीनां नित्यसम्पूर्णानां नवांशाः पातनीयाः त्रिषष्टिमध्ये। main
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4 <sup>९४</sup>नित्यपूर्णानां main
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5 तद्यथा- पसगप रिपधनिप । एषु नवांशेषु पातितेषु चतुष्पञ्चाशदंशा अवशिष्यन्ते । तत्रापि main
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6 रिपधनिपसग । पध annotation_inline
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7 ९५षड्जमध्यमा - षड्जोदीच्यवा -       कैशिकी-गान्धारी-रक्तगान्धारी - षाड्जीत्यासां main
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8 धैवती आसां annotation_inline
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9 षङ्जातीनां सप्तांशाः पातनीयाः। तेषु सप्तांशेषु पातितेषु सप्तचत्वारिंशदंशा भवन्ति। तद्यथा- main
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10 मध्यमोदीच्यवा पेन तथा गान्धारपञ्चमी । main
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11 ॰सायां वा annotation_inline
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12 कार्मारवी रिपनिधै: सगपै: षड्जकैशिकी ॥२५७॥ main
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13 [अनु॰ १४०] editorial_bracket
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14 [अस्यार्थ: ......] तेषु [सप्त] चत्वारिंशदंशेषूक्तस्वरै: षाडवविधि: कर्तव्य: । editorial_bracket
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15 व्यरे: annotation_inline
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16 इदानीमौडुवितविधौ ये तु अनपवादिन: स्वरास्तान् दर्शयति - main
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17 येषु annotation_inline
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18 तथाऽपवादनिर्मुक्तास्त्रिंशदौडुवितास्तु ते ॥२५८॥ main
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19 न्ते भवेत् annotation_inline
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20 ९६०ते तु ते main
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21 [अनु•१४१] editorial_bracket
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22 अस्यार्थ: - तथा तेन प्रकारेण अपवादिनर्मुक्तास्त्रिंशत्प्रकारा बोद्धव्या: । तद्यथा - main
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23 (व्यं?व्य:) annotation_inline
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24 (रं?रो) annotation_inline
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25 त्रिषष्टिमध्ये नित्यसम्पूर्णानां चतसृणां जातीनां नवांशाः पातनीयाः । तेषु पातितेषु main
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26 चतुष्पञ्चाशदंशास्तत्रावशिष्यन्ते तत्रापि चतुष्पञ्चाशन्मध्ये चतसृणां जातीनां नित्यसम्पूर्णषाडवानां main
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27 (स्त? ने) annotation_inline
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28 द्वादशांशा: पातनीया: । तेषु पातितेषु द्विचत्वारिंशदंशे[षु गान्धारीरक्तगान्धारीषड्जमध्यमा- editorial_bracket
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29 द्वादशसप्तांशा: annotation_inline
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30 कैशिकीपञ्चमीत्यासां पञ्चजातीनामनौडुवितभागिनो द्वादशांशा: पातनीया: । तेषु पातितेषु main
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31 त्रिंशदंशे] षूक्तस्वरैरौडुवितविधिर्भवतीति । तथा चाह भरतः - editorial_bracket
parent ligne 30
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vol_I_p025 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
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2 32 page_number
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3 [ अनु. १८ ] editorial_bracket
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4 नन् चतुर्दशानां स्वराणां मध्ये आकारादीनां कथं ग्रहणम् ? सत्यमुक्तम्। main
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5 एतेषामसाधारणत्वेन ग्रहणं कृतम्। असाधारणत्वं main
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6 चैतेषामूर्ध्वध्वनिगामित्वेन। यद्वा षड्जादीनां व्यञ्जनानां स्वरत्वमुक्तम्। main
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7 १ननु - - - सङ्केतमात्रमेतदुक्तं भवति। आचार्याणां परिभाषेत्यर्थः। main
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8 [वाद्यादिभेदेन स्वराणां चातुर्विध्यम् ] section_header
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9 [ अनु. १९ ] editorial_bracket
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10 इदानीमवसरप्राप्तं चातुर्विध्यं स्वराणां १०दर्शयामि। main
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11 11सन्दर्गः annotation_inline
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12 तद्यथा— annotation_inline
parent ligne 10
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13 वदनाद् वादी स्वामिवत्। संवदनात् संवादी अमात्यवत्। main
via surya_layout
14 अनुवदनादनुवादी परिजनवत्। विवदनाद् विवादी शत्रुवत्। main
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15 [ अनु. २० ] editorial_bracket
parent ligne 14
via heuristic_brackets
16 नन् वदनादिकं प्राणिधर्मः कथमचेतनानां स्वराणां सम्भवति ? main
via surya_layout
17 सत्यमुक्तम्। वदनं हि नामात्राः [ राग- ] प्रतिपादकत्वं विवक्षितम्, न editorial_bracket
parent ligne 16
via heuristic_brackets
18 12नाम annotation_inline
parent ligne 16
via heuristic_height
19 वचनमिति। किं तत् प्रतिपादयति ? रागस्य रागत्वं जनयति। ते च main
via surya_layout
20 14亩 annotation_inline
parent ligne 19
via heuristic_height
21 वादिनः स्वराः सप्तेव। main
via surya_layout
22 स च वाद्यंशवद्दशविधो बोद्धव्यः। वादिमण्डलं यथा— main
via surya_layout
23 सरिगमप धनि। annotation_inline
parent ligne 22
via heuristic_short
24 [ अनु २१ ] editorial_bracket
parent ligne 22
via heuristic_brackets
25 संवादिनस्तु पुनः समश्रुतिकत्वे सति त्रयोदश नवान्तरत्वेनावबोद्धव्याः। किं main
via surya_layout
26 <sup>15</sup>वाऽन्योऽन्य annotation_inline
parent ligne 25
via heuristic_height
27 तत् संवादित्वं नाम? main
via surya_layout
28 यद् वादिस्वरेण रागस्य रागत्वं जनितं तन्निर्वाहकत्वं main
via surya_layout
29 नाम संवादित्वम्। संवादिमण्डलं यथा- main
via surya_layout
320 lignes a valider — change uniquement les roles incorrects.