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 21104). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p040 RIGHT — 35 lignes

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1 TRANSLATION annotation_inline
parent ligne 3
via heuristic_height
2 63 page_number
via heuristic_pagenum
3 sa X ga ma pa dha ni main
via surya_layout
4 ni sa X ga ma pa dha main
via surya_layout
5 dha ni sa X ga ma pa main
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6 pa dha ni sa X ga ma main
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7 ma pa dha ni sa X ga main
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8 ga ma pa dha ni sa X main
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9 X ga ma pa dha ni sa main
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10 (Tānas) devoid of rṣabha. main
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11 sa ri ga ma X dha ni main
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12 ni sa ri ga ma X dha main
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13 dha ni sa ri ga ma X main
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14 X dha ni sa ri ga ma main
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15 ma X dha ni sa ri ga main
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16 ga ma X dha ni sa ri main
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17 ri ga ma X dha ni sa main
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18 (Tānas) devoid of pañcama. main
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19 sa ri ga ma pa dha X main
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20 X sa ri ga ma pa dha main
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21 dha X sa ri ga ma pa main
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22 pa dha X sa ri ga ma main
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23 ma pa dha X sa ri ga main
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24 ga ma pa dha X sa ri main
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25 ri ga ma pa dha X sa main
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26 (Tānas) devoid of niṣāda. main
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27 Thus end the sadava [ tanas ]. editorial_bracket
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28 X ri ga ma X dha ni main
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29 ni X ri ga ma X dha annotation_inline
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30 dha ni X ri ga ma X main
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31 X dha ni X ri ga ma annotation_inline
parent ligne 30
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32 ma X dha ni X ri ga main
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33 ga ma X dha ni X ri annotation_inline
parent ligne 32
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34 ni ga ma X dha ni X main
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35 (Tānas) devoid of sa-pa. main
via surya_layout

vol_II_p070 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 Electric and the annotation_inline
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2 123 page_number
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3 TRANSLATION page_header
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4 [Anu. 208] section_header
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5 Its meaning is thus - Rūpasādhārita is related to şadjagrāma on account of main
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6 being born of şadjamadhyamā and niṣādavatī. Şadja is its graha and amśa. main
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7 Madhyama is the nyāsa. There is the sparseness of pañcama and ṛṣabha. main
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8 Niṣāda is kākalī here and this (rāga) is complete. It is used in vīra and karuņa main
via surya_layout
9 (rasas). Vīra and the like is the rasa84 The mūrchanā begininng with ṣaḍja main
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10 obtains. Arohin is the varna. Prasannamadhya is the alankāra. The kalā is main
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11 formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the main
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12 kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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13 comprised of svara and pada. main
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14 (338) main
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15 [6. Gāndhārapañcama] section_header
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16 Gāndhārapañcama isborn of gāndhārī and raktagāndhārī (jātis). Gāndhāra is main
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17 its <i>amśa</i> and <i>gāndhāra</i> alone is <i>nyāsa</i>. main
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18 [Anu. 209] section_header
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19 Itsmeaning is thus-gāndhārapañcama is related to madhyamagrāma on account main
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20 of being born of gāndhārī and raktagāndhārī jātis. Although it is born of dhaivatī main
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21 (jāti) in the opinion of Durgaśakti, yet on account of pañcama being comprised main
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22 of three śrutis, it is related to madhyama (grāma) alone in spite of being born of main
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23 jātis belonging to both the grāmas. Gāndhāra is its graha, amśa and nyāsa. With main
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24 relevance to the performer, gāndhāra may become dhaivata.85 Niṣāda is main
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25 kākalī here and this (rāga) is complete. Its application is prescribed in main
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26 adbhuta, vismaya<sup>86</sup> and hāsya (rasas). Karuṇa is the rasa<sup>87</sup> The mūrchanā main
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27 beginning with gāndhāra obtains. Sañcārin is the varņa. Prasannamadhya is main
via surya_layout
28 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
via surya_layout
29 the vārtika(mārga) and the kalā prevails in the citra (mārga). A tāla like main
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30 caccatputa obtains in the songs comprised of svara and pada. main
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31 [7.Şadjakaisika] section_header
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32 *************** annotation_inline
parent ligne 31
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33 [8. Pañcamaṣāḍava] section_header
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34 Pañcamaṣāḍavaisborn of dhaivatī and ārṣabhī jātis. It is combined with ṛṣabha main
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35 as the amśa and madhyama alone is the nyāsa. main
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36 (339) main
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vol_II_p125 LEFT — 28 lignes

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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
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6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
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7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
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8 [१. रमणी] section_header
via surya_layout
9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
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10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
via heuristic_height
11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
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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
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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
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26 [६. मालती] section_header
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27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
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28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
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vol_I_p058 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 98 page_number
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3 | अनु₀ <b>९</b>0 | editorial_bracket
parent ligne 4
via heuristic_brackets
4 तारादेकान्तरस्वरावरोहात् त्रिरावृत्त्या कलात्रयकरणात् सर्वेषां 25ह्रादमानः। यथा— main
via surya_layout
5 26सध सध सध, निप निप निप, धम धम धम, पग पग पग, मरि मरि मरि, गस गस main
via surya_layout
6 Ĺ unknown
via fallback
7 [ २१ ] editorial_bracket
parent ligne 5
via heuristic_brackets
8 गस 🛭 इति 📗 ह्रादमानः। main
via surya_layout
9 अनु₀ ९१ ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 समनन्तरस्वरमारुह्य द्वे कले स्थित्वा पुनः स्वरोऽन्तरे अर्धकलामारोहति main
via surya_layout
11 (व?) ति annotation_inline
parent ligne 10
via heuristic_short
12 र्द annotation_inline
parent ligne 10
via heuristic_height
13 <b>.</b> annotation_inline
parent ligne 10
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14 पुनश्चानन्तरमेवार्धकलामवरोहित स रिक्षतः। [ यथा - ] सरी मग, रिगा पम, गमा editorial_bracket
parent ligne 10
via heuristic_brackets
15 ₀ಪು annotation_inline
parent ligne 10
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16 धप, मपा निध, पधा सनि [ इति ] रञ्जितः। editorial_bracket
parent ligne 10
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17 [ २२ ] editorial_bracket
parent ligne 10
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18 [ अनु₀ ९२ ] editorial_bracket
parent ligne 10
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19 आरोहावरोहाभ्यामष्टौ स्वरानुच्चार्य प्राकृस्वरोच्चारणान्ते क्रमशोऽष्टकल आवर्तकः। main
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20 र (प २) मु₀ annotation_inline
parent ligne 19
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21 ०मादौ₀ annotation_inline
parent ligne 19
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22 अथवा सग गप पनि धस सध निप पग गस [ इति ] आवर्तकः। editorial_bracket
parent ligne 19
via heuristic_brackets
23 [ २३ ] editorial_bracket
parent ligne 19
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24 धानीपा गासा annotation_inline
parent ligne 19
via heuristic_height
25 सधा annotation_inline
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26 27q q127 main
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27 [ अनु₀ ९३ ] editorial_bracket
parent ligne 26
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28 [ अनन्तरं त्रिस्वरानारुह्य ] पुनरेकस्वरं चतुर्थं लङ्घयित्वा पञ्चमं स्वरं प्राप्य editorial_bracket
parent ligne 26
via heuristic_brackets
29 पुनरप्य [न] न्तरान् त्रिस्वरानवरोहृन् चतुर्थं । लङ्क्षयन्नाद्यं स्वरं षड्जं गच्छेत्। editorial_bracket
parent ligne 26
via heuristic_brackets
30 <sup>29</sup>चतुर्ल main
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31 आरोहावरोहाभ्यां कलाष्टकेन तथैव तारादारभ्य सर्वस्वराणामारोहावरोहणम्। षोडशकलः main
via surya_layout
32 (लो २ला) व annotation_inline
parent ligne 31
via heuristic_short
33 नवरोई (?) main
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34 परिवर्तकः। स.च लोके ओहाडीत्युच्यते [ यथा -] सरिगप पमगस, रिगमध धपमरि, editorial_bracket
parent ligne 33
via heuristic_brackets
35 (को १ के) main
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36 सा annotation_inline
parent ligne 35
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37 पा annotation_inline
parent ligne 35
via heuristic_height
38 गमपनि निधपग, मपधस सनिधम, सनिधम मपधस, निधपग गमपनि, धपमरि main
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39 गा annotation_inline
parent ligne 38
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40 रिगमध, पमगस सरिगम इति परिवर्तकः। main
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41 [ २४ ] editorial_bracket
parent ligne 40
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42 <sup>ं३0</sup><br>अनु<sub>॰</sub> ९४ ] editorial_bracket
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43 स्वरद्वये ह्येककलया आरोहक्रमेण तृतीयस्वरं परिहरन्नारोहक्रमेणैवोपरितनस्थ- main
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44 हि. annotation_inline
parent ligne 43
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45 0 इ annotation_inline
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46 स्वरद्वयमाक्रामन्ननेनैव क्रमेणावरोहः। शेषानिप स्वराननेनैव क्रमेणारोहन्नष्टादशकल main
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47 .क्रमान, annotation_inline
parent ligne 46
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vol_II_p036 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 55 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [8. Gändhārī] section_header
via surya_layout
4 Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, main
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5 the same are amsas of gandhari. The tara extends upto five svaras. The mandra main
via surya_layout
6 , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid main
via surya_layout
7 of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete main
via surya_layout
8 state there is sparseness of rṣabha-dhaivata, and abundance of the remaining main
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9 ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara, main
via surya_layout
10 gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is main
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11 sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That main
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12 is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}< main
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13 prayoga (performance). main
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14 Thus is the performance. When it is sung with the omission of rṣabha then main
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15 while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) main
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16 mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic main
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17 form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the main
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18 performance. Mā-pa-ri-dhā is never to be performed. main
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19 [Anu. 161] editorial_bracket
parent ligne 18
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20 This is eleven-fold. There are eleven ainsas - there is one in the suddhā main
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21 state, five in the vikṛtā complete state, four are hexatonic (and) one is main
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22 pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța main
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23 is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala main
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24 vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there main
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25 is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā main
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26 in the third act of a drama. annotation_inline
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27 [9. Raktagāndhāri] section_header
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28 [Anu. 162] editorial_bracket
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29 Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas main
via surya_layout
30 of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra main
via surya_layout
31 extends up to the nyāsa or the svara next to it. The hexatonic form is devoid main
via surya_layout
32 of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the main
via surya_layout
33 paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) main
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34 have abundance. On account of niṣāda being the amśa, its abundance is main
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35 indicated. Its non-abundance comes about on account of the stated main
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36 prescription. Dhaivata being non-aniśa, its sparseness is indicated, its main
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182 lignes a valider — change uniquement les roles incorrects.