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 21108). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p140 LEFT — 51 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 r annotation_inline
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2 ### ### 100 mg 2 annotation_inline
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via heuristic_height
3 262 page_number
via heuristic_pagenum
4 BRHADDEŚĪ page_header
via surya_layout
5 शुद्धपङ्जाया एव विवक्षितत्वेन तत्प्रयुक्तमन्द्रव्याप्तपङ्जग्रामसम्बन्धोऽनुमेय इति । main
via surya_layout
6 Kalā on SR II.2.30-32, p.30. main
via surya_layout
7 78. P.t. repeats (śruti?) main
via surya_layout
8 79. cf. मान्तोऽल्पगः main
via surya_layout
9 SR II.2.51a, where gāndhāra is said to be sparse. main
via surya_layout
10 80. cf. annotation_inline
parent ligne 9
via heuristic_short
11 केचिद् ऋषभलोपेन हिन्दोलं षड्जसंश्रितम्। main
via surya_layout
12 वदन्ति, तन्मतं नाहं मतङ्गादिविरोधत:। main
via surya_layout
13 धैवतस्याविलोपेन द्विग्रामत्वेऽपि मध्यगम् ॥ main
via surya_layout
14 मध्यमग्रामजात्युत्थं शुद्धमध्याख्यमूर्च्छनम् । main
via surya_layout
15 S.Rāj II.2.1.502c-504b. main
via surya_layout
16 81. ८. यथाह मतङ्ग: - ‘‘भरतकोहलादिभिराचार्यैधैवतलोपस्यानिष्टत्वात् केचित् पङ्जग्रामाश्रित एवायमिति main
via surya_layout
17 मन्यन्ते चतुःश्रुतिकस्य पञ्चमस्यात्रोपलम्भाद् धैवतस्यास्तित्वं वा नास्तित्वं वा न विशेषप्रदर्शकं सर्वत्र । एवं च सित main
via surya_layout
18 ग्राममूर्छनाभेदो वा धैवतेन न स्यादिति भाव:।" main
via surya_layout
19 C.r. in Kalā on SR II.2.30-32, p. 31. main
via surya_layout
20 82.cf. अत्र टीकाकार: शङ्कते । योऽयं जात्यंशकानां विनियोग उक्त: स कश्यपमुनिमतङ्गादिभिविंरुध्यते । main
via surya_layout
21 तथाहि तैरुक्तम् -सम्भोगे चैव शृङ्गारे प्रेङ्खोलितकमेव च । main
via surya_layout
22 Abhi Bhā on NŚ XXIX. 8, p.69 main
via surya_layout
23 83. cf. यद्यपि सम्पूर्णस्वरस्यास्य प्रयोगे च चतुःश्रुतिकस्य पञ्चमस्योपलम्भात् पूर्वोक्तन्यायेन पड्जग्रामसम्बद्ध main
via surya_layout
24 एवायमिति मतङ्गमतम्, तथापि कश्यपमतेन निषादगान्धारयोर्लोपादयमौडुवित इति मतङ्गेनोक्तत्वात् तदा “रिधाभ्यां main
via surya_layout
25 द्विश्रुतिभ्यां च मध्यमग्रामगास्तु ते । हीनाश्चतुर्दशैव स्युः'' इत्यौडुवशुद्धतानलक्षणं मध्यमग्रामेऽपि साक्षादवगम्यत main
via surya_layout
26 इत्याचार्यद्वयमतानुसारिणा नि:शङ्कसूरिणा 'द्विग्रामष्टककैशिक:' इति सुष्ट्रदिष्टम् । main
via surya_layout
27 Kalā on SR II.2.30-32, p.30. main
via surya_layout
28 84.cf. annotation_inline
parent ligne 27
via heuristic_height
29 थैवतांश(स्तदन्तश्च)स्वल्पद्विश्रुतिकस्वर:। main
via surya_layout
30 मध्यमाधैवतीजात्योर्जायते टक्ककेशिक:॥ main
via surya_layout
31 Cited in the name of Kasyapa on Bha Bhā Vol. II, VI. 102. main
via surya_layout
32 85. cf. annotation_inline
parent ligne 31
via heuristic_short
33 पङ्जांशकग्रहन्यासमन्द्रतारोपशोभित: । main
via surya_layout
34 ----- तदा मालवकैशिक:॥ unknown
via fallback
35 C.r. in Bha Bhā Vol . VII MS folio no. 203. main
via surya_layout
36 86. cf. annotation_inline
parent ligne 35
via heuristic_short
37 केचित् पञ्चमविश्रामं मन्यन्ते केचन त्विमम् । main
via surya_layout
38 गान्धारकृतसम्पूर्तिमेतन्नादरमहीत । main
via surya_layout
39 गान्धारस्य विवादित्वात्र्यासस्तत्र न युज्यते ॥ main
via surya_layout
40 S Rāj II.2.1.467c-468. main
via surya_layout
41 87. cf. अत्र टीकाकार: शङ्कते । योऽयं जात्यंशकानां विनियोग उक्त: स कश्यपमुनिमतङ्गादिभिर्विरुध्यते । main
via surya_layout
42 तथाहि तैरुक्तम् - कामभूतेषु सर्वेषु कुर्यान् मालवकैशिकम् । main
via surya_layout
43 Abhi Bhā on NŚ XXIX. 8, p. 69. main
via surya_layout
44 88. cf. annotation_inline
parent ligne 43
via heuristic_short
45 कथिता यत्र तान् वक्ष्ये सप्त साधारणांस्तत: । main
via surya_layout
46 C.r. in Kalā on SR II.2.23-26,p.26. main
via surya_layout
47 89. cf. annotation_inline
parent ligne 46
via heuristic_height
48 मतङ्गो रेवगुप्तं च टक्कसैन्धवमेव च। main
via surya_layout
49 साधारणेषु निक्षिप्य न तान(व) ब्रबीदथ ॥ main
via surya_layout
50 S Rāj II.2.1.62c,63b. main
via surya_layout
51 Terminate and the control of the control of the control of the control of the control of the control of the control of t annotation_inline
parent ligne 50
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vol_II_p052 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 86 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 षाडव: पञ्चमश्चैव तथा कैशिकमध्यम:। main
via surya_layout
4 चोक्षसाधारितश्चैव चोक्षकैशिक इत्यपि ॥ main
via surya_layout
5 एते चोक्षास्तु विज्ञेया, भिन्नकान् साम्प्रतं शृणु ॥२९३॥ main
via surya_layout
6 भित्रषड्जश्च तानश्च भित्रकैशिकमध्यम:। main
via surya_layout
7 भित्रपञ्चमसंज्ञश्च पञ्चमो भित्रकैशिक: ॥२९४॥ main
via surya_layout
8 भिन्नपञ्चम इत्युक्तस्त्रयो गौडा: annotation_inline
parent ligne 7
via heuristic_height
9 प्रकीर्तिताः annotation_inline
parent ligne 7
via heuristic_height
10 गौडपञ्चम इत्येको गौडकैशिक इत्यपि । main
via surya_layout
11 गौडकैशिकमध्यमस्त्रयो गौडा: प्रकीर्तिता: ॥२९५॥ main
via surya_layout
12 टकरागश्च सौवीरस्तथा मालवपञ्चम:। main
via surya_layout
13 टङ्क annotation_inline
parent ligne 12
via heuristic_height
14 षाडवो बोट्टरागश्च तथा हिन्दोलक: पर: ॥२९६॥ main
via surya_layout
15 ट[क]ककैशिक इत्युक्तस्तथा मालवकैशिक:। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एते रागाः समाख्याता नामतो मुनिपुङ्गवैः ॥२९७॥ main
via surya_layout
17 नर्तः शकाख्यः ककुभस्तथा भम्माणपञ्चमः । main
via surya_layout
18 (नर्तः) annotation_inline
parent ligne 17
via heuristic_height
19 हमीण annotation_inline
parent ligne 17
via heuristic_height
20 रूपसाधारितश्चैव तथा गान्धारपञ्चम: । main
via surya_layout
21 षड्जकैशिकसंज्ञश्च सप्त साधारणा: स्मृता: ॥२९८॥ main
via surya_layout
22 [॥ इति रागसङ्ख्या, उद्देशश्च ॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [रागाणां विशेषलक्षणानि] section_header
via surya_layout
24 [क. तत्र शुद्धरागाः] section_header
via surya_layout
25 इदानीं शुद्धानां लक्षणमाह - main
via surya_layout
26 <sup>३५</sup>अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका: । main
via surya_layout
27 <sup>३६</sup>स्वजा(?) main
via surya_layout
28 निरपेक्षा॰ annotation_inline
parent ligne 27
via heuristic_markers
29 स्वजात्यन्यतमाश्चेव ते शुद्धाः परिकीर्तिताः ॥२९९॥ main
via surya_layout
30 [१.शुद्धषाडव:] section_header
via surya_layout
31 [अनु॰ १६४] section_header
via surya_layout
32 तत्र षाडव इति कस्मात्३७ ? किं षड्भि: स्वरैगीयत इति षाडव:, यद् वा षट्सु रागेषु main
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33 (vide) annotation_inline
parent ligne 32
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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 5
via heuristic_height
2 後継続(国際)できます。 annotation_inline
parent ligne 5
via heuristic_height
3 190 page_number
via heuristic_pagenum
4 BRHADDEŠĪ page_header
via surya_layout
5 [३. अथ मालवपञ्चमे] section_header
via surya_layout
6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
via surya_layout
7 पो पा पा annotation_inline
parent ligne 6
via heuristic_height
8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
via surya_layout
9 37 page_number
via heuristic_pagenum
10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
via surya_layout
11 + देशं भा (?) annotation_inline
parent ligne 10
via heuristic_height
12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
via surya_layout
13 ॰िमति॰(?) annotation_inline
parent ligne 12
via heuristic_markers
14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
parent ligne 12
via heuristic_brackets
15 υo annotation_inline
parent ligne 12
via heuristic_height
16 विभाविनी।[१] editorial_bracket
parent ligne 12
via heuristic_brackets
17 ..पौराली । [२] editorial_bracket
parent ligne 12
via heuristic_brackets
18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
parent ligne 12
via heuristic_brackets
19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
via surya_layout
20 + भाषाकरणे annotation_inline
parent ligne 19
via heuristic_height
21 चैवमुद्धारे annotation_inline
parent ligne 19
via heuristic_height
22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
via surya_layout
23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
parent ligne 22
via heuristic_brackets
24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
via surya_layout
25 पञ्चमार्ध तु annotation_inline
parent ligne 24
via heuristic_short
26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
via surya_layout
27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
via surya_layout
28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
parent ligne 27
via heuristic_brackets
29 ॰मा annotation_inline
parent ligne 27
via heuristic_markers
30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
via surya_layout
31 भावनास्था घ्रुवेशजा annotation_inline
parent ligne 30
via heuristic_height
32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
via surya_layout
33 370 page_number
via heuristic_pagenum
34 व्याधाः (?) annotation_inline
parent ligne 32
via heuristic_height

vol_I_p070 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 123 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
via surya_layout
5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
via surya_layout
6 performer), and vartini is moved downwards, visarjitā is moved outwards main
via surya_layout
7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
via surya_layout
8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
via surya_layout
10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
via surya_layout
11 two viz. kṛṣṇā and padmini27 are also (used). main
via surya_layout
12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
via surya_layout
13 (181) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
via surya_layout
16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
via surya_layout
17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
via surya_layout
18 having the predominance of both is vitti vitti, (and) having the predominance main
via surya_layout
19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
parent ligne 19
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
via surya_layout
22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
via surya_layout
25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
via surya_layout
26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
via surya_layout
27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
via surya_layout
28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
via surya_layout
29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
via surya_layout
30 (Anu. 110) annotation_inline
parent ligne 29
via heuristic_height
31 The vādya (presentation on instruments) should be done with sama, atīta main
via surya_layout
32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
via surya_layout
33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
via surya_layout
34 110 page_number
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vol_II_p084 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 151 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
parent ligne 3
via heuristic_height
5 dhāsāsāgāgadhari. annotation_inline
parent ligne 3
via heuristic_height
6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
via heuristic_brackets
7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
8 Combined with şadja as the initial and concluding note, has concert of main
via surya_layout
9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
via surya_layout
10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
via surya_layout
11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
via surya_layout
12 (regional). annotation_inline
parent ligne 11
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13 (65) annotation_inline
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
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186 lignes a valider — change uniquement les roles incorrects.