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 21116). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p011 LEFT — 28 lignes

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1 4 page_number
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2 BŖHADDEŚĪ section_header
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3 व्यञ्जनत्वं तु सर्वेषु कादिवर्गेषु संस्थितम् । main
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4 <sup>7</sup>ुर्णे annotation_inline
parent ligne 3
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5 <b>ु</b>व्या annotation_inline
parent ligne 3
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6 शक्त्यभिव्यक्तिमात्रेण व्यञ्जनं शिवतां गतम् ॥८॥ main
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7 पदवाक्यस्वरूपेण वाक्यार्थवहनेन ध्यत् । main
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8 <sup>9</sup>वर्णयन्ति जगत् सर्वं तेन वर्णाः प्रकीर्तिताः ॥९॥ main
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9 वर्णा यत्र annotation_inline
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10 वर्णपूर्वकमेतिद्ध पदं ज्ञेयं सदा बुधैः । main
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11 पदैस्तु निर्मितं वाक्यं क्रियाकारकसंयुतम् ॥१०॥ main
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12 ततो वाक्यान्महावाक्यं वेदाः साङ्गा ह्यनुक्रमात् । main
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13 व्यक्तास्ते ध्वनितः सर्वे ततो गान्धर्वसम्भवः ॥११॥ main
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14 ध्वनियोंनिः परा ज्ञेया ध्वनिः सर्वस्य कारणम् । main
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15 आक्रान्तं ध्वनिना सर्वं जगत् स्थावरजङ्गमम् ॥१२॥ main
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16 ध्वनिस्तु द्विविधः प्रोक्तो व्यक्ताव्यक्तविभागतः । main
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17 वर्णीपलम्भनाद् व्यक्तो देशीमुखमुपागतः ॥१३॥ main
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18 ॥ इति देश्युत्पत्तिः ॥ editorial_bracket
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19 [ देशी-मार्ग-लक्षणम् ] section_header
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20 अबलाबालगोपालैः क्षितिपालैर्निजेच्छया । main
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21 गीयते 10यानुरागेण स्वदेशे 11देशिरुच्यते ॥१४॥ main
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22 सा annotation_inline
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23 निबद्धश्चानिबद्धश्च मार्गोऽयं द्विविधो मतः। main
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24 12<del>71</del>0 annotation_inline
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25 1270 page_number
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26 आलापादिनिबद्धो यः स च मार्गः प्रकीर्तितः ॥१५॥ main
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27 13, प्ला, 13, न्धो, annotation_inline
parent ligne 26
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28 [ 14आलापादिविहीनस्तु स च देशी प्रकीर्तितः । ] editorial_bracket
parent ligne 26
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vol_II_p039 RIGHT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
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2 61 page_number
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3 TRANSLATION page_header
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4 gā gama pā padha mā dhani pā pā table
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5 <b>(7)</b> table
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6 rī gā sā sadha nī nī dhā dhā table
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7 (8) table
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8 gā riga sā sani gā riga sā sā table
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9 (9) table
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10 sã sã sã mã mani dhani nĩ nĩ table
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11 (10) table
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12 (11) table
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13 mā pā mā pariga gā gā sā sā table
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14 gã sã gã sã mã pã mã pariga table
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15 (12) table
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16 gã gã gã gã gã gã sã table
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17 (13) table
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18 ni ni pā dhā ni gā gā gā table
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19 (14) table
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20 ni ni dhā pā dhā pā mā pā table
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21 (15) table
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22 (16) table
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23 dhã pã mã mã mã mã mã mã table
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24 Thus ends gändhärodīcyavatī. section_header
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25 [3. Raktagāndhārī] section_header
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26 Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The main
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27 proximity and combination of șadja and gāndhāra is brought about by main
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28 leaping over rşabha. main
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29 (7) annotation_inline
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30 The hexatonic and pentatonic forms are said to come into being with the main
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31 omission of rşabha and rşabha-dhaivata respectively. There is the abundance main
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32 of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. main
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33 (8) annotation_inline
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34 Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. main
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35 Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as main
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36 in şādjī. The mūrchanā beginning with rṣabha obtains. main
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37 (9) annotation_inline
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38 The application is (prescribed) in the dhruvā pertaining to the third main
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39 act. annotation_inline
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40 (10) main
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41 Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra main
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42 is thus – main
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43 pā nī sā sā gā sā pā nī table
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44 (1) table
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45 sã sã pã pã mã mã gã gã table
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46 (2) table
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47 mã pã dhã pã mã pã dhapa maga table
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48 (3) table
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vol_II_p080 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 142 page_number
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3 सैन्धवी मध्यमांशा तु षड्जान्ता धैवतोज्वला । main
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4 सै(वमी?न्धवी) annotation_inline
parent ligne 3
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5 सुसम्पूर्णस्वरा होषा षड्जधैवतयोस्तथा ॥४७॥ main
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6 ३१गान्धारमध्यमानां तु गमनं दृश्यते घनम् । unknown
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7 गमकं annotation_inline
parent ligne 5
via heuristic_height
8 गाभारः annotation_inline
parent ligne 5
via heuristic_height
9 देशभाषा तु देश्याख्या सैन्धवी टक्करागजा ३२॥४८॥ main
via surya_layout
10 सनीनीनीचाधासरिसा नीधाधाधरिनिधाधा । धानिसा गारीमा । main
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11 उदाहरणम् – मामासासा । main
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12 सासा annotation_inline
parent ligne 11
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13 मामा गमागामासाधासारीमामामासा रिगामापापाधानिपधापामा गारीरीनिरिनि- धाधाधनीसा main
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14 रीगामामागामामा गामामामासासा । सैन्धवी । [८] editorial_bracket
parent ligne 13
via heuristic_brackets
15 षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । main
via surya_layout
16 धैवतनिषादयोश्च षड्जधैवतयोस्तथा ॥४९॥ main
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17 परस्परं तु गमनं दृश्यते च क्षणे क्षणे । main
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18 भाषेयं षाडवा ज्ञेया वेसरिका प्रयोक्तृभि: ॥५०॥ main
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19 र्श<sup>े देरे</sup> सकाकली annotation_inline
parent ligne 18
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20 उदाहरणम् - सासा । सधानि । धासासासा मामागामा गामासाधा मागारीसासासा । main
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21 वेसरिका।[९] editorial_bracket
parent ligne 20
via heuristic_brackets
22 पञ्चमांशा तु षड्जान्ता सम्पूर्णा लोकरञ्जिका । main
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23 प्ञुमर्षभसंवाद: षड्जमध्यमयोस्तथा ॥ main
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24 भाषेयं पञ्चमाख्या तु सम्पूर्णा समुदाहता ॥ ५१॥ main
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25 उदाहरणम् – पापापारिपा । रिपापापापमापापामपमा सासासरीरीरि । निधाधपापा । main
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26 पसामामा annotation_inline
parent ligne 25
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27 रिरोगगरिसपा पगारिसागारिसारिपापारिरिगरि। गाधामागारिरि धपरिगसासा। पञ्चमाख्या ३४। [१०] editorial_bracket
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28 offlo annotation_inline
parent ligne 25
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29 ध्यमन्द्रा तु षड्जान्ता गान्धारांशाल्पसप्तमा । main
via surya_layout
30 ३५ऋषभगान्धारयोस्त् षड्जमध्यमयोस्तथा ॥५२॥ main
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31 +र्षगान्धार॰ annotation_inline
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vol_II_p101 RIGHT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
parent ligne 5
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
parent ligne 11
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
parent ligne 19
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_II_p058 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 99 page_number
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2 TRANSLATION page_header
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3 [Jāti-bhinna] section_header
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4 Now he (the author) has spoken of the description of jāti-bhinna - main
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5 The amśa of jātis should be established and so should be the sparse and the main
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6 abundant. Sparseness and abundance come about on account of sparse and main
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7 abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma main
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8 (short and very short in time) and curved (phrases).<sup>50</sup> main
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9 (308) annotation_inline
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10 [Anu. 178] section_header
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11 This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. main
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12 Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being main
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13 born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up main
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14 of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short main
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15 in time) phrases, this is the import. Its description is thus - main
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16 [3. Bhinnakaisikamadhyama] section_header
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17 Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa, main
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18 <math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52} main
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19 (309) annotation_inline
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20 [Anu. 179] editorial_bracket
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21 This means-bhinnakaisikamadhyama is related to şadjagrāma on account main
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22 of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama main
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23 is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) main
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24 is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 main
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25 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja main
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26 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed main
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27 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
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28 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 [Śuddhabhinna] section_header
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31 Now he (the author) has spoken of the definition of śuddhabhinna- main
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32 (The rāga) that bedecks itself with its own jāti (from which it is born) and main
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33 kula (family), leaving the other jāti and taking up (the qualities of) its own main
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34 family, is called <i>śuddhabhinna</i>. main
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35 (310) annotation_inline
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175 lignes a valider — change uniquement les roles incorrects.