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 21196). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p038 LEFT — 47 lignes

page vol_II_p038 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 58 page_number
via heuristic_pagenum
3 मा गारी गामा मासा सा table
via surya_layout
4 (3) table
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5 [मा मगम मा मा निध पध पम गमम] table
via surya_layout
6 (8) table
via surya_layout
7 धा गध परि रिग गरि गस धस धा table
via surya_layout
8 (4) table
via surya_layout
9 निध सा री मृगम मा मा मा मा table
via surya_layout
10 (६) table
via surya_layout
11 मां मां मंगमं मंधं धंपं पंधं पंमं गंमंगं table
via surya_layout
12 (৩) table
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13 धा पध परि रिंग मंग रिंग संधस सा table
via surya_layout
14 (८) table
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15 मां मां धनि धस धप पम पा पा table
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16 (9) table
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17 मा मग मां मां पध पम गम गस table
via surya_layout
18 (१०) table
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19 धा पध परि रिम मग रिग सधस सा table
via surya_layout
20 (११) table
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21 निंधं सां री मगम मा मा मा मा table
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22 (१२) table
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23 ॥ [इति] षड्जमध्यमा ॥ table
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24 (स॥ table
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25 [२. गान्धारोदीच्यवा] section_header
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26 गान्धारोदीच्यवायां तु द्वावंशौ षड्जमध्यमौ । main
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27 रिलोपात् षाडवं ज्ञेयं पूर्णत्वेंऽशेतराल्पता ॥४॥ main
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28 ॰(शोन्तरात्मना? शेतराल्पता) annotation_inline
parent ligne 27
via heuristic_markers
29 अल्पा निधपगान्धारा: षाडवत्वे प्रकीर्तिता: । main
via surya_layout
30 रिधयो: सङ्गतिर्ज्ञेया धैवतादिश्च मूर्छना ॥ ५॥ main
via surya_layout
31 स(गनिज्ञे ? ङ्गतिर्जे)या main
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32 तालश्चचत्पुटो ज्ञेय: कला: षोडश कीर्तिता: । main
via surya_layout
33 विनियोगो ध्रुवागाने चतुर्थप्रेक्षणे मत: ॥ ६॥ main
via surya_layout
34 <sup>१६९</sup>अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । १७°प्रस्तार: - annotation_inline
parent ligne 33
via heuristic_markers
35 म(ध्य)मो main
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36 (१) table
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37 सा सा पा मा पा धप पा मा table
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38 (२) table
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39 धा पा मा मा सा सा सा सा table
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40 धा नी सा सा मा मा पा पा table
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41 (3) table
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42 नी नी नी नी नी नी नी table
via surya_layout
43 <b>(</b>8) table
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44 मा मा धा निस नी नी नी नी table
via surya_layout
45 (4) table
via surya_layout
46 मा पा मा परि गा गा सा सा table
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47 <b>(</b>\(\xi\) table
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vol_I_p039 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 60 page_number
via heuristic_pagenum
3 पञ्चस्वरमौडुवितं पञ्चधा लक्षणं स्मृतम्। main
via surya_layout
4 पञ्चित्रशच्च संख्यं हि आचार्यैर्यदुदाहृतम्।।१०१।। main
via surya_layout
5 [ अनु. ४२ ] editorial_bracket
parent ligne 4
via heuristic_brackets
6 षड्जर्षभपञ्चमनिषादैः षड्जग्रामिकाः षाडवाः। षड्जर्षभगान्धारैर्हीना मध्यमग्रामे main
via surya_layout
7 षाडवाः। main
via surya_layout
8 [ अनु. ४३ ] section_header
via surya_layout
9 संवादिलोपादौडुवितत्विमिति वचनात् संवादिस्वराभ्यामौडुवितत्वं main
via surya_layout
10 प्राप्तमिति प्रायिकम्। कदाचिदनुवादिस्वराभ्यामौडुवितत्वं प्राप्तमिति प्रायिकम्। १९ main
via surya_layout
11 कदाचिदनुवादिस्वराभ्यामौड्वितं भवत्येव। यथा पञ्चमर्षभयोः षड्जग्रामे, main
via surya_layout
12 मध्यमग्रामे धैवतर्षभयोरिति। main
via surya_layout
13 पञ्चमषड्जविहीना द्विश्रुतिकाभ्यां तथा विहीनाम्च। main
via surya_layout
14 <del>्षि</del> 20 annotation_inline
parent ligne 13
via heuristic_height
15 ुनो annotation_inline
parent ligne 13
via heuristic_height
16 पञ्चमर्षभविहीनाश्चौडुविता भवन्ति षड्जग्रामे21।।१०२।। main
via surya_layout
17 तो annotation_inline
parent ligne 16
via heuristic_height
18 ुन annotation_inline
parent ligne 16
via heuristic_height
19 धैवतर्षभविहीना द्विश्रुतिकाभ्यां विहीना [ स् ] ता ज्ञेयाः। editorial_bracket
parent ligne 16
via heuristic_brackets
20 ्ने annotation_inline
parent ligne 16
via heuristic_height
21 ₀नो annotation_inline
parent ligne 16
via heuristic_markers
22 पञ्चस्वरकास्ताना भवन्ति खलु मध्यमग्रामे ॥१०३॥ main
via surya_layout
23 <b>, मस्वरकर्ता स्थाना ( ? )</b> main
via surya_layout
24 [अनु. ४४] section_header
via surya_layout
25 इदानीमेतदेव प्रस्तारेण दर्शयति। तद् यथा- main
via surya_layout
26 [षड्जग्रामे] section_header
via surya_layout
27 X रिगमपध नि<sup>22</sup> main
via surya_layout
28 नि x रिगमपध annotation_inline
parent ligne 27
via heuristic_short
29 धनि x रिगमप main
via surya_layout
30 पधनि X रिगम annotation_inline
parent ligne 29
via heuristic_short
31 म प ध नि 🗶 रि ग main
via surya_layout
32 गमपधनि 🗙 रि annotation_inline
parent ligne 31
via heuristic_short
33 ्रिगमपधनि 🗴 main
via surya_layout
34 षड्जहानाः। main
via surya_layout

vol_II_p071 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 125 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 210] editorial_bracket
parent ligne 4
via heuristic_brackets
4 Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha main
via surya_layout
5 and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it main
via surya_layout
6 sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete. main
via surya_layout
7 Its application is prescribed in the passionate performance of cārīs, maṇḍalas and main
via surya_layout
8 (situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning main
via surya_layout
9 with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the main
via surya_layout
10 dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in main
via surya_layout
11 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and main
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12 pada annotation_inline
parent ligne 11
via heuristic_height
13 [9. Revagupta] section_header
via surya_layout
14 Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as main
via surya_layout
15 its amsa and madhyama as its concluding note and is with complete svaras. main
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16 (340) annotation_inline
parent ligne 15
via heuristic_height
17 [Anu. 211] editorial_bracket
parent ligne 15
via heuristic_brackets
18 Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born main
via surya_layout
19 of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of main
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20 pañcama being comprised of four śrutis. Rṣabha is its graha and amśa, main
via surya_layout
21 <math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he main
via surya_layout
22 svaras. Its application is prescribed in the passionate performance of cārīs, main
via surya_layout
23 mandalas and (situations of) combat. Vira and the like is the rasa. The main
via surya_layout
24 mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is main
via surya_layout
25 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
via surya_layout
26 the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like main
via surya_layout
27 caccatputa obtains in the songs comprised of svara and pada. main
via surya_layout
28 [10. Takkasaindhava] section_header
via surya_layout
29 The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is main
via surya_layout
30 combined with sadja as amsa and nyāsa and is weak in pancama. main
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31 (341) annotation_inline
parent ligne 30
via heuristic_height
32 [Anu. 212] editorial_bracket
parent ligne 30
via heuristic_brackets
33 Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on main
via surya_layout
34 account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and main
via surya_layout
35 nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of main
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36 pañcama and this (rāga) is complete in svaras. Its application is prescribed main
via surya_layout

vol_I_p047 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 77 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 (Anu. 51) annotation_inline
parent ligne 5
via heuristic_height
5 But if the indication of murchanas is done with the middle heptad, then why main
via surya_layout
6 has it been said to be (done) with madhyama svara? Truly has this been said. main
via surya_layout
7 The use of singular number is in relation with the jāti (species) of svara. The main
via surya_layout
8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
via surya_layout
9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
via surya_layout
10 (for svara) is in order to encompass the sthana (register or range) that could main
via surya_layout
11 not be described in the body (human voice). main
via surya_layout
12 (Anu. 52) annotation_inline
parent ligne 11
via heuristic_height
13 But when the (process of) sādavita and auduvita is being undertaken, then main
via surya_layout
14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
parent ligne 15
via heuristic_height
17 "When the tana is made in this manner (by omission of the prescribed main
via surya_layout
18 svaras), the knowledgeable one should ascertain, by counting the perishable main
via surya_layout
19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
parent ligne 19
via heuristic_brackets
21 (Anu. 53) annotation_inline
parent ligne 19
via heuristic_height
22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
via surya_layout
23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
via surya_layout
24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
parent ligne 25
via heuristic_height
27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
parent ligne 29
via heuristic_height
31 (Anu. 55) annotation_inline
parent ligne 29
via heuristic_height
32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
via surya_layout
33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
parent ligne 36
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vol_II_p017 RIGHT — 22 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 14 page_number
via heuristic_pagenum
2 17 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 The extent(gati)<sup>25</sup> of tāra should be known up to the fourth, fifth or main
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5 seventh svara from the amśa, it is not desirable beyond that." main
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6 (NŚ XXVIII.70) annotation_inline
parent ligne 5
via heuristic_height
7 [4. The definition of mandra] section_header
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8 [Anu. 125] editorial_bracket
parent ligne 7
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9 Now mandra is being said - mṛdu<sup>26</sup> (lit. soft, here low) svara is mandra. And main
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10 the extent (gati) of mandra is threefold, viz. amśaparā (followed by amśa), main
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11 nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The main
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12 compound<sup>27</sup> bahuvrihi operates here (and the meaning is that which is main
via surya_layout
13 followed by amśa svara i.e. that which precedes the amśa). The svara that main
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14 comes before that (amśa), is mandra. As in dhaivatī<sup>28</sup> - dha - dha - ni - dha - main
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15 ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa<sup>29</sup> svara is (operative) here. main
via surya_layout
16 Similar is the case with nyāsa 30 svara. main
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17 [5. The definition of sadava] section_header
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18 [Anu. 126] editorial_bracket
parent ligne 17
via heuristic_brackets
19 Now şādava is being said - (a structure of) six svaras is şādava. Since it is main
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20 related to (or operates in) fourteenfold jatis, four jatis are always complete main
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21 and hence, on account of their absence, it (sādava)31 has forty-seven main
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22 varieties and similarly has said Bharata - main
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176 lignes a valider — change uniquement les roles incorrects.