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 21271). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p044 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
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2 70 page_number
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3 गां पा मां पा नी नी नी नी table
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4 (११) table
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5 (१२) table
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6 मापा मा परि गा गा गा गा table
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7 (१३) table
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8 नी नी पा धा नी गां गां गां table
via surya_layout
9 (१४) table
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10 नी नी नी नी नी नी नी table
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11 (१५) table
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12 मां मां धा नी सनि धा पा पा table
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13 (१६) table
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14 मां पां मां परिग गां गां गां गां table
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15 . ॥ [इति] गान्धारपञ्चमी ॥ editorial_bracket
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16 । म॥ annotation_inline
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17 [८, आन्ध्री] section_header
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18 १८३ आन्ध्र्यामंशा निरिगपा रिगयोर्निधयोस्तथा । main
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19 अन्ध्रया(मङ्गा ? मंशा) निरू main
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20 सङ्गतिन्यासपर्यन्तमंशानुक्रमतो व्रजेत् ॥२१॥ main
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21 षाडवं षड्जलोपेन मध्यमादिश्च मूर्छना । main
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22 १८४ दिस्तु annotation_inline
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23 पूर्वावत् तु कलातालविनियोगाः प्रकीर्तिताः ॥२२॥ main
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24 १८५ ॰काल॰ annotation_inline
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25 <sup>१८६</sup>अस्यामान्ध्र्यां गान्धारो न्यास: । अंशा एवापन्यासा: । <sup>१८७</sup>प्रस्तार: - main
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26 ॰ मन्ध्र्यां table
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27 (१) table
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28 गारी री री री री री री table
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29 री गारी गारी री री री table
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30 (२) table
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31 (३) table
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32 री री गा गा री री मा मा table
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33 (8) table
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34 री गा सा धनि नीं नीं नीं नीं table
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35 (4) table
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36 नीं रीं नीं रीं धनि धनि पा पा table
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37 (६) table
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38 मा पा मा रिग गा गा गा गा table
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39 (७) table
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40 री री गा सम मा मा पा पा table
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41 (८) table
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42 मा पा मा रिग गा गा गा गा table
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43 (9) table
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44 धा नी गा गा गा गा गा गा table
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45 (१०) table
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46 पा पा मा रिग गा गा गा गा table
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47 The same of the same of the same of the same of the same of the same of the same of the same of the same of the same of annotation_inline
parent ligne 25
via heuristic_height

vol_II_p015 LEFT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 12 page_number
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2 BRHADDEŚĪ page_header
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3 [२. अंशलक्षणम्] section_header
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4 [अनु॰ १२०] section_header
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5 अथांश: कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्य: । यस्मिन् ३१ क्रियमाणे main
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6 अ(थवांश ख ? थांश:क) annotation_inline
parent ligne 5
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7 अंशविभाग: main
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8 न्त्रंशे annotation_inline
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9 गगाभिव्यक्तिर्भवति सोंऽश: [प्रथम:]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पित: सोंऽशो editorial_bracket
parent ligne 7
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10 (পি?) main
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11 ३२यस्माद्वाः annotation_inline
parent ligne 10
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12 गीत: main
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13 न ग्रहस्स्वरित: (स्वं?स्वां) शो। main
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14 द्वितीय: [1] तारमन्द्राभिव्यक्तिहेतु: सोंऽशस्तृतीय: । पञ्चमस्वरारोहणं तार:, कदाचित् editorial_bracket
parent ligne 13
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15 द्वितीया main
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16 <b>॰रगारो</b>॰ annotation_inline
parent ligne 15
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17 षष्ठस्वरारोहणमपि तार:, यथा गान्धार्या: षड्जस्तार:, निध निध सा इति । यथा main
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18 णं पि annotation_inline
parent ligne 17
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19 तथा annotation_inline
parent ligne 17
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20 तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:] editorial_bracket
parent ligne 17
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21 सप्तस्वरावरोहणा[तु]। editorial_bracket
parent ligne 17
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22 ३३प्यांश<sup>></sup> main
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23 यथा ३४पञ्चमांशाया: षाङ्ज्या: स्वस्थाने सासासाधा इति । यश्च बहुप्रयोगतर: सोऽप्यंश: [चतुर्थ:] editorial_bracket
parent ligne 22
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24 मन्द्रांशाया: annotation_inline
parent ligne 22
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25 <sup>३५</sup>संस्थाने main
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26 पड्जा annotation_inline
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27 यो रागस्य विषयत्वेनावस्थित: स्वर: सोऽप्यंश: [पञ्चम:] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास- editorial_bracket
parent ligne 25
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28 न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।] editorial_bracket
parent ligne 25
via heuristic_brackets
29 [अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्] section_header
via surya_layout
30 [अनु॰ १२१] section_header
via surya_layout
31 यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा main
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32 च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादानां विदारणं main
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33 ॰णा annotation_inline
parent ligne 32
via heuristic_markers
34 खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् । main
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35 गीतकेशी annotation_inline
parent ligne 34
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36 [अंशलक्षणान्तर्गतं संन्यासलक्षणम्] section_header
via surya_layout
37 [अनु॰१२२] section_header
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38 इदानीं संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः main
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39 स न्यासोः annotation_inline
parent ligne 38
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40 राष्ट्र annotation_inline
parent ligne 38
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41 ॰क्ताः annotation_inline
parent ligne 38
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42 The state of the same of annotation_inline
parent ligne 38
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vol_I_p065 RIGHT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
parent ligne 9
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
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18 another sthana (register). annotation_inline
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
parent ligne 21
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
parent ligne 25
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
parent ligne 28
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
parent ligne 32
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
parent ligne 37
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
parent ligne 41
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43 alankāras, they should not be used without varņa.118 main
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vol_II_p083 RIGHT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 4 - 1 annotation_inline
parent ligne 4
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2 149 page_number
via heuristic_pagenum
3 TRANSLATION page_header
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4 [ Vibhāṣā of ṭakkarāga] section_header
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5 Having pañcama as amsa and sadja as the concluding note, being main
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6 embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung main
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7 at the end of the bhāṣās. annotation_inline
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8 (61) annotation_inline
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9 Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. main
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10 Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. main
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11 Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. main
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12 [2. Bhāṣās in mālavakaiśika] section_header
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13 Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja main
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14 as the initial and concluding note, is complete in svaras (and) has profuse main
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15 șadja and madhyama. This bhāṣā should be known as the first one in main
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16 mālavakaišika (used as mālakaišika in the text due to exigency of metre) of main
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17 madhyama (grāma). annotation_inline
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18 (62) annotation_inline
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19 Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. main
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20 Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. main
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21 Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā, main
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22 complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. main
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23 (63) annotation_inline
parent ligne 22
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24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
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25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
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26 Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is main
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27 complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā main
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28 should always be known as sankīrņā (mixed), by the knowledgeable ones in main
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29 gändharva. annotation_inline
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30 (64) annotation_inline
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31 Pāpāmāmā. annotation_inline
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
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33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
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vol_II_p068 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 [Anu. 202] editorial_bracket
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4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
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5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
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6 is due to its application in passionate performance of caris, mandalas and main
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7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
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8 sadjakaisika alone is prominent. Why? On account of its falling under the main
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9 order of the state of sādava (rāga).76 That is thus - main
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10 [1. Narta-rāga] section_header
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11 Having pañcama as its amśa and madhyama as its concluding note, being main
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12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
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13 as sparse the svaras comprised of two śrutis each. main
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14 (333) annotation_inline
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15 [Anu. 203] editorial_bracket
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16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
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17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
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18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
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19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
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20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
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21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
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22 [Anu. 204] editorial_bracket
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23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
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24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
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25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
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26 related to şadjagrāma. annotation_inline
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27 [2. Saka] section_header
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28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
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29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
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30 (334) annotation_inline
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31 [Anu. 205] editorial_bracket
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32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
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33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
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34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
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35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
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200 lignes a valider — change uniquement les roles incorrects.