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 21353). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p013 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 F unknown
via fallback
2 8 page_number
via heuristic_pagenum
3 BRHADDEŚĪ page_header
via surya_layout
4 षाड्ज्यान्ध्री नन्दयन्ती च गान्धारोदीच्यवा तथा। main
via surya_layout
5 पह्(ज्य ? जा) annotation_inline
parent ligne 4
via heuristic_height
6 चतेस्रः षट्स्वरा होता ज्ञेयाः पञ्चस्वराः पराः ॥ २०१ ॥ main
via surya_layout
7 निषादवत्यार्षभी च धैवती षड्जमध्यमा । main
via surya_layout
8 षड्जोदीच्यवती चैव पञ्च षड्जाश्रिता: स्मृता: ॥ २०२ ॥ main
via surya_layout
9 त्रिधा annotation_inline
parent ligne 8
via heuristic_height
10 गान्धारी रक्तगान्धारी मध्यमा पञ्चमी तथा । main
via surya_layout
11 कैशिकी चेति विज्ञेया: पञ्जैता मध्यमाश्रिता: ॥ २०३ ॥ main
via surya_layout
12 षड्जग्रामे तु विज्ञेया १४[ सम्पूर्णा षड्जकैशिकी । editorial_bracket
parent ligne 11
via heuristic_brackets
13 षट्स्वरा चैव विज्ञेया षाड्जी गान्धारयोगत: ॥ २०४॥ main
via surya_layout
14 सम्पूर्णा मध्यमग्रामे ज्ञेया कार्मारवी तथा। main
via surya_layout
15 गान्धारपञ्चमी चैव मध्यमोदीच्यवा तथा ॥ २०५ ॥ main
via surya_layout
16 पुनश्च षट्स्वरा ज्ञेया] गान्धारोदीच्यवा बुधै:। editorial_bracket
parent ligne 15
via heuristic_brackets
17 आन्ध्री च नन्दयन्ती च मध्यमग्रामसंश्रया: ॥ २०६ ॥ main
via surya_layout
18 (:) annotation_inline
parent ligne 17
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19 एवमेता बुधैर्ज्ञेया द्वैग्रामिक्यो विभागत: ॥ २०७ ॥ main
via surya_layout
20 द्वी ग्रामीकौ(?)<sup>१५</sup>ऽपिजातय: main
via surya_layout
21 यास्ता: सप्तस्वरा ज्ञेया याश्चेता: षट्स्वरा: स्मृता: । main
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22 क्वचित् षाडवितास्तास्तु पक्षे चौडुवितीकृताः ॥ २०८ ॥ main
via surya_layout
23 ॥ इति शुद्धाः, विकृताः, संसर्गजा विकृताश्च ॥ editorial_bracket
parent ligne 22
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24 [३. सामान्यलक्षणम् ] section_header
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25 [ अनु ॰ ११८ ] section_header
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26 इदानीं [ सामान्य-] लक्षणमाह - editorial_bracket
parent ligne 25
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27 <sup>१६</sup>श्रुतिग्रहस्वरादिसमूहाज्जायन्त अतो जातय इत्युच्यन्ते। <sup>१७</sup>यस्माज्जायते रसप्रतीतिरारभ्यते main
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28 <b>न्ते जातय:</b> annotation_inline
parent ligne 27
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29 न्त annotation_inline
parent ligne 27
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vol_II_p038 LEFT — 47 lignes

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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
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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
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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
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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
via surya_layout
22 (१२) table
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23 ॥ [इति] षड्जमध्यमा ॥ table
via surya_layout
24 (स॥ table
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25 [२. गान्धारोदीच्यवा] section_header
via surya_layout
26 गान्धारोदीच्यवायां तु द्वावंशौ षड्जमध्यमौ । main
via surya_layout
27 रिलोपात् षाडवं ज्ञेयं पूर्णत्वेंऽशेतराल्पता ॥४॥ main
via surya_layout
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
via surya_layout
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
via surya_layout
36 (१) table
via surya_layout
37 सा सा पा मा पा धप पा मा table
via surya_layout
38 (२) table
via surya_layout
39 धा पा मा मा सा सा सा सा table
via surya_layout
40 धा नी सा सा मा मा पा पा table
via surya_layout
41 (3) table
via surya_layout
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
via surya_layout
47 <b>(</b>\(\xi\) table
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vol_II_p095 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 173 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
parent ligne 5
via heuristic_brackets
4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
parent ligne 5
via heuristic_brackets
5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
parent ligne 5
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7 7. After this the bhāṣās in sauvīraka section_header
via surya_layout
8 Combined with sadja as the initial and concluding note, being complete main
via surya_layout
9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
via surya_layout
10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
parent ligne 11
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
parent ligne 13
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
via surya_layout
17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
parent ligne 17
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
parent ligne 17
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
parent ligne 22
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24 ·Vegamadhyamā[ii] editorial_bracket
parent ligne 22
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
parent ligne 25
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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 89 page_number
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3 The first alternative does not hold good. Why? Because of this rāga being main
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4 complete (with seven svaras). Hence the second alternative alone is main
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5 stronger. Why is it said to be prominent among the six rāgas? Because of main
via surya_layout
6 the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On main
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7 account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been main
via surya_layout
8 indicated in the beginning. main
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9 Suddhaṣāḍava is born of the modified madhyamā jāti. main
via surya_layout
10 Its <i>nyāsa</i> is annotation_inline
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11 madhyama, which is also the amśa and gāndhāra is weak in it. main
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12 (300) annotation_inline
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13 [ Anu. 165 ] section_header
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14 This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) main
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15 madhyama is its graha. Madhyama is the amśa and nyāsa and there is the main
via surya_layout
16 sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 main
via surya_layout
17 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is main
via surya_layout
18 the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. main
via surya_layout
19 There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā main
via surya_layout
20 beginning with madhyama obtains here. The avarohin (descending) varņa,34 main
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21 prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla main
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22 The kalā<sup>37</sup> (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains main
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23 in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 main
via surya_layout
24 obtains in the svaras and padas (units of text). main
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25 Ākṣiptikā..... table
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26 [2. Suddhapañcama] table
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27 ********* table
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28 [ Anu. 166 ] table
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29 Šuddhapancama is known to be born of şadjodicyavatī jāti. table
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30 --------------------------------------- table
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31 [3. Šuddhasādhārita] section_header
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32 It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis main
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33 (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti main
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34 is the śuddhasādhārita. annotation_inline
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35 (301) annotation_inline
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36 A Section of the second section of the section of the section of the section of the section of the section of the sectio annotation_inline
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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
parent ligne 13
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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
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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
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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
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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
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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
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43 alankāras, they should not be used without varņa.118 main
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182 lignes a valider — change uniquement les roles incorrects.