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 21378). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p110 RIGHT — 31 lignes

page vol_II_p110 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 203 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [2. Māngālī] section_header
via surya_layout
4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
via surya_layout
5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
via surya_layout
6 (354) annotation_inline
parent ligne 5
via heuristic_height
7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
via surya_layout
8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
via surya_layout
9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
parent ligne 9
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11 [3. Bhammānikā] section_header
via surya_layout
12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
parent ligne 14
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16 [4. Pulindikā] section_header
via surya_layout
17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
parent ligne 18
via heuristic_short
20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
via surya_layout
25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
via surya_layout
26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
via surya_layout
27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
parent ligne 28
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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vol_II_p093 RIGHT — 29 lignes

page vol_II_p093 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 169 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- main
via surya_layout
4 nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. main
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5 Dākşiņātyā [ii] editorial_bracket
parent ligne 4
via heuristic_brackets
6 Combined with dhaivata as the initial and concluding note, embellished main
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7 with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. main
via surya_layout
8 (Mutual) movement between gändhära and dhaivata is seen here in a dense main
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9 manner. annotation_inline
parent ligne 8
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10 (107) annotation_inline
parent ligne 8
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11 Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. main
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12 Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā main
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13 sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] editorial_bracket
parent ligne 12
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14 Combined with dhaivata as the initial and concluding note, hexatonic, main
via surya_layout
15 devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of main
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16 Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two main
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17 śrutis each is sung. annotation_inline
parent ligne 16
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18 (108) annotation_inline
parent ligne 16
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19 Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā main
via surya_layout
20 ririrīnisāninidhādhā. Šrīkaņţhī [iv] editorial_bracket
parent ligne 19
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21 Having madhyama as amśa, dhaivata as the concluding note, weak in main
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22 ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the main
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23 Nāga<sup>49</sup> people and is made of sweet svaras alongwith gamakas. (Mutual) main
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24 movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. main
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25 <math>(109-110)</math> annotation_inline
parent ligne 24
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26 Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā editorial_bracket
parent ligne 24
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27 nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā main
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28 māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā main
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29 nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v] editorial_bracket
parent ligne 28
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vol_II_p001 RIGHT — 12 lignes

page vol_II_p001 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 श्रीमतङ्गमुनिप्रणीता बृहद्देशी section_header
via surya_layout
2 Brhaddeśī of Śrī Matanga Muni section_header
via surya_layout
3 Volume II section_header
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4 Edited by annotation_inline
parent ligne 3
via heuristic_height
5 Prem Lata Sharma main
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6 Assisted by annotation_inline
parent ligne 5
via heuristic_short
7 Anil Bihari Beohar main
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8 INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS main
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9 <b>NEW DELHI</b> annotation_inline
parent ligne 8
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10 and annotation_inline
parent ligne 8
via heuristic_height
11 MOTILAL BANARSIDASS PUBLISHERS PVT.LTD. main
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12 <b>DELHI</b> annotation_inline
parent ligne 11
via heuristic_height

vol_II_p095 RIGHT — 27 lignes

page vol_II_p095 RIGHT
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
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
parent ligne 5
via heuristic_height
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
via surya_layout
11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
via surya_layout
12 <math>(119-120)</math> annotation_inline
parent ligne 11
via heuristic_height
13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
via surya_layout
14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
parent ligne 13
via heuristic_brackets
15 Having madhyama as amśa and şadja as the concluding note, being main
via surya_layout
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
via surya_layout
18 seen to be speedy. annotation_inline
parent ligne 17
via heuristic_height
19 (121) annotation_inline
parent ligne 17
via heuristic_height
20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
parent ligne 17
via heuristic_brackets
21 sāgāsānipāpādhāninisāsā. main
via surya_layout
22 sānisāsārigārisāsāsā main
via surya_layout
23 nidhānipāpānini annotation_inline
parent ligne 22
via heuristic_height
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
via surya_layout
26 madhyamaas nyāsa. annotation_inline
parent ligne 25
via heuristic_height
27 (122) annotation_inline
parent ligne 25
via heuristic_height

vol_I_p069 RIGHT — 32 lignes

page vol_I_p069 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 121 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. main
via surya_layout
4 With this prescription itself the gitis should be sung by the wise. main
via surya_layout
5 (175) annotation_inline
parent ligne 4
via heuristic_height
6 (Anu. 105) annotation_inline
parent ligne 4
via heuristic_height
7 In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- main
via surya_layout
8 mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of main
via surya_layout
9 the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself main
via surya_layout
10 on account of the use of eight-mātrā (units). main
via surya_layout
11 In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) main
via surya_layout
12 composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) main
via surya_layout
13 twice retreated;16 ardhamāgadhī is (completed) in half of that.17 main
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14 (176) annotation_inline
parent ligne 13
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15 Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa main
via surya_layout
16 (177) annotation_inline
parent ligne 15
via heuristic_height
17 (mārga). main
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18 As - table
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19 Māgadhī [-----] table
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20 Ardhamāgadhī [-----] table
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21 Sambhāvitā [-----] table
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22 Pythulā [-----] table
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23 (Anu. 106) annotation_inline
parent ligne 17
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24 In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 main
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25 (lit. past) graha, in citra mārga there is anāgata<sup>22</sup> (lit. future) graha. main
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26 (Anu. 107) annotation_inline
parent ligne 25
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27 In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā main
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28 (are the margas). annotation_inline
parent ligne 27
via heuristic_short
29 The mātrās (to be used in them) are eight, four and two (respectively). As main
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30 — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and main
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31 (178) annotation_inline
parent ligne 30
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32 patitā is known to be the eighth one. main
via surya_layout
131 lignes a valider — change uniquement les roles incorrects.