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 21381). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p039 LEFT — 46 lignes

page vol_II_p039 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 #1 unknown
via fallback
2 60 page_number
via heuristic_pagenum
3 BRHADDEŚĪ page_header
via surya_layout
4 गा गम पा पध मा धनि पा पा table
via surya_layout
5 (৩) table
via surya_layout
6 री गा सा सध नी नी धा धा table
via surya_layout
7 (८) table
via surya_layout
8 गा रिंग सा सनि गा रिंग सा सा table
via surya_layout
9 (9) table
via surya_layout
10 सा सा सा मा मिन धिन नी नी table
via surya_layout
11 (१०) table
via surya_layout
12 मां मां मां परिंग गो गो सो सो table
via surya_layout
13 (११) table
via surya_layout
14 गों सी गों सी मी पी मी पेरिने table
via surya_layout
15 (१२) table
via surya_layout
16 गा गा गा गा गा सा सा table
via surya_layout
17 (१३) table
via surya_layout
18 नी नी पो धो नी गो गो गो table
via surya_layout
19 (१४) table
via surya_layout
20 नी नी धा पा धा पा मा पा table
via surya_layout
21 (१५) table
via surya_layout
22 धा पा मा मा मा मा मा मा table
via surya_layout
23 (१६) table
via surya_layout
24 ॥ [इति] गान्धारोदीच्यवती ॥ editorial_bracket
parent ligne 26
via heuristic_brackets
25 । मा annotation_inline
parent ligne 26
via heuristic_height
26 [३.रक्तगान्धारी] section_header
via surya_layout
27 अंशा: स्यू रक्तगान्धार्या पञ्च धर्षभवर्जिता:। main
via surya_layout
28 (म ?घ)पंभ(पूजि ? वर्जि)ताः main
via surya_layout
29 रिमतिक्रम्य सगयो: कार्ये सित्रिधिमेलने ॥ ७॥ main
via surya_layout
30 री(रि) annotation_inline
parent ligne 29
via heuristic_short
31 रिलोपरिधलोपाभ्यां षाडवौडुविमष्यते । main
via surya_layout
32 बहुत्वं निधयोरंश: पञ्चमो द्वेष्टि षाडवम् ॥ ८॥ main
via surya_layout
33 द्विषन्त्यौडुवितं षड्जनिमपा: सङ्गतौ सगौ। main
via surya_layout
34 द्विप(जो ? नयौ) द्ववितं main
via surya_layout
35 पञ्चपाण्यादि षाङ्जीवद् ऋषभादिस्तु मूर्छना ॥ ९॥ main
via surya_layout
36 तृतीयप्रेक्षणगतं ध्रुवायां विनियोजनम् ॥१०॥ main
via surya_layout
37 <sup>१७१</sup>ंगतघुवायां main
via surya_layout
38 <sup>१७२</sup>अस्यां गान्धारो न्यास:, मध्यमोऽपन्यास:। <sup>१७३</sup>प्रस्तार: - main
via surya_layout
39 (तस्या ?)तस्या annotation_inline
parent ligne 38
via heuristic_short
40 (न्यास:, मध्यमोऽ) main
via surya_layout
41 पा नी सा सा गा सा पा नी main
via surya_layout
42 (१) annotation_inline
parent ligne 41
via heuristic_short
43 सां सां पा पा मा मा गा गा main
via surya_layout
44 (२) annotation_inline
parent ligne 43
via heuristic_short
45 मा पा धा पा मा पा धप मग main
via surya_layout
46 (3) unknown
via fallback

vol_I_p035 LEFT — 29 lignes

page vol_I_p035 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 52 page_number
via heuristic_pagenum
3 एतदुक्तं भवति— main
via surya_layout
4 "द्वौ ग्रामौ विश्रुतौ लोके षड्जमध्यमसंज्ञितौ।" main
via surya_layout
5 •जकी? annotation_inline
parent ligne 4
via heuristic_height
6 [ अनु. ३३ ] editorial_bracket
parent ligne 4
via heuristic_brackets
7 ननु कथं द्वावेव ग्रामौ ? उच्यते— इह हि द्विस्वरप्रयोगमूलप्रयोगवशाद् main
via surya_layout
8 द्वौ ग्रामावुपन्यस्तौ। main
via surya_layout
9 गण्णातिभः श्रुतिभिष्टचैव स्वरा ग्रामत्वमागताः”। main
via surya_layout
10 [ अनु. ३४ ] editorial_bracket
parent ligne 9
via heuristic_brackets
11 तत्र जातिभिः शुद्धाभिर्विकृताभिष्टच श्रुतिभिष्टच। तस्मात् शुद्धासु जातिषु main
via surya_layout
12 <b>ंभिः श्रुतिभिष्टच</b> नातिकाभिः main
via surya_layout
13 विकृतासु च ये स्वराः सन्ति तेषां स्वराणां श्रुतिवैकल्यात् किञ्च- main
via surya_layout
14 怀 annotation_inline
parent ligne 13
via heuristic_height
15 स्या annotation_inline
parent ligne 13
via heuristic_height
16 दुत्कर्षापकर्षाभ्यां संकीर्णत्वेन च स्वरा ग्रामत्वमागताः। तत्र शुद्धाभिः।। main
via surya_layout
17 षड्जो विकृताभिर्मध्यम इति द्वाभ्यां च संकीर्णा जाताः ताभ्यो रागसम्भव main
via surya_layout
18 इति। ग्रामान्यत्वाज्जातिरागान्यत्वम्। main
via surya_layout
19 [ इति ग्रामनिरूपणम् ] editorial_bracket
parent ligne 18
via heuristic_brackets
20 [ मूर्छना-निरूपणम् ] section_header
via surya_layout
21 [ अनु. ३५ ] editorial_bracket
parent ligne 20
via heuristic_brackets
22 इदानीमवसरप्राप्ता मूर्छनाः कथ्यन्ते। ननु मूर्छनाशब्दस्य व्युत्पत्ति [ : ] editorial_bracket
parent ligne 20
via heuristic_brackets
23 ंमिव स्वराः annotation_inline
parent ligne 20
via heuristic_height
24 कीदृशी ? लक्षणं च कीदृशं तस्य ? उच्यते — मूर्छनाव्युत्पत्तिः मूर्छ् main
via surya_layout
25 मूर्खा annotation_inline
parent ligne 24
via heuristic_short
26 मोहसमुच्छ्राययोः।12 main
via surya_layout
27 मूर्छ्यते येन रागो हि मूर्छनेत्यभिसंज्ञिता।।९०॥ main
via surya_layout
28 र्घ (?) annotation_inline
parent ligne 27
via heuristic_height
29 (vide) unknown
via fallback

vol_II_p066 RIGHT — 39 lignes

page vol_II_p066 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1.50 4 1 annotation_inline
parent ligne 5
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 115 page_number
via heuristic_pagenum
4 [Anu. 198] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
via surya_layout
6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
via surya_layout
7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
via surya_layout
8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
via surya_layout
9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
via surya_layout
10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
via surya_layout
11 songs comprised of svara and pada. main
via surya_layout
12 [7. Ţakkakaiśika] section_header
via surya_layout
13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
via surya_layout
14 and concluding note and is weak in the svaras comprised of two śrutis each main
via surya_layout
15 (gāndhāra and niṣāda). main
via surya_layout
16 (326) annotation_inline
parent ligne 15
via heuristic_short
17 [Anu. 199] editorial_bracket
parent ligne 15
via heuristic_brackets
18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
via surya_layout
19 jātis related to both the grāmas, how is it proper to say that it is related to main
via surya_layout
20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
parent ligne 19
via heuristic_brackets
21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
via surya_layout
22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
via surya_layout
23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
via surya_layout
24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
via surya_layout
25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
via surya_layout
26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
via surya_layout
27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
via surya_layout
28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
via surya_layout
29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
via surya_layout
30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
32 obtains in songs comprised of svara and pada. main
via surya_layout
33 [8. Mālavakaisika] section_header
via surya_layout
34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
via surya_layout
35 and nyāsa and is weak in dhaivata. main
via surya_layout
36 (327) annotation_inline
parent ligne 35
via heuristic_short
37 Some prefer pancama for the function of nyāsa in it and others prefer main
via surya_layout
38 găndhāra, but that is not seen in practice. main
via surya_layout
39 (328) main
via surya_layout

vol_II_p061 RIGHT — 33 lignes

page vol_II_p061 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 105 page_number
via heuristic_pagenum
4 [C. Gauda rāgas] section_header
via surya_layout
5 [Anu. 186] section_header
via surya_layout
6 (Contention) Why are they known as gaudas? It is being answered, on main
via surya_layout
7 account of being related to gaudigiti. What is its description? It is being main
via surya_layout
8 answered. That is thus - annotation_inline
parent ligne 7
via heuristic_height
9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
via surya_layout
10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
via surya_layout
11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
via surya_layout
12 (315) annotation_inline
parent ligne 11
via heuristic_height
13 [1. Gaudapañcama] section_header
via surya_layout
14 The description of gaudapañcama - main
via surya_layout
15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
via surya_layout
16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
via surya_layout
17 pañcama. annotation_inline
parent ligne 16
via heuristic_height
18 (316) annotation_inline
parent ligne 16
via heuristic_height
19 [Anu. 187] section_header
via surya_layout
20 This means - gaudapañcama is related to sadjagrāma on account of being main
via surya_layout
21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
via surya_layout
22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
via surya_layout
23 hexatonic, being devoid of pañcama. Its application is prescribed in main
via surya_layout
24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
via surya_layout
25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
via surya_layout
26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
via surya_layout
27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
via surya_layout
28 the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
via surya_layout
29 comprised of svara and pada. main
via surya_layout
30 [2. Gaudakaisika] section_header
via surya_layout
31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
via surya_layout
32 said to have şadja as the amśa and pañcama as the nyāsa. main
via surya_layout
33 (317) annotation_inline
parent ligne 32
via heuristic_height

vol_II_p026 LEFT — 30 lignes

page vol_II_p026 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 34 page_number
via heuristic_pagenum
3 पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:। editorial_bracket
parent ligne 4
via heuristic_brackets
4 आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥ main
via surya_layout
5 र्गद annotation_inline
parent ligne 4
via heuristic_height
6 <b>ल्कं</b> वा॰ annotation_inline
parent ligne 4
via heuristic_markers
7 स्वराणामङ्गहारैर्यत एवासारितक्रमै:। main
via surya_layout
8 वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥ main
via surya_layout
9 [८. जातीनां षाडवौडुवविधि:] section_header
via surya_layout
10 ८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् । main
via surya_layout
11 प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥ main
via surya_layout
12 (॰वो?वौ) annotation_inline
parent ligne 11
via heuristic_markers
13 ॰पोद्यते annotation_inline
parent ligne 11
via heuristic_markers
14 [अनु॰ १३४] editorial_bracket
parent ligne 11
via heuristic_brackets
15 त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां] editorial_bracket
parent ligne 11
via heuristic_brackets
16 परिकल्प्य annotation_inline
parent ligne 11
via heuristic_height
17 षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति - main
via surya_layout
18 न्छते annotation_inline
parent ligne 17
via heuristic_height
19 अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा । main
via surya_layout
20 गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥ main
via surya_layout
21 (तं?त:) annotation_inline
parent ligne 20
via heuristic_height
22 [अनु॰ १३५] editorial_bracket
parent ligne 20
via heuristic_brackets
23 अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ main
via surya_layout
24 गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो main
via surya_layout
25 (संचा?संवा) annotation_inline
parent ligne 24
via heuristic_short
26 ...याः annotation_inline
parent ligne 24
via heuristic_height
27 लोपाभावात्। section_header
via surya_layout
28 कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे । main
via surya_layout
29 तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥ main
via surya_layout
30 ॰ता तदा॰ annotation_inline
parent ligne 29
via heuristic_markers
177 lignes a valider — change uniquement les roles incorrects.