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 21412). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p123 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
via surya_layout
2 228 page_number
via heuristic_pagenum
3 [२. कामलेखा] section_header
via surya_layout
4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
via surya_layout
5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
via surya_layout
6 विंशति विषमे annotation_inline
parent ligne 5
via heuristic_height
7 (?)चरमे annotation_inline
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via heuristic_height
8 [३. बाणलेखा] section_header
via surya_layout
9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
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10 (電?) annotation_inline
parent ligne 9
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11 ऽपि+(विशिष्टम्) annotation_inline
parent ligne 9
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
parent ligne 9
via heuristic_brackets
13 न्त annotation_inline
parent ligne 9
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14 [४. चन्द्रलेखा] section_header
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15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
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16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
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17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
parent ligne 16
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18 [ग. वर्णेलाप्रकारा:] section_header
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19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
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20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
parent ligne 19
via heuristic_brackets
21 ++ annotation_inline
parent ligne 19
via heuristic_height
22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
parent ligne 19
via heuristic_brackets
23 (च)तथा annotation_inline
parent ligne 19
via heuristic_height
24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
via surya_layout
25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
parent ligne 26
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28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
parent ligne 26
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29 अलिलतनामोपेता annotation_inline
parent ligne 26
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30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
parent ligne 26
via heuristic_brackets
31 ....भवति रम्यतरा annotation_inline
parent ligne 26
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vol_II_p118 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 3 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 218 page_number
via heuristic_pagenum
4 [२६. कलहंस:] section_header
via surya_layout
5 एकं पादं पुरो गीत्वा गीयन्ते च स्वरास्तत:। main
via surya_layout
6 झम्पादितालसंयुक्त: स भवेत् कलहंसक:<sup>२३</sup>॥४०७॥ main
via surya_layout
7 [ २७. घट:] section_header
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8 यत्रार्धं तेनकोपेतं द्विपदीवद् भवेद् घट:<sup>२४</sup>॥४०८॥ main
via surya_layout
9 तेन्तकोपेत annotation_inline
parent ligne 8
via heuristic_height
10 भवेद्धल: annotation_inline
parent ligne 8
via heuristic_height
11 [२८. चक्रवाल:] section_header
via surya_layout
12 पदमन्त्यं गृहीत्वा तु यमकस्थितिभूषित: । main
via surya_layout
13 आवृत्या गीयते योऽसौ चक्रवालः प्रकीर्तितः १५॥ ४०९॥ main
via surya_layout
14 [२९. त्रिपदी, षट्पदी वा] section_header
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15 तालेन येन केनापि बिरुदै: केवलैरपि। main
via surya_layout
16 बिरुतै: annotation_inline
parent ligne 15
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17 यद्यदापि [?] तथाभूता या[ऽऽ]वृत्त्या गीयते द्विधा ॥ ४१०॥ editorial_bracket
parent ligne 15
via heuristic_brackets
18 [३०. बन्धकरणम् ] section_header
via surya_layout
19 तालेन करणेनैव स्वरै: समुरजाक्षरै:। main
via surya_layout
20 गन्धर्वेर्गीयते यतु तद् बन्धकरणं पुनः १६॥ ४११॥ main
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21 [३१. पाटकरणम् ] section_header
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22 पाटाख्यं करणं प्रोक्तं हस्तपाटस्वरान्वितम् ॥ ४१२॥ main
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23 पादा॰ annotation_inline
parent ligne 22
via heuristic_markers
24 [३२. कैवाट:] section_header
via surya_layout
25 अक्षरैर्गीयते सम्यक् पाटैरेव हि केवलै:। main
via surya_layout
26 कैवाट इति स ज्ञेयो गन्धर्वेस्तालसंयुतः १७॥४१३॥ main
via surya_layout

vol_II_p127 RIGHT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 237 page_number
via heuristic_pagenum
3 [5. Drāvidailā] section_header
via surya_layout
4 The <i>elā</i> born in the <i>draviḍa</i> region is adorned with <i>bhāva</i>, <i>abhinaya</i> and <i>tāla</i>, main
via surya_layout
5 coloured with variegated sounds, devoid <math>^{85}</math> of prāsa and established in rasa. main
via surya_layout
6 (472) annotation_inline
parent ligne 5
via heuristic_short
7 Thus end the five <i>clās</i> bearing regional names. main
via surya_layout
8 [The number of <i>Elās</i>] section_header
via surya_layout
9 Ganailā has been said to be fourfold, the fifth is of the nature of sankara main
via surya_layout
10 (mixture); mātrailā has been spoken of with four varieties, by the experts in main
via surya_layout
11 music. annotation_inline
parent ligne 10
via heuristic_short
12 (473) main
via surya_layout
13 Varņailā has been described as having fourteen varieties, deśailās have main
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14 been said to be five-fold according to the distinction of region. main
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15 (474) annotation_inline
parent ligne 14
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16 Altogether these are known to be twenty-eight in number by the experts main
via surya_layout
17 in the science of music, they are combined with their respective characteristics. main
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18 (475) annotation_inline
parent ligne 17
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19 [Thus end the varieties of <i>elā</i>] editorial_bracket
parent ligne 17
via heuristic_brackets
20 [36. Jhombada] section_header
via surya_layout
21 Where half of the (first) foot is sung in repetition and then the second half main
via surya_layout
22 of the same is sung and there is alliteration between the two, similarly is sung main
via surya_layout
23 its second foot, in the same way the third foot and where the foot that is the main
via surya_layout
24 fourth one is sung at the end of each of all the feet, that is called <i>jhombada</i> main
via surya_layout
25 by the experts in music. main
via surya_layout
26 <math>(476-478)</math> main
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27 The tāla named kankāla never obtains in jhombadaka. All other tālas main
via surya_layout
28 related to desi obtain here. There are varieties of jhombada, adorned with main
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29 tenaka. annotation_inline
parent ligne 28
via heuristic_short
30 (479) main
via surya_layout

vol_II_p018 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 19 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven main
via surya_layout
4 varieties. The said regulation (number 47) is according to the varieties of main
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5 amśa svara (in fourteen jātis)." annotation_inline
parent ligne 4
via heuristic_height
6 (NŚ XXVIII, p. 49) annotation_inline
parent ligne 4
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7 [6. The definition of auduva] section_header
via surya_layout
8 ----- annotation_inline
parent ligne 7
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9 "(A structure of) five svaras should be known as audavita, it is tenfold<sup>32</sup> main
via surya_layout
10 according to those knowledgeable in prayoga (performance). It is prescribed main
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11 to have thirty varieties and its definition is as has been said before." main
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12 (NŚ XXVIII.76) annotation_inline
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13 [Anu. 127] editorial_bracket
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14 (The structure) beginning with the group of four svaras is deśi,33 not main
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15 mārga. That is used in (the music of people known as) 34 śabara, pulinda, main
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16 kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. main
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17 On account of lack of regulation (aniyama)35 śruti (?) alone should be main
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18 understood here. When there is the usage of four svaras, then it is said to be main
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19 svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall main
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20 explain this within the treatment of dhruvā. Similarly has said Bharata - main
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21 "There is the use of six svaras and similarly of five svaras. Here (in drama) main
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22 there is also the use of four svaras in the avakṛṣṭā dhruvās."37 main
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23 (NŚ XXVIII.77) annotation_inline
parent ligne 22
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24 By the word 'api' (in the above verse) meaning 'also', the complete main
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25 (structure) should also be understood. Thus should be known the fourfold main
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26 usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic). main
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vol_I_p026 RIGHT — 24 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 35 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 sa annotation_inline
parent ligne 12
via heuristic_height
4 n annotation_inline
parent ligne 12
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5 ni annotation_inline
parent ligne 12
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6 ga annotation_inline
parent ligne 12
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7 dha annotation_inline
parent ligne 12
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8 ma annotation_inline
parent ligne 12
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9 pa annotation_inline
parent ligne 12
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10 Thus ends the Samvādi-mandala. caption
via surya_layout
11 (Anu. 22) annotation_inline
parent ligne 12
via heuristic_height
12 The use of samvadin is thus- main
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13 The sadja that is accepted as amsa (fundamental note) in a gita (melodic main
via surya_layout
14 structure), in the place of that (if) madhyama (is used) it does not destroy the main
via surya_layout
15 rāga (melodic matrix). The location on which madhyama is used in accordance main
via surya_layout
16 with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy main
via surya_layout
17 the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, main
via surya_layout
18 they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the main
via surya_layout
19 place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly main
via surya_layout
20 niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a main
via surya_layout
21 loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with main
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22 ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha main
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23 as amía, these two (dhaivata and rṣabha) when used as being mutually related, main
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24 do not become the destroyers of jāti or rāga. main
via surya_layout
137 lignes a valider — change uniquement les roles incorrects.