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 21414). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p025 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 33 page_number
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2 TRANSLATION page_header
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3 Kaiśikī is (the only one) with six aniśa svaras - sa, ga, ma, pa, dha, ni. main
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4 Ṣaḍja - madhyamā is (the only one) with seven amśa svaras - sa, ri, ga, ma, main
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5 pa, dha, ni. main
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6 1 page_number
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7 Thus sixty-three amsas have been explained. main
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8 Madhyamodīcyavā and similarly gāndhārapañcamī and nandayantī, these main
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9 three are known to be with one anisa viz. pancama. main
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10 (241) annotation_inline
parent ligne 9
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11 Dhaivatī and pañcamī, these two should be known with two amśa (svaras) main
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12 each viz. dhari and ripa. Gāndhārodīcyavā is with two (amśa svaras) viz. main
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13 madhyama and şadja. annotation_inline
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14 (242) main
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15 In ārṣabhī niridha, in naiṣādī the three niriga (and) in ṣaḍjakaiśikī sagapa are main
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16 amsa (svaras); (these) three are said to be with three amsas each. main
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17 (243) annotation_inline
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18 Şadjodīcyavatī is known to be with four amśasviz. samanidha, kārmāravī is main
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19 with ripanidha, andhrī also with garinipa. main
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20 (244) annotation_inline
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21 Ṣāḍjī is with sagamapadha (as amśas), madhyamā is also with five amśas viz. main
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22 sarimapadha, gāndhārī is with sagamanipa and similarly is raktagāndhārī with main
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23 the same five amśas. Kaiśikī is the one (jāti) that is known to have six amśas main
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24 viz. sagamapanidha. annotation_inline
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25 <math>(245-246)</math> main
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26 Ṣadjamadhyā is with seven amsas and thus those amsas are sixty-three (in main
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27 total). main
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28 [7. Prescription regarding the performance of jātis] section_header
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29 Jātis are those that give rise to grāma-rāgas through their amśas.43 main
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30 (247) annotation_inline
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31 During their performance the prescription (regarding temporal main
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32 organisation) is based on yugma<sup>44</sup> (lit.even) and ayugma<sup>45</sup> (lit.odd). They main
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33 are to be performed with three 46 mārgas viz. citra, vārtika and dakṣiṇa. main
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34 (248) main
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vol_II_p005 RIGHT — 117 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 - - annotation_inline
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2 CONTENTS table
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3 χi table
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4 Madhyamadchā table
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5 147 page_number
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6 XV. table
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7 Gàndhàrapañcami table
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8 xvi. table
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9 147 page_number
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10 Vibhāṣāof ţakka rāga table
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11 149 page_number
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12 2.Bhāṣās in mālavakaišika table
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13 149 page_number
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14 i. table
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15 Suddhā table
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16 149 page_number
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17 100 page_number
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18 ii. table
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19 Ardhavesari table
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20 151 page_number
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21 iii. table
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22 Harşapüri table
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23 151 page_number
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24 Māṅgālī table
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25 iv. table
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26 151 page_number
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27 Saindhavī table
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28 151 page_number
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29 ٧. table
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30 Äbhūrī table
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31 vi. table
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32 153 page_number
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33 vii. table
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34 Khañjanî table
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35 153 page_number
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36 Gürjari table
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37 viii. table
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38 153 page_number
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39 3.Bhāṣāsin kakubha table
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40 155 page_number
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41 Kāmbojā table
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42 155 page_number
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43 1. table
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44 Madhyamagrāmikā table
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45 ii. table
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46 155 page_number
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47 iii. table
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48 Sātavāhinī table
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49 155 page_number
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50 Bhogavardhani table
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51 iv. table
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52 155 page_number
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53 Madhukari table
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54 157 page_number
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55 v. table
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56 Śakamiśritā table
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57 vi. table
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58 157 page_number
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59 vii. table
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60 Bhinnapañcamī table
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61 157 page_number
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62 4.Bhāṣāsin hindolaka table
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63 159 page_number
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64 Vesui table
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65 159 page_number
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66 i. table
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67 ii. table
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68 Prathamamañjari table
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69 159 page_number
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70 iii. table
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71 159 page_number
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72 Chevāţī table
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73 Şadjamadhyamā table
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74 161 page_number
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75 iv. table
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76 Madhuri table
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77 161 page_number
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78 ٧. table
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79 5.Bhāṣāsin pañcama table
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80 161 page_number
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81 Ābhīrī table
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82 i. table
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83 161 page_number
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84 ii. table
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85 Bhāvinī table
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86 161 page_number
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87 1 page_number
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88 iii. table
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89 Mängäli table
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90 163 page_number
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91 Saindhavi table
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92 163 page_number
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93 iv. table
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94 163 page_number
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95 Gürjari table
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96 ٧. table
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97 163 page_number
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98 Dākṣiṇātyā table
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99 vi. table
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100 vii. table
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101 Andhālī table
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102 165 page_number
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103 viii. table
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104 Tänodbhavā table
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105 165 page_number
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106 165 page_number
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107 Trāvaņī table
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108 ix. table
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109 167 page_number
via heuristic_pagenum
110 Kaiśikī table
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111 X. table
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112 6.Bhāṣāsin bhinnaṣadja table
via surya_layout
113 167 page_number
via heuristic_pagenum
114 Šuddhā table
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115 167 page_number
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116 i. table
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117 (vide) unknown
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vol_I_p062 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 107 page_number
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2 TRANSLATION page_header
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3 Vidhutam, gātravarņa, udgīta, udvāhita and veņu, all these five alankāras main
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4 (129) annotation_inline
parent ligne 3
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5 should be known in the avarohin (varna). main
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6 Prasannādi, prasannānta, bindu, kampita, recita, prenkholita, tāramandra,85 main
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7 mandratāra, sama, sannivīttapravītta, upalolaka, veņuka, all these twelve main
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8 (130, 131) annotation_inline
parent ligne 7
via heuristic_short
9 alankāras are said to be based on all the varnas. main
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10 Mandra, madhya and tāra, avalokita itself, the apānga-named, and ūrmi—(these) main
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11 (132) annotation_inline
parent ligne 10
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12 are said to belong to all the varnas. main
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13 These alankaras should be known by the wise to be subsistent in the seven main
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14 (gītaka)86 forms. All of these are not desirable in the dhruvās,87 because of the main
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15 (133) annotation_inline
parent ligne 14
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16 excessive 'stretching' of syllables (of the text). main
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17 The stretching of the syllables of dhruvās is not lauded. Syena or bindu or main
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18 whichever others are (involved with stretching and) counter-stretching, they main
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19 should not be used (lit. 'done') in the performance of dhruvās according to main
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20 (134, annotation_inline
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21 their own measure (of extension). main
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22 135ab) annotation_inline
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23 In the performance of dhruvās, ascending svaras should be used. main
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24 (135cd) main
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25 t annotation_inline
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26 Because dhruvā that is formed in accordance with the (desired) meaning, main
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27 has to be made the communicator of meaning, in dhruvās the adequate main
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28 sparseness or thinness of varnas (patterns of melodic movement) should again main
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29 be brought about (lit. made). main
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30 (136) annotation_inline
parent ligne 29
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31 Those that go into usage here (in dhruvās), understand those varņas (i.e. main
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32 alankāras based on the respective varņas). I shall speak out the definition of main
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33 (137) annotation_inline
parent ligne 32
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34 these (alankāras based on varņas) excepting the sthāyi-varņa.88 main
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vol_II_p104 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
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3 190 page_number
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4 BRHADDEŠĪ page_header
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5 [३. अथ मालवपञ्चमे] section_header
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6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
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7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
parent ligne 12
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
parent ligne 12
via heuristic_brackets
19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
parent ligne 22
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
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25 पञ्चमार्ध तु annotation_inline
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
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vol_II_p102 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 187 page_number
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3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
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4 māgāmā annotation_inline
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5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
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6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
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9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
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10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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247 lignes a valider — change uniquement les roles incorrects.