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 21486). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p094 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 170 page_number
via heuristic_pagenum
3 धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका । main
via surya_layout
4 धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥ main
via surya_layout
5 बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी । main
via surya_layout
6 यङ्गाली annotation_inline
parent ligne 5
via heuristic_height
7 एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥ main
via surya_layout
8 एषा भाषा रसा च + थैवतः annotation_inline
parent ligne 7
via heuristic_height
9 प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥ main
via surya_layout
10 ॰सूक्ष्मध annotation_inline
parent ligne 9
via heuristic_markers
11 उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि main
via surya_layout
12 धाधा। बाङ्गाली । [६] editorial_bracket
parent ligne 11
via heuristic_brackets
13 वङ्गाली annotation_inline
parent ligne 11
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14 <sup>१००</sup>मध्यमांशा धैवतान्ता <sup>१०१</sup>पञ्चमर्षभदुर्बला । main
via surya_layout
15 षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥ main
via surya_layout
16 सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥ main
via surya_layout
17 गासानिसानिधा unknown
via fallback
18 उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा unknown
via fallback
19 मापामामासामाधा annotation_inline
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via heuristic_height
20 नी annotation_inline
parent ligne 16
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21 मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी<sup>१०२</sup>।[७] editorial_bracket
parent ligne 16
via heuristic_brackets
22 गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा। main
via surya_layout
23 कालिन्दी annotation_inline
parent ligne 22
via heuristic_height
24 पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥ main
via surya_layout
25 एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते । main
via surya_layout
26 कालिङ्गे annotation_inline
parent ligne 25
via heuristic_height
27 हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥ main
via surya_layout
28 उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा- main
via surya_layout
29 साधानीगाधा । कालिङ्गी । [८] editorial_bracket
parent ligne 28
via heuristic_brackets
30 कालिन्दो annotation_inline
parent ligne 28
via heuristic_height
31 षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ । main
via surya_layout
32 धैवताऱ्यासा annotation_inline
parent ligne 31
via heuristic_height
33 <sup>९०६</sup>षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥ editorial_bracket
parent ligne 31
via heuristic_brackets

vol_II_p060 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 102 page_number
via heuristic_pagenum
2 BRHADDEŠĪ page_header
via surya_layout
3 [अनु॰ १८३] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [ अस्यार्थ:- ]चतुःश्रुतेः पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते। editorial_bracket
parent ligne 5
via heuristic_brackets
5 ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपाद:? main
via surya_layout
6 उच्यते । annotation_inline
parent ligne 5
via heuristic_height
7 (fa) annotation_inline
parent ligne 5
via heuristic_height
8 भूतपूर्वन्यायेन चतुः श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तुः] श्रुतित्वमाश्रित्य लोपः editorial_bracket
parent ligne 5
via heuristic_brackets
9 कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा - main
via surya_layout
10 [५. भिन्नतान:] editorial_bracket
parent ligne 9
via heuristic_brackets
11 <sup>६र</sup>तानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः । main
via surya_layout
12 मध्यमापञ्चमीजात्योर्ऋषभेण तु दुर्बल: ॥ ३१३॥ main
via surya_layout
13 [अनु॰ १८४] editorial_bracket
parent ligne 12
via heuristic_brackets
14 अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीजात्युत्पन्नत्वात् । main
via surya_layout
15 पञ्चमो annotation_inline
parent ligne 14
via heuristic_height
16 भित्रनासिका(?) annotation_inline
parent ligne 14
via heuristic_height
17 ग्रहोंऽशश्च। मध्यमो न्यास:। मध्यमनिषादयोरल्पत्वम् [?]<sup>६२</sup>। निषादोऽत्र काकली। पूर्णश्चायम editorial_bracket
parent ligne 14
via heuristic_brackets
18 प्रौढकरुणेऽस्य प्रयोग:। पञ्चमादिमूर्छना।सञ्चारी वर्ण:।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके main
via surya_layout
19 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
20 [भिन्नरागाणां ग्रामविभागः] section_header
via surya_layout
21 [अनु॰ १८५] editorial_bracket
parent ligne 20
via heuristic_brackets
22 भित्रानां ग्रामविभागस्तु काश्यपेनोक्त:। तथा च - main
via surya_layout
23 ‘‘भित्रषड्जस्तु षड्जे स्याद् भिन्नकैशिकमध्यम:। main
via surya_layout
24 पञ्चम: कैशिकस्तानो मध्यमग्रामसंश्रित: ॥'' main
via surya_layout
25 <b>ल्स्ता</b>ने annotation_inline
parent ligne 24
via heuristic_height
26 इति भित्रा: समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥ main
via surya_layout

vol_I_p059 RIGHT — 34 lignes

page vol_I_p059 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 101 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - main
via surya_layout
4 sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 main
via surya_layout
5 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari main
via surya_layout
6 rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) main
via surya_layout
7 (Anu. 95) annotation_inline
parent ligne 6
via heuristic_height
8 Aksiptaka (is formed) with the measure of kalās (time-units) starting with main
via surya_layout
9 one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the main
via surya_layout
10 ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, main
via surya_layout
11 mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, main
via surya_layout
12 pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. main
via surya_layout
13 (26) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 96) annotation_inline
parent ligne 12
via heuristic_height
15 Leaving the immediate (svara) after the first one and going (forward) in main
via surya_layout
16 two svaras and on account of descent in the same order in the ekakala 69 (one main
via surya_layout
17 time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the main
via surya_layout
18 sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two main
via surya_layout
19 kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī main
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20 nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā main
via surya_layout
21 gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 main
via surya_layout
22 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, main
via surya_layout
23 panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, main
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24 pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) main
via surya_layout
25 (Anu. 97) annotation_inline
parent ligne 24
via heuristic_height
26 Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of main
via surya_layout
27 dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha main
via surya_layout
28 maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa main
via surya_layout
29 mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus main
via surya_layout
30 (28) annotation_inline
parent ligne 29
via heuristic_height
31 is (ends) hasita. annotation_inline
parent ligne 29
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32 (Anu. 98) annotation_inline
parent ligne 29
via heuristic_height
33 Like hasita, through the ascent (and descent) of three svaras, or the ascent main
via surya_layout
34 (and descent) of four svaras, both ways hunkāra is ekakala 75 (with one-unit main
via surya_layout

vol_I_p034 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 51 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 V (the Section on Grāma-mūrchanā) section_header
via surya_layout
4 [The treatment of grama] section_header
via surya_layout
5 (Anu. 30) annotation_inline
parent ligne 4
via heuristic_height
6 Then, what is spoken of by the word grāma? How many grāmas are there? main
via surya_layout
7 From where is grāma born? And what is its objective? main
via surya_layout
8 (84) annotation_inline
parent ligne 7
via heuristic_height
9 It is being answered. annotation_inline
parent ligne 7
via heuristic_height
10 The two grāmas stand for a group! composed of svara, śruti and the like. main
via surya_layout
11 (85) annotation_inline
parent ligne 10
via heuristic_height
12 Just as all members of families live together, (similarly) grāma? is known as main
via surya_layout
13 (86) annotation_inline
parent ligne 12
via heuristic_height
14 that by all the people where there is an abiding settlement. main
via surya_layout
15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
via surya_layout
16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
via surya_layout
17 (87) annotation_inline
parent ligne 16
via heuristic_height
18 ٠ page_number
via heuristic_pagenum
19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
via surya_layout
20 known to be two5 characterised by (the names) şadja and madhyama. main
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21 (88) annotation_inline
parent ligne 20
via heuristic_height
22 (Anu. 31) annotation_inline
parent ligne 20
via heuristic_height
23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
via surya_layout
24 (and) rāga is indeed the objective. main
via surya_layout
25 (Anu. 32) annotation_inline
parent ligne 24
via heuristic_height
26 But why are the gramas named after the svaras sadja and madhyama? It is main
via surya_layout
27 being answered. Because of (their) uncommonness the grāmas are named after main
via surya_layout
28 them. And the uncommonness is on account of their being born of devakula? main
via surya_layout
29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
via surya_layout
33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
parent ligne 34
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vol_II_p106 RIGHT — 35 lignes

page vol_II_p106 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 195 page_number
via heuristic_pagenum
3 ......Mālavī [iii] editorial_bracket
parent ligne 5
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4 .....Gūrjarī [iv] editorial_bracket
parent ligne 5
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
via surya_layout
6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
parent ligne 6
via heuristic_short
8 (24) main
via surya_layout
9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
via surya_layout
13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
via surya_layout
14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
parent ligne 14
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
parent ligne 16
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
parent ligne 20
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
parent ligne 25
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
parent ligne 27
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
parent ligne 30
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
via surya_layout
33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
via surya_layout
34 in due order (?).<sup>24</sup> main
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35 (28) main
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163 lignes a valider — change uniquement les roles incorrects.