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 21499). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p071 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
via surya_layout
2 124 page_number
via heuristic_pagenum
3 [अनु॰ २१०] section_header
via surya_layout
4 अस्यार्थ: - पञ्चमषाडव: १०७षड्जग्रामसम्बन्ध: । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो main
via surya_layout
5 ॰( ঘ:) annotation_inline
parent ligne 4
via heuristic_markers
6 न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ editorial_bracket
parent ligne 4
via heuristic_brackets
7 ॰(जी?दी) annotation_inline
parent ligne 4
via heuristic_markers
8 (स्र?कृ)॰ annotation_inline
parent ligne 4
via heuristic_markers
9 विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, main
via surya_layout
10 चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
11 [९.रेवगुप्त:]<sup>१०९</sup> section_header
via surya_layout
12 ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा । main
via surya_layout
13 (₹) annotation_inline
parent ligne 12
via heuristic_height
14 आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित: ॥३४०॥ main
via surya_layout
15 [अन्॰ २११] section_header
via surya_layout
16 अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि main
via surya_layout
17 षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव main
via surya_layout
18 च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ विनियोग: । main
via surya_layout
19 वीरादिरस:। annotation_inline
parent ligne 18
via heuristic_short
20 ॰(जी?दी) annotation_inline
parent ligne 18
via heuristic_markers
21 ऋषभादिमूर्छना । आरोही वर्ण: प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला । main
via surya_layout
22 चच्चत्पुटादिताल:। ११० main
via surya_layout
23 [१०. टक्सैन्धवः] section_header
via surya_layout
24 स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:। main
via surya_layout
25 षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥ main
via surya_layout
26 [अनु २१२] section_header
via surya_layout
27 [अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य editorial_bracket
parent ligne 26
via heuristic_brackets
28 ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् । main
via surya_layout
29 ग्रहोंऽशो न्यासश्च । main
via surya_layout
30 ॰(रेष ? चै) annotation_inline
parent ligne 29
via heuristic_markers
31 (चित्रे ? चात्र) annotation_inline
parent ligne 29
via heuristic_height
32 210 page_number
via heuristic_pagenum

vol_I_p092 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 167 page_number
via heuristic_pagenum
3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
via surya_layout
4 The word antara in the compound 'antara-mūrchanā' covers both antara main
via surya_layout
5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
via surya_layout
6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
via surya_layout
7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
via surya_layout
8 not be directly covered. The mandala (cycle) beginning with reabha in main
via surya_layout
9 sadjagrāma will cover both the grāmas in the following manner- main
via surya_layout
10 Madhyama-grama annotation_inline
parent ligne 9
via heuristic_height
11 pa annotation_inline
parent ligne 9
via heuristic_height
12 ma annotation_inline
parent ligne 9
via heuristic_height
13 Sadja-grama annotation_inline
parent ligne 9
via heuristic_height
14 ga annotation_inline
parent ligne 9
via heuristic_height
15 п annotation_inline
parent ligne 9
via heuristic_height
16 sa annotation_inline
parent ligne 9
via heuristic_height
17 an ga dha unknown
via surya_layout
18 an ga kā ni unknown
via surya_layout
19 ma ni annotation_inline
parent ligne 9
via heuristic_height
20 ga ni unknown
via surya_layout
21 kā ni unknown
via surya_layout
22 dha annotation_inline
parent ligne 9
via heuristic_height
23 pa annotation_inline
parent ligne 9
via heuristic_height
24 пі annotation_inline
parent ligne 9
via heuristic_height
25 sa annotation_inline
parent ligne 9
via heuristic_height
26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
via surya_layout
27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
via surya_layout
28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
via surya_layout
29 şadja and madhyama) agre-sara; this term could be explained in two ways main
via surya_layout
30 according to the association of agre with time and space. In the context of time main
via surya_layout
31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
via surya_layout
32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
via surya_layout
33 than şadja and madhyama, because primarily şadja and madhyama have to be main
via surya_layout
34 established or accepted on an arbitrary sound and then the interval of rsabha- main
via surya_layout
35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
via surya_layout
36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
via surya_layout
37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
via surya_layout
38 in front or preceding; here preceding will have to be construed in terms of main
via surya_layout
39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
via surya_layout
40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
via surya_layout
41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
via surya_layout
42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
via surya_layout

vol_I_p053 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 88 page_number
via heuristic_pagenum
3 पापापापापापाधानीमापागागागागागा । [ - - - -] editorial_bracket
parent ligne 5
via heuristic_brackets
4 दारव्यां भवन्ति [ - - - - ] यदर्थमुक्तं यथा एवमेते प्रवर्तन्ते तथा editorial_bracket
parent ligne 5
via heuristic_brackets
5 ुषति (?) main
via surya_layout
6 •प्पर्व annotation_inline
parent ligne 5
via heuristic_height
7 प्रवर्तयन्तीत्यर्थः शारीरस्वरे। तदुक्तम् ] editorial_bracket
parent ligne 5
via heuristic_brackets
8 एते वर्णास्तु विज्ञेयाश्चत्वारो गीतयोजकाः ॥ main
via surya_layout
9 [ ना. मा. २९. १९ कख ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 वीणा unknown
via fallback
11 [ इति वर्णाः ] editorial_bracket
parent ligne 8
via heuristic_brackets
12 [ अथालङ्काराः ] editorial_bracket
parent ligne 8
via heuristic_brackets
13 अनु₀ ६८ ] section_header
via surya_layout
14 इदानीं सुप्रसिद्धास्त्रयस्त्रिशदलङ्कारा नामतः प्रयोगतश्च कथ्यन्ते— main
via surya_layout
15 पादेनाततः annotation_inline
parent ligne 14
via heuristic_short
16 तत्रालङ्कारणब्देन किमुच्यते ? [ ग्व्युत्पत्तिर्वा तस्य कीदृशी ? उच्यते- ] editorial_bracket
parent ligne 14
via heuristic_brackets
17 <b>ध्नन्व</b>० annotation_inline
parent ligne 14
via heuristic_height
18 अलङ्कारशब्देन ध्मण्डनमुच्यते। यथा कटककेयूरादिनालङ्कारेण नारी पुरुषो वा main
via surya_layout
19 ৹ল৹ annotation_inline
parent ligne 18
via heuristic_height
20 मण्डितः शोभामावहेत्, तथा एतैरलङ्कारैः श्रप्तम्नाद्यादिभिरलङ्कृता वर्णाश्रया main
via surya_layout
21 ( द्या ) annotation_inline
parent ligne 20
via heuristic_height
22 गीतिर्गातृश्रोतृणां सुखावहा भवतीति। व्युत्पत्तिश्च यथा—‘डुकृञ् करणे’ main
via surya_layout
23 <sup>10</sup>धातुरलंशब्दपूर्वोऽलङ्करोतीत्यलङ्कारः। घञन्तोऽयमलङ्कारशब्द इति। main
via surya_layout
24 •विः अलङ्कृतमल • main
via surya_layout
25 [ अनु₀ ६९ ] section_header
via surya_layout
26 ं तत्रालङ्काराणां नामानि कथ्यन्ते— (१) प्रसन्नादिः (२) प्रसन्नान्तः (३) प्रसन्नाद्यन्तः main
via surya_layout
27 (४) प्रसन्नमध्यः (५) समः (६) बिन्दुः (७) निवृत्तप्रवृत्तः (८) वेणुः (९) कम्पितः main
via surya_layout
28 (तः) annotation_inline
parent ligne 27
via heuristic_height
29 (१०) कुहरितः (११) रेचितः (१२) प्रेङ्घोलितः (१३) तारमन्द्रप्र [ list_item
via surya_layout
30 सन्नः । list_item
via surya_layout
31 (१४) मन्द्रतारप्रसन्नः (१५) प्रस्तारः (१६) प्रसादः (१७) उद्वाहितः list_item
via surya_layout
32 ्रः ,व्रनिसनः list_item
via surya_layout
33 ह्रस्वार list_item
via surya_layout
34 (?) list_item
via surya_layout
35 (१८) उपलोलकः (१९) क्रमः (२०) निष्कृजितः (२१) ह्रादमानः (२२) रिञ्जतः list_item
via surya_layout
36 (प्रा?ह्रा) list_item
via surya_layout

vol_II_p066 RIGHT — 39 lignes

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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_p023 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 11.<b>1</b> annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĪ page_header
via surya_layout
3 28 page_number
via heuristic_pagenum
4 ज्ञेयो गान्धारपञ्चम्याः पञ्चमोऽशः प्रयोक्तभिः। main
via surya_layout
5 ·सर्षभ: स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ main
via surya_layout
6 (नांयासौ?न्यासो) main
via surya_layout
7 1000 page_number
via heuristic_pagenum
8 गान्धार्यामथ<sup>७०</sup> पञ्चम्यां यत्सञ्चारादि कीर्तितम् । main
via surya_layout
9 (T) annotation_inline
parent ligne 8
via heuristic_height
10 ন: annotation_inline
parent ligne 8
via heuristic_height
11 तदस्यामपि विज्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ main
via surya_layout
12 आन्ध्र्यामनंशा विज्ञेया: षड्जमध्यमधैवता: । main
via surya_layout
13 अन्यूः annotation_inline
parent ligne 12
via heuristic_short
14 षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ main
via surya_layout
15 तु न्यासो<sup>७८</sup> main
via surya_layout
16 नन्दयन्त्यामपन्यासौ ज्ञेयौ मध्यमपञ्चमौ । main
via surya_layout
17 न्सो annotation_inline
parent ligne 16
via heuristic_height
18 ग्रहो न्यासश्च गान्धार्: पञ्चमोंऽश: प्रकीर्तित: ॥२३३॥ main
via surya_layout
19 आन्ध्रीवत् षाडवं ज्ञेयमनौडुवितमेव च। main
via surya_layout
20 पो॰ annotation_inline
parent ligne 19
via heuristic_markers
21 <b>प्नो</b>॰ annotation_inline
parent ligne 19
via heuristic_markers
22 स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ main
via surya_layout
23 (ন্দ?< annotation_inline
parent ligne 22
via heuristic_short
24 कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमाः । main
via surya_layout
25 व्यञ्चमाः<sup>७९</sup> main
via surya_layout
26 पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ main
via surya_layout
27 कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। editorial_bracket
parent ligne 26
via heuristic_brackets
28 न्ती +++ annotation_inline
parent ligne 26
via heuristic_height
29 ऋषभो धैवतश्चैव हेयावस्यां यथाक्रमम् ॥२३६॥ main
via surya_layout
30 ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । annotation_inline
parent ligne 29
via heuristic_markers
31 (व?वे)न्या(सी?सो) main
via surya_layout
32 136 13 annotation_inline
parent ligne 31
via heuristic_height
33 ऋषभ: स्यादपन्यास: कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥ main
via surya_layout
182 lignes a valider — change uniquement les roles incorrects.