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 21552). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p072 LEFT — 31 lignes

page vol_II_p072 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 126 page_number
via heuristic_pagenum
3 युद्धवीरेऽस्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नान्तोऽलङ्कारः । main
via surya_layout
4 ॰(र्य?रे) annotation_inline
parent ligne 3
via heuristic_markers
5 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
6 [साधारणरागाणां ग्रामविभागः] section_header
via surya_layout
7 इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते - main
via surya_layout
8 भम्माणपञ्चमो ज्ञेयो मध्यमग्रामसम्भव:। main
via surya_layout
9 गान्धारपञ्चमो नर्त: षड्जकैशिक एव च ॥ ३४२॥ main
via surya_layout
10 रूपसाधारितो रागः शकः ककुभ एव च। main
via surya_layout
11 रेवगुप्तस्तु षड्जाख्ये ज्ञेयः पञ्चमषाडवः ॥ main
via surya_layout
12 (뭐) annotation_inline
parent ligne 11
via heuristic_height
13 सप्त[नव ?] साधारणाः प्रोक्ता ग्रामद्वयसमाश्रयाः ॥३४३॥ editorial_bracket
parent ligne 11
via heuristic_brackets
14 (माश्र) annotation_inline
parent ligne 11
via heuristic_height
15 [ग्रामरागाणां मूर्छना-निर्देशस्य आधार:] section_header
via surya_layout
16 [अनु॰२१३] editorial_bracket
parent ligne 15
via heuristic_brackets
17 ननु पूर्वोक्तानां[ग्रामरागाणां]<sup>१११</sup> मूर्छनाविशेष-निर्देश: कस्माज्जायत इति [चेत्]<sup>११२</sup> editorial_bracket
parent ligne 15
via heuristic_brackets
18 उच्यते । आसवचनान्पूर्छनानिर्देशो ज्ञायते । तथा चाह काश्यप: - main
via surya_layout
19 ११३कश्यप: annotation_inline
parent ligne 18
via heuristic_height
20 (आसवचनाद्) annotation_inline
parent ligne 18
via heuristic_height
21 ९१४‘‘ज्ञात्वा जात्यंशबाहुल्यं निर्देश्या मूर्छना बुधै:।” main
via surya_layout
22 [गीतरागयोर्भेद:] section_header
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23 [अनु॰ २१४] . editorial_bracket
parent ligne 22
via heuristic_brackets
24 नन् गीतरागयो: को भेद:<sup>११५ ।</sup> उच्यते । दशलक्षणलिक्षतं गीतं रागशब्दाभिधेयम् । main
via surya_layout
25 <sup>११६</sup> शब्देनाभिधीयते annotation_inline
parent ligne 24
via heuristic_height
26 ॰(यो:को) annotation_inline
parent ligne 24
via heuristic_markers
27 गीतं चतुरङ्गेपेतम् , ध्रुवायोगात् पञ्चविधम् । कुत <sup>११७</sup>एतद् विज्ञायते ? आसवचनात् । main
via surya_layout
28 तथा annotation_inline
parent ligne 27
via heuristic_height
29 एव annotation_inline
parent ligne 27
via heuristic_height
30 चाह काश्यप: - annotation_inline
parent ligne 27
via heuristic_height
31 ११८कश्यप: 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
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12 (315) annotation_inline
parent ligne 11
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13 [1. Gaudapañcama] section_header
via surya_layout
14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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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
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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
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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
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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
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
parent ligne 32
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vol_II_p022 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 26 page_number
via heuristic_pagenum
3 गान्धार्या द्वावनंशौ च हेयावृषभधैवतौ । main
via surya_layout
4 <sup>६८</sup>षु (गेआ?हेपा) main
via surya_layout
5 क्रमात्रित्यं त्वपन्यासौ विज्ञेयौ षड्जपञ्चमौ ॥२२२॥ main
via surya_layout
6 ६९ल्यमफ annotation_inline
parent ligne 5
via heuristic_short
7 धैवतादृषभं गच्छेदेवं भ स्यात् सर्वमेव तत् । main
via surya_layout
8 तुष्ध unknown
via fallback
9 (व?वं) main
via surya_layout
10 प्रायशो रक्तगान्धार्यामपन्यासस्तु मध्यम: ॥२२३॥ main
via surya_layout
11 ७२०यां अ annotation_inline
parent ligne 10
via heuristic_short
12 (मा/प:) main
via surya_layout
13 बहुप्रयोग: कर्तव्यो धैवतोऽथ निषादवान् । main
via surya_layout
14 षड्जगान्धारसञ्चार: कार्यश्चास्यां प्रयोक्तभि: ॥२२४॥ main
via surya_layout
15 (जं?ज) annotation_inline
parent ligne 14
via heuristic_short
16 (₹?₹:) main
via surya_layout
17 श्स्याः annotation_inline
parent ligne 16
via heuristic_height
18 गान्धारोदीच्यवा प्राय: षड्जोदीच्यवतीसमा । main
via surya_layout
19 (य?य:) annotation_inline
parent ligne 18
via heuristic_short
20 षड्जश्च मध्यमश्चांशौ न चौडुवितमिष्यते ॥२२५॥ main
via surya_layout
21 0130 page_number
via heuristic_pagenum
22 पञ्चांशा मध्यमायास्तु ज्ञेया द्विश्रुतिवर्जिता:। main
via surya_layout
23 क्रमात् ताभ्यां च हीनत्वं बहुलौ षड्जमध्यमौ ॥२२६॥ main
via surya_layout
24 (मी) annotation_inline
parent ligne 23
via heuristic_short
25 गान्धारोदीच्यवावतु मध्यमोदीच्यवा भवेत्। main
via surya_layout
26 (तुल्या मध्यमोदीच्यवा) main
via surya_layout
27 साप्तस्वर्यं तु नित्यं स्यादस्यामंशस्तु पञ्चम: ॥२२७॥ main
via surya_layout
28 पञ्चम्यां गुरुभि: प्रोक्तावंशावृषभपञ्चमौ । main
via surya_layout
29 •धेवती<sup>७३</sup> annotation_inline
parent ligne 28
via heuristic_short
30 <sup>७४</sup>सनिषादावपन्यासौ मध्यमर्षभसंगति: ॥२२८॥ main
via surya_layout
31 समध्यमाः annotation_inline
parent ligne 30
via heuristic_height
32 षड्जमध्यमगान्धारा अल्पाश्च परिकोर्तिता: । main
via surya_layout
33 <b>ल्लु<sup>७५</sup>,</b> main
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34 स्यात्रिषादाच्च गान्धारो मध्यमावच्च हीनता ॥२२९॥ main
via surya_layout
35 अल्पस्य परिकोर्तिता annotation_inline
parent ligne 34
via heuristic_short
36 स्यात्रिपादाच्य + + + मध्यमा चच्च होनता(?) । main
via surya_layout

vol_II_p001 RIGHT — 12 lignes

page vol_II_p001 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 श्रीमतङ्गमुनिप्रणीता बृहद्देशी section_header
via surya_layout
2 Brhaddeśī of Śrī Matanga Muni section_header
via surya_layout
3 Volume II section_header
via surya_layout
4 Edited by annotation_inline
parent ligne 3
via heuristic_height
5 Prem Lata Sharma main
via surya_layout
6 Assisted by annotation_inline
parent ligne 5
via heuristic_short
7 Anil Bihari Beohar main
via surya_layout
8 INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS main
via surya_layout
9 <b>NEW DELHI</b> annotation_inline
parent ligne 8
via heuristic_short
10 and annotation_inline
parent ligne 8
via heuristic_height
11 MOTILAL BANARSIDASS PUBLISHERS PVT.LTD. main
via surya_layout
12 <b>DELHI</b> annotation_inline
parent ligne 11
via heuristic_height

vol_II_p060 RIGHT — 35 lignes

page vol_II_p060 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 103 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 183] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is editorial_bracket
parent ligne 5
via heuristic_brackets
5 comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because main
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6 pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take main
via surya_layout
7 up two śrutis? It is being answered. It is said to be comprised of four śrutis main
via surya_layout
8 on the analogy of its former position. Just as in bhinnakaiśika rāga, the main
via surya_layout
9 pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking main
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10 recourse to its form comprised of four śrutis, similarly it will happen here also main
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11 and hence there is no fault. And its description is thus - main
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12 . . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 11
via heuristic_height
13 [5. Bhinnatāna] section_header
via surya_layout
14 Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh main
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15 (niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of main
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16 rsabha. annotation_inline
parent ligne 15
via heuristic_height
17 (313) annotation_inline
parent ligne 15
via heuristic_height
18 [Anu. 184] editorial_bracket
parent ligne 15
via heuristic_brackets
19 This means-bhinnatāna is related to madhyamagrāma on account of being main
via surya_layout
20 born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa, main
via surya_layout
21 madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda. main
via surya_layout
22 Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa main
via surya_layout
23 (rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the main
via surya_layout
24 varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga), main
via surya_layout
25 the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math main
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26 A tāla like caccatpuţa obtains in the songs comprised of svara and pada. main
via surya_layout
27 [The assignment of bhinna-rāgas to grāmas] section_header
via surya_layout
28 [Anu. 185] editorial_bracket
parent ligne 27
via heuristic_brackets
29 The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That main
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30 is thus - annotation_inline
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31 ٠ page_number
via heuristic_pagenum
32 "Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama. main
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33 (Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma." main
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34 Thus bhinnas have been explained, now listen to the gaudas. main
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35 (314) annotation_inline
parent ligne 34
via heuristic_height
147 lignes a valider — change uniquement les roles incorrects.