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 21576). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p101 RIGHT — 33 lignes

page vol_II_p101 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 185 page_number
via heuristic_pagenum
3 [1. Now in takka] section_header
via surya_layout
4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
via surya_layout
5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
via surya_layout
6 of these (bhāṣās). annotation_inline
parent ligne 5
via heuristic_short
7 (1) main
via surya_layout
8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
via surya_layout
9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
parent ligne 8
via heuristic_brackets
10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
via surya_layout
11 born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as main
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12 complete. annotation_inline
parent ligne 11
via heuristic_short
13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
via surya_layout
15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
parent ligne 15
via heuristic_brackets
17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
via surya_layout
18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
via surya_layout
19 context of amorous women. main
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20 (3) annotation_inline
parent ligne 19
via heuristic_short
21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
parent ligne 21
via heuristic_brackets
23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
via surya_layout
24 also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an main
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25 alternative (of bhāṣā). main
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26 (4) annotation_inline
parent ligne 25
via heuristic_short
27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
via surya_layout
28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
via heuristic_brackets
30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
via surya_layout
31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
via surya_layout
32 a regional name<sup>3</sup> (and) is born of takkarāga. main
via surya_layout
33 (5) main
via surya_layout

vol_II_p109 LEFT — 30 lignes

page vol_II_p109 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 10 page_number
via heuristic_pagenum
2 [ पञ्चमोऽध्याय: ] section_header
via surya_layout
3 [देशीरागाः] section_header
via surya_layout
4 [मङ्गलाचरणम् ] section_header
via surya_layout
5 बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां main
via surya_layout
6 पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् । main
via surya_layout
7 सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति main
via surya_layout
8 देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥ main
via surya_layout
9 अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥ main
via surya_layout
10 [त्रिविधदेशीरागा:] section_header
via surya_layout
11 ै[लक्ष्यलक्षणसंयुक्तं त्रिविधं वाऽपि संयुतम् । editorial_bracket
parent ligne 10
via heuristic_brackets
12 रागाङ्गं चैव भाषाङ्गं क्रियाङ्गं च तृतीयकम् ॥ ३४७॥ main
via surya_layout
13 प्रत्येकं लक्षणं चैषां प्रवक्ष्याम्यनुपूर्वश: ॥ ३४८॥ main
via surya_layout
14 रेउक्तानां ग्रामरागाणां छायामात्रं भजन्ति हि । main
via surya_layout
15 गीतज्ञै: कथिता: सर्वे रागाङ्गास्तेन हेतुना ॥ ३४९॥ main
via surya_layout
16 भाषाछायाश्रिता येन जायन्ते सदृशा: किल । main
via surya_layout
17 भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥ main
via surya_layout
18 <sup>३</sup>स्तौतिकादिभि: annotation_inline
parent ligne 17
via heuristic_height
19 <sup>४</sup>करुणोत्साहशोकादिप्रभवा या क्रिया तत: । main
via surya_layout
20 जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥ main
via surya_layout
21 ५तदत्र मार्गरागेषु नियमो य: पुरोदित: । main
via surya_layout
22 स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [भाषाङ्गरागा: ?] editorial_bracket
parent ligne 21
via heuristic_brackets
24 [१. कच्छेल्ली] section_header
via surya_layout
25 मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा । main
via surya_layout
26 कच्छेल्ली <sup>६</sup>गधहीना च विज्ञेया परिभूरिगा<sup>७</sup> ॥ ३५३॥ main
via surya_layout
27 गतिसीना annotation_inline
parent ligne 26
via heuristic_height
28 (या) annotation_inline
parent ligne 26
via heuristic_height
29 ॰जा annotation_inline
parent ligne 26
via heuristic_markers
30 مروره هم و العرب العرب العربي و العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب ا annotation_inline
parent ligne 26
via heuristic_height

vol_II_p129 RIGHT — 25 lignes

page vol_II_p129 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 241 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [43. Varņasvara] section_header
via surya_layout
4 That which is composed with pāṭas of the hand and is again combined with main
via surya_layout
5 tenakas, is combined with svaras, padas, pāṭas and tenakas (and) is sung in main
via surya_layout
6 combination with tāla, that is known as varņasvara. main
via surya_layout
7 (486) annotation_inline
parent ligne 6
via heuristic_height
8 [44. Muktāvalī] section_header
via surya_layout
9 (That which) is sung with charming padas having anuprāsa (and where main
via surya_layout
10 there) is the name of the object of description, that is known as muktāvalī. main
via surya_layout
11 (487) annotation_inline
parent ligne 10
via heuristic_height
12 [45. Pratāpavardhana] section_header
via surya_layout
13 Well combined with pāṭas generating enthusiasm and also with svaras, main
via surya_layout
14 tenakas (and) where singing is accomplished with the birudas of the object of main
via surya_layout
15 description, that is said to be the prabandha pratāpavardhana. main
via surya_layout
16 (488) annotation_inline
parent ligne 15
via heuristic_height
17 Thus eight above forty 92 (48) beautiful prabandhas are clearly to be seen. main
via surya_layout
18 (489) annotation_inline
parent ligne 17
via heuristic_height
19 [The blemishes of gita] section_header
via surya_layout
20 One should avoid (the song) that is defective by the standard of the people main
via surya_layout
21 (loka),93 defective by śāstraic94 (critical) standard, repetitive, defective in main
via surya_layout
22 metre and vulgar or indecent, embodying deviation from proper order, main
via surya_layout
23 devoid of meaning, 95 having dubious text and meaning, indulging in main
via surya_layout
24 violation of (kalās 96 and) split.97 main
via surya_layout
25 (490) annotation_inline
parent ligne 24
via heuristic_height

vol_II_p058 RIGHT — 35 lignes

page vol_II_p058 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 99 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Jāti-bhinna] section_header
via surya_layout
4 Now he (the author) has spoken of the description of jāti-bhinna - main
via surya_layout
5 The amśa of jātis should be established and so should be the sparse and the main
via surya_layout
6 abundant. Sparseness and abundance come about on account of sparse and main
via surya_layout
7 abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma main
via surya_layout
8 (short and very short in time) and curved (phrases).<sup>50</sup> main
via surya_layout
9 (308) annotation_inline
parent ligne 8
via heuristic_height
10 [Anu. 178] section_header
via surya_layout
11 This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. main
via surya_layout
12 Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being main
via surya_layout
13 born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up main
via surya_layout
14 of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short main
via surya_layout
15 in time) phrases, this is the import. Its description is thus - main
via surya_layout
16 [3. Bhinnakaisikamadhyama] section_header
via surya_layout
17 Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa, main
via surya_layout
18 <math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52} main
via surya_layout
19 (309) annotation_inline
parent ligne 18
via heuristic_height
20 [Anu. 179] editorial_bracket
parent ligne 18
via heuristic_brackets
21 This means-bhinnakaisikamadhyama is related to şadjagrāma on account main
via surya_layout
22 of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama main
via surya_layout
23 is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) main
via surya_layout
24 is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 main
via surya_layout
25 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja main
via surya_layout
26 obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed main
via surya_layout
27 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā main
via surya_layout
28 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 [Śuddhabhinna] section_header
via surya_layout
31 Now he (the author) has spoken of the definition of śuddhabhinna- main
via surya_layout
32 (The rāga) that bedecks itself with its own jāti (from which it is born) and main
via surya_layout
33 kula (family), leaving the other jāti and taking up (the qualities of) its own main
via surya_layout
34 family, is called <i>śuddhabhinna</i>. main
via surya_layout
35 (310) annotation_inline
parent ligne 34
via heuristic_height

vol_II_p076 LEFT — 31 lignes

page vol_II_p076 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
via surya_layout
4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
via surya_layout
5 (田) annotation_inline
parent ligne 4
via heuristic_height
6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
via surya_layout
7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
via surya_layout
8 ॰पुत्री annotation_inline
parent ligne 7
via heuristic_markers
9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
via surya_layout
10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
via surya_layout
11 ६ नी annotation_inline
parent ligne 10
via heuristic_height
12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
via surya_layout
13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
via surya_layout
14 सालवाहा annotation_inline
parent ligne 13
via heuristic_height
15 чP annotation_inline
parent ligne 13
via heuristic_height
16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
via surya_layout
17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
via surya_layout
18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
via surya_layout
19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
via surya_layout
20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
via surya_layout
21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
via surya_layout
22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
via surya_layout
23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
via surya_layout
24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
via heuristic_markers
25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
via surya_layout
26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
via surya_layout
27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
via surya_layout
28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
via surya_layout
29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
via surya_layout
30 ॰ न्दो annotation_inline
parent ligne 29
via heuristic_markers
31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
via surya_layout
154 lignes a valider — change uniquement les roles incorrects.