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 21622). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p097 RIGHT — 27 lignes

page vol_II_p097 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 177 page_number
via heuristic_pagenum
3 Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā main
via surya_layout
4 pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga main
via surya_layout
5 risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- main
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6 dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] editorial_bracket
parent ligne 5
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7 Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is main
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8 charming. This is complete in svaras and has to and fro movement between main
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9 sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup> main
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10 (130) annotation_inline
parent ligne 9
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11 Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā main
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12 māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- main
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13 nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- main
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14 hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. main
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15 Sāsāmadhāpādhānidhā. Viśālā [iv] editorial_bracket
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16 These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. main
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17 [9. Now in Bottaraga] section_header
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18 Having pañcama as amsa, madhyama as the concluding note, being complete main
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19 and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and main
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20 fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all main
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21 auspicious occasions. Since it is auspicious and commendable, it is known main
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22 as mangalā. annotation_inline
parent ligne 21
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23 <math>(131-132)</math> annotation_inline
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24 Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- main
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25 pāmā. Maṅgalā [i] editorial_bracket
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26 [10. Bhāṣās in mālavapañcama] table
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27 .....[Bhāvinī] table
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vol_II_p043 LEFT — 50 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 68 page_number
via heuristic_pagenum
3 रों रों गां सम मा मा पा पा table
via surya_layout
4 (८) table
via surya_layout
5 (8) table
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6 मा पा मा परि गा गा गा गा table
via surya_layout
7 (१०) table
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8 धानी पामा धानी सासा table
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9 (११) table
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10 नी नी नी नी नी नी नी table
via surya_layout
11 (१२) table
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12 मा मा धा नी नी धा पा पा table
via surya_layout
13 (१३) table
via surya_layout
14 मा पा मा परि गा गा गा गा table
via surya_layout
15 (88) table
via surya_layout
16 नी नी पा धनि गा गा गा गा table
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17 सारी गासानी नी नी नी table
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18 (१५) table
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19 (१६) table
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20 नी नी धा पा पा पा पा पा table
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21 ॥ [इति] कार्मारवी ॥ table
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22 1411 page_number
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23 [७. गान्धारपञ्चमी] section_header
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24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
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25 (育) annotation_inline
parent ligne 24
via heuristic_short
26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
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27 १८००भूरिभि: annotation_inline
parent ligne 26
via heuristic_short
28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
via surya_layout
29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
via surya_layout
30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
via fallback
31 (१) table
via surya_layout
32 मा मा पम धनि धप मा धा नी table
via surya_layout
33 (२) table
via surya_layout
34 सनि धा पा पा पा पा पा पा table
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35 (3) table
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36 धा नी सा सा मा मा पा पा table
via surya_layout
37 नी नी नी नी नी नी नी table
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38 (8) table
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39 (4) table
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40 नी नी धप मा निध निध पा पा table
via surya_layout
41 <b>(६)</b> table
via surya_layout
42 पा पा री री री री पा पा table
via surya_layout
43 (७) table
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44 मा रिग सा सध नी नी नी नी table
via surya_layout
45 (८) table
via surya_layout
46 नी री सा रिस री री री री table
via surya_layout
47 नी गा सा निग सा नी नी नी table
via surya_layout
48 (९) table
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49 (१०) table
via surya_layout
50 नी मां नी मां पा पा गां गां table
via surya_layout

vol_II_p129 RIGHT — 25 lignes

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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
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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
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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
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24 violation of (kalās 96 and) split.97 main
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25 (490) annotation_inline
parent ligne 24
via heuristic_height

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
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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
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19 कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:। main
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20 [भिन्नरागाणां ग्रामविभागः] section_header
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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
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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_II_p039 RIGHT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 61 page_number
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3 TRANSLATION page_header
via surya_layout
4 gā gama pā padha mā dhani pā pā table
via surya_layout
5 <b>(7)</b> table
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6 rī gā sā sadha nī nī dhā dhā table
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7 (8) table
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8 gā riga sā sani gā riga sā sā table
via surya_layout
9 (9) table
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10 sã sã sã mã mani dhani nĩ nĩ table
via surya_layout
11 (10) table
via surya_layout
12 (11) table
via surya_layout
13 mā pā mā pariga gā gā sā sā table
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14 gã sã gã sã mã pã mã pariga table
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15 (12) table
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16 gã gã gã gã gã gã sã table
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17 (13) table
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18 ni ni pā dhā ni gā gā gā table
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19 (14) table
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20 ni ni dhā pā dhā pā mā pā table
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21 (15) table
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22 (16) table
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23 dhã pã mã mã mã mã mã mã table
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24 Thus ends gändhärodīcyavatī. section_header
via surya_layout
25 [3. Raktagāndhārī] section_header
via surya_layout
26 Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The main
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27 proximity and combination of șadja and gāndhāra is brought about by main
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28 leaping over rşabha. main
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29 (7) annotation_inline
parent ligne 28
via heuristic_short
30 The hexatonic and pentatonic forms are said to come into being with the main
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31 omission of rşabha and rşabha-dhaivata respectively. There is the abundance main
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32 of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. main
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33 (8) annotation_inline
parent ligne 32
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34 Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. main
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35 Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as main
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36 in şādjī. The mūrchanā beginning with rṣabha obtains. main
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37 (9) annotation_inline
parent ligne 36
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38 The application is (prescribed) in the dhruvā pertaining to the third main
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39 act. annotation_inline
parent ligne 38
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40 (10) main
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41 Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra main
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42 is thus – main
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43 pā nī sā sā gā sā pā nī table
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44 (1) table
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45 sã sã pã pã mã mã gã gã table
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46 (2) table
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47 mã pã dhã pã mã pã dhapa maga table
via surya_layout
48 (3) table
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176 lignes a valider — change uniquement les roles incorrects.