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 21642). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p065 LEFT — 40 lignes

page vol_I_p065 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> page_header
via surya_layout
2 112 page_number
via heuristic_pagenum
3 आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः । main
via surya_layout
4 स्त्रिस्वरः annotation_inline
parent ligne 3
via heuristic_height
5 एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥ main
via surya_layout
6 द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम् main
via surya_layout
7 ₀हो₀ ₀तततोऽप<b>₀</b> annotation_inline
parent ligne 6
via heuristic_markers
8 समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥ main
via surya_layout
9 समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि । main
via surya_layout
10 ₀द्यपरश्चतुःपरो (?) वापि annotation_inline
parent ligne 9
via heuristic_markers
11 आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥ main
via surya_layout
12 स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः । main
via surya_layout
13 ₀कद्वयश्च annotation_inline
parent ligne 12
via heuristic_markers
14 क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥ main
via surya_layout
15 .मनो. annotation_inline
parent ligne 14
via heuristic_height
16 (?) main
via surya_layout
17 आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः । editorial_bracket
parent ligne 16
via heuristic_brackets
18 यः annotation_inline
parent ligne 16
via heuristic_height
19 समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥ main
via surya_layout
20 •ला annotation_inline
parent ligne 19
via heuristic_height
21 <b>.</b>Ų. main
via surya_layout
22 आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र । main
via surya_layout
23 बादा++वरोही annotation_inline
parent ligne 22
via heuristic_short
24 प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥ main
via surya_layout
25 <b>ब्न्स्याकार</b>ु (२) main
via surya_layout
26 हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः । main
via surya_layout
27 म्, annotation_inline
parent ligne 26
via heuristic_height
28 द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥ main
via surya_layout
29 च ,मती(?)चतस्य annotation_inline
parent ligne 28
via heuristic_short
30 वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् । main
via surya_layout
31 आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥ main
via surya_layout
32 गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः । editorial_bracket
parent ligne 31
via heuristic_brackets
33 ,णां annotation_inline
parent ligne 31
via heuristic_height
34 एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥ main
via surya_layout
35 .नीमा, annotation_inline
parent ligne 34
via heuristic_height
36 स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् । main
via surya_layout
37 द् गाम्युरसि किचित् उदावेध ।। main
via surya_layout
38 ₀र annotation_inline
parent ligne 37
via heuristic_markers
39 बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥ editorial_bracket
parent ligne 37
via heuristic_brackets
40 ,नाः page_footer
via surya_layout

vol_I_p054 LEFT — 38 lignes

page vol_I_p054 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> main
via surya_layout
2 90 page_number
via heuristic_pagenum
3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
via surya_layout
4 आवर्तकः annotation_inline
parent ligne 3
via heuristic_short
5 (२३) main
via surya_layout
6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
via surya_layout
7 (धिन ? धुतः) annotation_inline
parent ligne 6
via heuristic_short
8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
via surya_layout
9 [ अनु₀ ७० ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
via surya_layout
11 oसाo annotation_inline
parent ligne 10
via heuristic_height
12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
via surya_layout
13 तारगति annotation_inline
parent ligne 12
via heuristic_short
14 १ page_number
via heuristic_pagenum
15 नी सा इति प्रसन्नादिः। main
via surya_layout
16 [ अनु₀ ७१ ] editorial_bracket
parent ligne 15
via heuristic_brackets
17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
parent ligne 15
via heuristic_brackets
18 | २ | main
via surya_layout
19 इति प्रसन्नान्तः। annotation_inline
parent ligne 18
via heuristic_short
20 [ अनु॰ ७२ ] editorial_bracket
parent ligne 18
via heuristic_brackets
21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
via surya_layout
22 सरिगमधन(सा) annotation_inline
parent ligne 21
via heuristic_short
23 [ ३ ] editorial_bracket
parent ligne 21
via heuristic_brackets
24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
via surya_layout
25 निध प म गरि annotation_inline
parent ligne 24
via heuristic_height
26 अनु₀ ७३ editorial_bracket
parent ligne 24
via heuristic_brackets
27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
via surya_layout
28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
parent ligne 27
via heuristic_brackets
29 4 page_number
via heuristic_pagenum
30 ग annotation_inline
parent ligne 27
via heuristic_height
31 [ अनु₀ ७४ ] editorial_bracket
parent ligne 27
via heuristic_brackets
32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
via surya_layout
33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
parent ligne 32
via heuristic_brackets
34 स्व annotation_inline
parent ligne 32
via heuristic_height
35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
parent ligne 32
via heuristic_brackets
36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
via surya_layout
37 । ५ । annotation_inline
parent ligne 36
via heuristic_short
38 मध्यमग्रामे annotation_inline
parent ligne 36
via heuristic_height

vol_I_p051 RIGHT — 43 lignes

page vol_I_p051 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 85 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Aśvākrāntā (6) main
via surya_layout
4 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa main
via surya_layout
5 Abhirudgatā (7) annotation_inline
parent ligne 4
via heuristic_height
6 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri main
via surya_layout
7 Thus end (the mūrchanās with twelve svaras) in şadjagrāma. main
via surya_layout
8 (Anu. 63) annotation_inline
parent ligne 7
via heuristic_height
9 In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- main
via surya_layout
10 dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 main
via surya_layout
11 svaras). During the performance of raga, murchanas should be known to be main
via surya_layout
12 composed of twelve svaras. They should be known to be included in the main
via surya_layout
13 mūrchanās of şadjagrāma (?).64 main
via surya_layout
14 That is thus - annotation_inline
parent ligne 13
via heuristic_height
15 Sauvīrī (1) annotation_inline
parent ligne 13
via heuristic_height
16 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma. main
via surya_layout
17 Hariņāśvā (2) annotation_inline
parent ligne 16
via heuristic_short
18 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa. main
via surya_layout
19 Kalopanatā (3) annotation_inline
parent ligne 18
via heuristic_short
20 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha. main
via surya_layout
21 Suddhamadhyā (4) annotation_inline
parent ligne 20
via heuristic_height
22 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni. main
via surya_layout
23 Mārgī (5) annotation_inline
parent ligne 22
via heuristic_height
24 ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa. main
via surya_layout
25 Pauravi (6) annotation_inline
parent ligne 24
via heuristic_height
26 pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri. main
via surya_layout
27 Hṛṣyakā (7) annotation_inline
parent ligne 26
via heuristic_short
28 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga. main
via surya_layout
29 Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. main
via surya_layout
30 [Thus ends the section on grāma-mūrchanā] editorial_bracket
parent ligne 29
via heuristic_brackets
31 VI [Section on Varņas and Alankāras] section_header
via surya_layout
32 [The Varnas] section_header
via surya_layout
33 After this (now) are demonstrated the varnas 1 (patterns of melodic main
via surya_layout
34 movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), main
via surya_layout
35 (118) annotation_inline
parent ligne 34
via heuristic_height
36 ārohin (ascending) and avarohin (descending). main
via surya_layout
37 (Anu. 64) annotation_inline
parent ligne 36
via heuristic_height
38 (Contention) what is spoken of by the word varna? (Answer) The act of main
via surya_layout
39 singing<sup>2</sup> is spoken of by the word varņa. Where svaras are equal<sup>3</sup> and stay main
via surya_layout
40 unimpeded4, the gita5 (melodic rendering) born out of them, that is the main
via surya_layout
41 manifestor of varņa (unit of melodic movement) in a given pada6 (textual main
via surya_layout
42 unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and main
via surya_layout
43 māmāmāmā in the madhyamā (jāti). main
via surya_layout

vol_II_p096 RIGHT — 30 lignes

page vol_II_p096 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 175 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-.....Sādhāritā [iii] editorial_bracket
parent ligne 4
via heuristic_brackets
4 Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is main
via surya_layout
5 complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in main
via surya_layout
6 karuna (rasa).<sup>57</sup> main
via surya_layout
7 (123) annotation_inline
parent ligne 6
via heuristic_height
8 Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] editorial_bracket
parent ligne 6
via heuristic_brackets
9 Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>. main
via surya_layout
10 [8. After this are being described the bhāṣās in bhinna-paācama] section_header
via surya_layout
11 Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note, main
via surya_layout
12 is complete, there is concert between dhaivata-ṛṣabha and similarly between main
via surya_layout
13 șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It main
via surya_layout
14 is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people. main
via surya_layout
15 (124-125) annotation_inline
parent ligne 14
via heuristic_height
16 Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā main
via surya_layout
17 pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] editorial_bracket
parent ligne 16
via heuristic_brackets
18 Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha, main
via surya_layout
19 this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert main
via surya_layout
20 between şadja-dhaivata and the svaras comprised of two śrutis each alongwith main
via surya_layout
21 dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 main
via surya_layout
22 <math>(126-127)</math> annotation_inline
parent ligne 21
via heuristic_height
23 Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. main
via surya_layout
24 Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] editorial_bracket
parent ligne 23
via heuristic_brackets
25 Lower (mandra) ṛṣabha should be used and so also dhaivata again and main
via surya_layout
26 again. (The gamaka) sphurita60 should be used there as fast, medium and main
via surya_layout
27 One should bring about movement in high and low and similarly main
via surya_layout
28 slow.<sup>61</sup> annotation_inline
parent ligne 27
via heuristic_short
29 ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. main
via surya_layout
30 <math>(128-129)</math> main
via surya_layout

vol_I_p024 RIGHT — 35 lignes

page vol_I_p024 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 31 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the main
via surya_layout
4 undifferentiated state there is one svara; in the form of sadja and the like svara is main
via surya_layout
5 many. annotation_inline
parent ligne 4
via heuristic_height
6 Similarly also said Kohala - annotation_inline
parent ligne 4
via heuristic_height
7 "Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā main
via surya_layout
8 etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and main
via surya_layout
9 is to be combined with alankāra10 and (used in) rasas." 11 main
via surya_layout
10 (It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained main
via surya_layout
11 in or permeating everything). annotation_inline
parent ligne 10
via heuristic_height
12 Similarly said Kohala - annotation_inline
parent ligne 10
via heuristic_height
13 "By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all main
via surya_layout
14 'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka main
via surya_layout
15 (pervasive) (and) para (beyond).15 main
via surya_layout
16 (Anu. 17) annotation_inline
parent ligne 15
via heuristic_height
17 But how is the svaratva 16 of (svara-names) şadja and the like, on account of main
via surya_layout
18 their being consonants? If the svaratva of consonants is spoken of, then there main
via surya_layout
19 should be the svaratva of (consonants) beginning with ka? main
via surya_layout
20 Here it is being said (answered) that there is the svaratva of only şadja and main
via surya_layout
21 the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of main
via surya_layout
22 (consonants) beginning with ka. main
via surya_layout
23 But why (or how) is the uncommon or special nature of sadja and the like? main
via surya_layout
24 (Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones) main
via surya_layout
25 the asadharanatva (uncommonness, special nature) of svaras is there. main
via surya_layout
26 So did say Maheśvara<sup>19</sup> in Kohala — main
via surya_layout
27 "The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks main
via surya_layout
28 gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time main
via surya_layout
29 (common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy main
via surya_layout
30 season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same main
via surya_layout
31 way, the elephant always speaks niṣāda." main
via surya_layout
32 Or, only sadja and the like have uncommonness or special nature because of main
via surya_layout
33 their movement in upward sound, or şadja and the like are not svaras, only main
via surya_layout
34 (vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the main
via surya_layout
35 pronunciation of (vowels) beginning with ākāra, so (it is said). main
via surya_layout
186 lignes a valider — change uniquement les roles incorrects.