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 21697). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p114 RIGHT — 27 lignes

page vol_II_p114 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 211 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. <i>Gadya</i>] section_header
via surya_layout
4 That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of main
via surya_layout
5 description 10 (divine or human) and is sung as such, is said here to be gadya, main
via surya_layout
6 by the proficient ones in music. main
via surya_layout
7 (385) annotation_inline
parent ligne 6
via heuristic_height
8 [4. Daṇḍaka] section_header
via surya_layout
9 Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the main
via surya_layout
10 middle (and) again combined with pada, that song is known as daṇḍaka. main
via surya_layout
11 (386) main
via surya_layout
12 [5. Varņa] section_header
via surya_layout
13 Bedecked with birudas12 (eulogistic phrases) related to plenty, main
via surya_layout
14 renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math> main
via surya_layout
15 (387) annotation_inline
parent ligne 14
via heuristic_short
16 ******* annotation_inline
parent ligne 14
via heuristic_height
17 [6. Paddhaḍi] section_header
via surya_layout
18 Combined with svara (and) pāṭa and endowed with tāla, composed in any main
via surya_layout
19 language and combined with birudas is that paddhaḍī. main
via surya_layout
20 (388) main
via surya_layout
21 [7. Adilā] section_header
via surya_layout
22 Where there is the brilliant arrangement of svaras at the end of every foot, main
via surya_layout
23 combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name. main
via surya_layout
24 (389) annotation_inline
parent ligne 23
via heuristic_height
25 [8. Catușpadi] section_header
via surya_layout
26 Where the song is endowed with meaning in every unit of text (pada) main
via surya_layout
27 (and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m main
via surya_layout

vol_II_p045 RIGHT — 54 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 73 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 (11) table
via surya_layout
4 ni ni ni ni ri ri ri ri table
via surya_layout
5 (12) table
via surya_layout
6 rĩ rĩ gã nĩ sã sã nĩ nĩ table
via surya_layout
7 (13) table
via surya_layout
8 pā pā mā gari gā gā gā gā table
via surya_layout
9 (14) table
via surya_layout
10 rī rī mā sama mā mā pā pā table
via surya_layout
11 (15) table
via surya_layout
12 mā mā nī nī sā rī gā pā table
via surya_layout
13 riga gã gã gã gã gã gã gã table
via surya_layout
14 (16) table
via surya_layout
15 Thus ends andhri. section_header
via surya_layout
16 [9. Nandayanti] section_header
via surya_layout
17 In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. main
via surya_layout
18 Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in main
via surya_layout
19 gīta (melody). annotation_inline
parent ligne 18
via heuristic_short
20 (23) main
via surya_layout
21 There is the abundance of the lower rṣabha. The hexatonic form comes main
via surya_layout
22 about with the omission of şadja. Hṛṣyakā is the mūrchanā. The tāla is as in main
via surya_layout
23 the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in main
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24 number. annotation_inline
parent ligne 23
via heuristic_short
25 (24) main
via surya_layout
26 The application is (prescribed) in the singing of dhruvās in the first act. main
via surya_layout
27 (25) annotation_inline
parent ligne 26
via heuristic_short
28 Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas. main
via surya_layout
29 The <i>prastāra</i> is thus – main
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30 (1) table
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31 gā gā gā gā pā pā dhapa mā table
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32 (2) table
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33 dhā dhā dhā dhā dhā nī sani dhā table
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34 (3) table
via surya_layout
35 pā pā pā pā pā pā pā pā ` table
via surya_layout
36 (4) table
via surya_layout
37 dhā nī mā pā gā gā gā gā table
via surya_layout
38 (5) table
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39 mã rĩ gã gã gã gã gã gâ table
via surya_layout
40 (6) table
via surya_layout
41 mã mã pã pã dhã nidha pã pã table
via surya_layout
42 (7) table
via surya_layout
43 dhã nĩ mã pã gã gã gã gã table
via surya_layout
44 (8) table
via surya_layout
45 gama pā pā pā mā mā gā gā table
via surya_layout
46 (9) table
via surya_layout
47 dhā nī mā pā gā gā gā gā table
via surya_layout
48 (10) table
via surya_layout
49 mā mā mā mā mā mā mā mā table
via surya_layout
50 (11) table
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51 rī gā mā pā pama pā pā nī table
via surya_layout
52 (12) table
via surya_layout
53 rî rî rî rî pâ pâ mã mã table
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54 A . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 29
via heuristic_height

vol_I_p059 RIGHT — 34 lignes

page vol_I_p059 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 101 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - main
via surya_layout
4 sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 main
via surya_layout
5 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari main
via surya_layout
6 rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) main
via surya_layout
7 (Anu. 95) annotation_inline
parent ligne 6
via heuristic_height
8 Aksiptaka (is formed) with the measure of kalās (time-units) starting with main
via surya_layout
9 one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the main
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10 ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, main
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11 mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, main
via surya_layout
12 pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. main
via surya_layout
13 (26) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 96) annotation_inline
parent ligne 12
via heuristic_height
15 Leaving the immediate (svara) after the first one and going (forward) in main
via surya_layout
16 two svaras and on account of descent in the same order in the ekakala 69 (one main
via surya_layout
17 time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the main
via surya_layout
18 sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two main
via surya_layout
19 kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī main
via surya_layout
20 nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā main
via surya_layout
21 gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 main
via surya_layout
22 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, main
via surya_layout
23 panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, main
via surya_layout
24 pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) main
via surya_layout
25 (Anu. 97) annotation_inline
parent ligne 24
via heuristic_height
26 Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of main
via surya_layout
27 dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha main
via surya_layout
28 maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa main
via surya_layout
29 mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus main
via surya_layout
30 (28) annotation_inline
parent ligne 29
via heuristic_height
31 is (ends) hasita. annotation_inline
parent ligne 29
via heuristic_height
32 (Anu. 98) annotation_inline
parent ligne 29
via heuristic_height
33 Like hasita, through the ascent (and descent) of three svaras, or the ascent main
via surya_layout
34 (and descent) of four svaras, both ways hunkāra is ekakala 75 (with one-unit main
via surya_layout

vol_II_p085 LEFT — 32 lignes

page vol_II_p085 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 152 page_number
via heuristic_pagenum
3 षड्जाद्यन्तसमायुक्ता सम्पूर्णा देशसम्भवा । main
via surya_layout
4 <sup>५४</sup>ऋषभषड्जसंवादो द्विश्रुती चाल्परूपिणौ ॥ main
via surya_layout
5 +++षड्जासंवादो annotation_inline
parent ligne 4
via heuristic_short
6 िद्विश्रुति चाल्यरूपिणौ(?) main
via surya_layout
7 साधारणकृता होषा त्वाभीरी गीयते जनै: ॥६८॥ main
via surya_layout
8 आभीरी annotation_inline
parent ligne 7
via heuristic_height
9 उदाहरणम् - सासारीरी । सासारीरी । सासारीसारी । सासानीसारीरी। सारीसारीसासानीसरीरीगारीगारी। main
via surya_layout
10 सनिसासा । गारीरी । गामागरी। गपापगारी । सनिसासा । सनीसासा धारीगगमासा । पमागारी। main
via surya_layout
11 सनीसासा । धनीधानी । साधनिसा । रिरिगामा । गामारिरि । गापामापा । मागारीरी । सासारिसारी। main
via surya_layout
12 सासानीसारी । रीरीसासा सानिरीरिगारि । रिगारिरि । सनि । सासागारीरि । गामगारी । सानि । main
via surya_layout
13 गारीरी। मागागारी । गापागारी। सनीसासासनी । सासा । रिगगमासा । पमागारी । सनिससा । main
via surya_layout
14 संधनिसासा । सनिधानिधाधनिसारीरी । गामागमारिरी । गापामापा । मपमा । मगारिरी । मपागारि। main
via surya_layout
15 सनिसासा । आभीरी । [६] editorial_bracket
parent ligne 14
via heuristic_brackets
16 <sup>५५</sup>खञ्जनी पञ्चमांशा तु षड्जान्ता <sup>५६</sup>धैवतोज्झिता । main
via surya_layout
17 खण्डनी annotation_inline
parent ligne 16
via heuristic_height
18 षड्जनिषादसंवादो मध्यमर्षभयोस्तथा ॥ main
via surya_layout
19 सङ्कीर्णा षाडवा ज्ञेया सर्वलोकस्य रञ्जिका ॥६९॥ main
via surya_layout
20 उदाहरणम् - पानीमारीसरि । सासासरीरि । सनि । रिरी । सनिसनि । रि । पापापानि । सरिसनि। main
via surya_layout
21 सगसस्। सनिरीसनीरीरी । मागारिगमा । नीपापानीसनीपापामग । पापा । नि । निमनिसरिसगसासा। main
via surya_layout
22 । खञ्जनी ।[७] editorial_bracket
parent ligne 21
via heuristic_brackets
23 खण्डनी annotation_inline
parent ligne 21
via heuristic_height
24 निषादांशा तु षड्जान्ता गुर्जरी देशसम्भवा । main
via surya_layout
25 निषादर्षभसंयोगो मध्यमर्षभयोस्तथा ॥ main
via surya_layout
26 सम्पूर्णा चैव विज्ञेया <sup>५७</sup>भाषा वै गेयवेदिभि:॥७०॥ main
via surya_layout
27 पाडवा annotation_inline
parent ligne 26
via heuristic_height
28 उदाहरणम् - निधानीनी । रिगानिधा । निसासाधनि । धाग । रि । सागरी । सानीधानी । main
via surya_layout
29 गधासारी । गारीमागारी । सनिधाधानिधासरिगारी । सनीसासा । निधासानीगरी । मगरि । main
via surya_layout
30 मगारि । पापागारीमामा । रिधानिधानिधासरि । गरिसानीसासानीधासरीरि । निधासासा । main
via surya_layout
31 धनीसागा । गारीरि । मगरीमगरि । मापागरि । मगरिसनी धाधानिधासरिगरि । सनिसासा । main
via surya_layout
32 [गुर्जरी]।[८] editorial_bracket
parent ligne 31
via heuristic_brackets

vol_I_p065 RIGHT — 43 lignes

page vol_I_p065 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 113 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
via surya_layout
4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
via surya_layout
5 (158) annotation_inline
parent ligne 4
via heuristic_height
6 due course. 107 annotation_inline
parent ligne 4
via heuristic_height
7 Hasita (is known as such as it) is pronounced in a manner similar to main
via surya_layout
8 1 page_number
via heuristic_pagenum
9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
via surya_layout
10 (159) annotation_inline
parent ligne 9
via heuristic_height
11 by the wise, being made up of gapless svaras. main
via surya_layout
12 (That which) ascends in gapless svaras like hasita with three or four svaras main
via surya_layout
13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
via surya_layout
14 (160) annotation_inline
parent ligne 13
via heuristic_height
15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
via surya_layout
16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
via surya_layout
17 (161) annotation_inline
parent ligne 16
via heuristic_height
18 another sthana (register). annotation_inline
parent ligne 16
via heuristic_height
19 1 page_number
via heuristic_pagenum
20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
via surya_layout
21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
via surya_layout
22 (162) annotation_inline
parent ligne 21
via heuristic_height
23 kalā (phrase) without a gap that is vidhuta. main
via surya_layout
24 In the beginning it is arohin; (like) prastara where there is descent main
via surya_layout
25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
via surya_layout
26 (163) annotation_inline
parent ligne 25
via heuristic_height
27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
via surya_layout
28 (phrases) there are two svaras each that are shaking 115 and then there are two main
via surya_layout
29 (164) annotation_inline
parent ligne 28
via heuristic_height
30 lower svaras. annotation_inline
parent ligne 28
via heuristic_height
31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
via surya_layout
32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
via surya_layout
33 (165) annotation_inline
parent ligne 32
via heuristic_height
34 ı annotation_inline
parent ligne 32
via heuristic_height
35 Thus has been indicated the prescription about alankarana (ornamentation main
via surya_layout
36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
via surya_layout
37 rendering). The giti musical rendering should be ornamented with these main
via surya_layout
38 (166) annotation_inline
parent ligne 37
via heuristic_height
39 without conflicting with the varna.117 main
via surya_layout
40 One should 'do' (use) an alankāra at the proper place; one should not tie main
via surya_layout
41 the kānci (ornament for the waist) on the bosom. There could be many main
via surya_layout
42 (167) annotation_inline
parent ligne 41
via heuristic_height
43 alankāras, they should not be used without varņa.118 main
via surya_layout
190 lignes a valider — change uniquement les roles incorrects.