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 21748). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p100 LEFT — 29 lignes

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1 4 page_number
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2 BARRION POR annotation_inline
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3 182 page_number
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4 BŖHADDEŚI page_header
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5 [१५. अथ पञ्चमपाडवे] section_header
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6 ऋषभांशा मध्यमान्ता शकभाषा प्रकीर्तिता । main
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7 मध्यमांशा annotation_inline
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8 सुसम्पूर्णस्वरा होषा बहुगान्धारपञ्चमा ॥ १४२॥ main
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9 धैवतर्षभबाहुल्यं दृश्यते च मुहुर्मुहु:। main
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10 शकरागे तु सम्भूता [?] भाषा पञ्चमषाडवे<sup>१३४</sup>॥ १४३॥ editorial_bracket
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11 ॰प्पृ annotation_inline
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12 उदाहरणम् - रिरिसानिनि । पानिरिरिरि [००० म] [शकभाषा] editorial_bracket
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13 [॥ इति पञ्चमषाडवे ॥] section_header
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14 इत्येताः प्रकटा लोके भाषा बहुमताः स्मृताः। main
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15 यथा यथा प्रयुञ्जीत तथा सा तु विवर्तिता ॥ १४४॥ main
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16 तस्य annotation_inline
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17 तथा सर्वप्रयत्नेन गातव्या लक्षणान्विता । main
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18 गीयते annotation_inline
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19 श्रोतव्या गायकैर्नित्यं परिहासार्थ-कौशले ॥ १४५॥ main
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20 <b>॰कौशिलि</b> annotation_inline
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21 यत्किञ्चिदाहवे[दृष्टं] समस्तं दर्शयेच्च सा । editorial_bracket
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22 ॰दाह्यये + + annotation_inline
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23 नाशयेत्•तत् main
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24 सर्वत्र ग्रामरागेषु भाषाणामुपलभ्यते ॥ १४६॥ main
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25 सर्वन्त्रामरागेषु annotation_inline
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26 [इति] सर्वागमसंहितायां याष्टिकप्रमुखभाषालक्षणाध्याय: चतुर्थ:॥ editorial_bracket
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27 ॰भाषा(ध्या॰) annotation_inline
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28 [ख. शार्दूलमते भाषालक्षणम्] र section_header
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29 अतः परं प्रवक्ष्यामि शार्दूलमते भाषालक्षणम् - main
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vol_II_p101 RIGHT — 33 lignes

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1 TRANSLATION page_header
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2 185 page_number
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3 [1. Now in takka] section_header
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4 One should use the bhāṣā having pañcama as amśa and ṣadja as the main
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5 concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order main
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6 of these (bhāṣās). annotation_inline
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7 (1) main
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8 Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - main
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9 rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] editorial_bracket
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10 Having madhyama as amśa and ṣadja as the concluding note, paurālī is main
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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
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13 (2) main
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14 Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā main
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15 dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama main
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16 māmāgāmā gāriri gāsānisā. Paurālī [ii] editorial_bracket
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17 Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding main
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18 note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the main
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19 context of amorous women. main
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20 (3) annotation_inline
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21 Illustration-<i>Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā</i> main
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22 sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] editorial_bracket
parent ligne 21
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23 Having madhyama as amśa and şadja as the concluding note, tānavalitikā is main
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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
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27 Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā main
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28 mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. main
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29 Tānavalitikā[iv] editorial_bracket
parent ligne 28
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30 Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious main
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31 dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears main
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32 a regional name<sup>3</sup> (and) is born of takkarāga. main
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33 (5) main
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vol_I_p022 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 27 page_number
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2 TRANSLATION page_header
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3 Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama main
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4 (having four śrutis) should be known (located), having transgressed three main
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5 (48) annotation_inline
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6 (śrutis). main
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7 Having transgressed two śrutis (on the third śruti) should be (located) main
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8 pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is main
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9 (49) annotation_inline
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10 dhaivata. main
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11 Having transgressed one (śruti) niṣāda is known on the second (śruti). main
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12 Having transgressed three śrutis then is (located) şadja on the fourth (śruti). main
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13 (50) annotation_inline
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14 Rṣabha is later (on) the third (śruti), leaving two (śrutis). Having main
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15 (51) annotation_inline
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16 transgressed one śruti, (on) the second (śruti) is gāndhāra. main
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17 The śruti-maṇḍala of madhyama-grāma is thus— main
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18 ma annotation_inline
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19 pa unknown
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20 ga unknown
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21 гi unknown
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22 dha unknown
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23 ni annotation_inline
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24 sa annotation_inline
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25 (Anu. 14) main
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26 Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) main
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27 beginning with rṣabha.65 What is the reason? It is being said. In order to main
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vol_II_p095 LEFT — 28 lignes

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1 BŖHADDEŚĪ page_header
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2 172 page_number
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3 एषा ह्यन्तरभाषा वै पुलिन्देन तु गीयते । main
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4 पुलिन्दिकेति विख्याता पड्ज औडुविता तथा ॥ ११७॥ main
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5 व्केत् annotation_inline
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6 •तास्तथा annotation_inline
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7 उदाहरणम् - [धाधा]सासासाधानिसारिसा धानिधाधाधारिरिसासासा रिरिधाधाधारिसा- editorial_bracket
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8 धानिसासारिसा रिसाधनीपा[सा] । [पुलिन्दी]। [९] editorial_bracket
parent ligne 4
via heuristic_brackets
9 एता याष्ट्रिकनिर्दिष्टा भाषा वै भिन्नषङ्जके ॥ ११८॥ main
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10 <sup>१०७</sup>याष्ट्रिकेन निर्दिष्टा annotation_inline
parent ligne 9
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11 भाषा:। annotation_inline
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12 ७. अतः परं सौवीरकभाषाः main
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13 (रीरवीर?सीवीर)के annotation_inline
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14 षड्जाद्यन्तसमायुक्ता मूलभाषा मनोहरा । main
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15 सुसम्पूर्णस्वरा होषा बहुलौ १०८षड्जपञ्चमौ ॥ ११९॥ main
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16 धनिपञ्चमी annotation_inline
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17 षड्जधैवतसंवाद ऋषभधैवतयोस्तथा। main
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18 एषा सौवीरके प्रोक्ता सौवीरी दिव्यरूपिणी १०९ ॥ १२०॥ main
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19 दुछ्य annotation_inline
parent ligne 18
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20 उदाहरणम्-सागासासा साधानीधापापापारीपा धामागममपापामाधाधासासासानिधानिगारि- main
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21 मामागारिसा साधानिधासासा । [सौवीरी]। [१] editorial_bracket
parent ligne 20
via heuristic_brackets
22 १९॰मध्यमांशा तु षड्जान्ता सम्पूर्णा मध्यमोज्ज्वला । annotation_inline
parent ligne 20
via heuristic_markers
23 १११मध्यमपञ्चमानां तु वेगवत्त्वं च दृश्यते ॥ main
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24 एषा भाषा तु विज्ञेया गीतज्ञैर्वेगमध्यमा ॥ १२१॥ main
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25 उदाहरणम् - [मामा] पामामामधापापापमामानिधासासा निमसानिसानिधानिपापानिनिसा- editorial_bracket
parent ligne 24
via heuristic_brackets
26 निसासारिगारिसासासा सागासानिपापाधानिनिसासा । वेगमध्यमा । [२] editorial_bracket
parent ligne 24
via heuristic_brackets
27 षड्जांशा मध्यमन्यासा ज्ञेया साधारिता तु सा<sup>११२</sup>॥ १२२॥ main
via surya_layout
28 साधारि(धा?ता) annotation_inline
parent ligne 27
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vol_II_p093 RIGHT — 29 lignes

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1 169 page_number
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2 TRANSLATION page_header
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3 Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- main
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4 nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. main
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5 Dākşiņātyā [ii] editorial_bracket
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6 Combined with dhaivata as the initial and concluding note, embellished main
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7 with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. main
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8 (Mutual) movement between gändhära and dhaivata is seen here in a dense main
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9 manner. annotation_inline
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10 (107) annotation_inline
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11 Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. main
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12 Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā main
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13 sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] editorial_bracket
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14 Combined with dhaivata as the initial and concluding note, hexatonic, main
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15 devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of main
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16 Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two main
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17 śrutis each is sung. annotation_inline
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18 (108) annotation_inline
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19 Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā main
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20 ririrīnisāninidhādhā. Šrīkaņţhī [iv] editorial_bracket
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21 Having madhyama as amśa, dhaivata as the concluding note, weak in main
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22 ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the main
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23 Nāga<sup>49</sup> people and is made of sweet svaras alongwith gamakas. (Mutual) main
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24 movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. main
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25 <math>(109-110)</math> annotation_inline
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26 Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā editorial_bracket
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27 nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā main
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28 māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā main
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29 nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v] editorial_bracket
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146 lignes a valider — change uniquement les roles incorrects.