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 21762). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p030 RIGHT — 28 lignes

page vol_I_p030 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
via heuristic_height
2 43 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
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6 pa annotation_inline
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via heuristic_height
7 ga unknown
via surya_layout
8 ц unknown
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9 dha unknown
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10 ni annotation_inline
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via heuristic_height
11 sa annotation_inline
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12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
parent ligne 4
via heuristic_brackets
13 ārcika] editorial_bracket
parent ligne 4
via heuristic_brackets
14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
via surya_layout
16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
via surya_layout
19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
via surya_layout
20 should be known as being comprised of two svaras, the (combination of) three main
via surya_layout
21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
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26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
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28 is born of six angas is called sadja.53 main
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vol_II_p122 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 227 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
via surya_layout
5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
via surya_layout
6 (439) annotation_inline
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via heuristic_short
7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
parent ligne 8
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
via surya_layout
26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
via surya_layout
27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_I_p050 RIGHT — 44 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 the kāku-vidhi (prescription about kāku) (in Nāţyaśāstra?); considered main
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4 separately, one should know them as sixty-six58 for the sake of (the sthānas) main
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5 mandra and the like. Hence whatever is sung is only for the sake of establishing main
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6 the arrangement of mandra (low) and tara (high) through the sounds of the main
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7 voice that are particularised by medium sounds i.e. that belong to the medium main
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8 category.59 annotation_inline
parent ligne 7
via heuristic_height
9 I have spoken of the fourfold mūrchanās composed of seven svaras. main
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10 [The murchana of twelve svaras] section_header
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11 Now I shall speak about the mūrchanās (composed) of twelve svaras. (117) main
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12 (Anu. 61) annotation_inline
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13 Because the treatment of murchanas has been said to be for the sake of main
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14 obtaining the three sthanas and it has also been said that this (treatment) is for main
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15 the sake of establishing mandra and tāra, the mūrchanās should be observed as main
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16 being composed of twelve svaras during performance.60 main
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17 Similarly has said Kohala - annotation_inline
parent ligne 16
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18 "The order (of svaras) should always be arranged by the wise according to main
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19 lakşya (practice) for the sake of the accomplishment of jāti, rāga and the like, main
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20 after having established the murchanā."61 main
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21 Nandikeśvara has also said— annotation_inline
parent ligne 20
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22 "The murchanas should be known by the wise to be composed of twelve svaras main
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23 (each) for the sake of the accomplishment of jāti, bhāṣā and the like and for the main
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24 sake of the establishment of tara (high), mandra (low) and the like."62 main
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25 (Anu. 62) annotation_inline
parent ligne 24
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26 Although acaryas (teachers) have propounded murchanas of seven svaras, yet main
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27 murchanas have been used only with twelve svaras, for the sake of obtaining the main
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28 three sthānas; otherwise the usage ri -ma in cokşa (śuddha) şāḍava could not main
via surya_layout
29 have been there and if this were the case, that raga could not be formulated. main
via surya_layout
30 The usage of <math>\vec{n}</math> - <math>ga</math> - <math>ma</math> - <math>dha</math> - <math>ni</math> in <math>\hat main
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31 and mandra. The performance of other ragas would also be destructive (of their main
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32 proper form). Hence the mūrchanās beginning with sa - ri - ga - ma - pa - main
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33 dha - ni begin with dha - ni - sa - ni - ga - ma - pa (when they are formed main
via surya_layout
34 with twelve svaras). That is thus -63 main
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35 Uttaramandrā (1) annotation_inline
parent ligne 34
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36 dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga main
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37 Rajani (2) annotation_inline
parent ligne 36
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38 ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma main
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39 Uttarāyatā (3) annotation_inline
parent ligne 38
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40 sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa main
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41 Śuddhasadjā (4) annotation_inline
parent ligne 40
via heuristic_height
42 ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha annotation_inline
parent ligne 40
via heuristic_height
43 Matsarikṛtā (5) annotation_inline
parent ligne 40
via heuristic_height
44 ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni 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
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5 बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां main
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6 पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् । main
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7 सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति main
via surya_layout
8 देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥ main
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9 अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥ main
via surya_layout
10 [त्रिविधदेशीरागा:] section_header
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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
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17 भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥ main
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18 <sup>३</sup>स्तौतिकादिभि: annotation_inline
parent ligne 17
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19 <sup>४</sup>करुणोत्साहशोकादिप्रभवा या क्रिया तत: । main
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20 जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥ main
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21 ५तदत्र मार्गरागेषु नियमो य: पुरोदित: । main
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22 स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [भाषाङ्गरागा: ?] editorial_bracket
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24 [१. कच्छेल्ली] section_header
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25 मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा । main
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26 कच्छेल्ली <sup>६</sup>गधहीना च विज्ञेया परिभूरिगा<sup>७</sup> ॥ ३५३॥ main
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27 गतिसीना annotation_inline
parent ligne 26
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28 (या) annotation_inline
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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
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vol_I_p055 LEFT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 92 page_number
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2 BRHADDESI page_header
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3 [ अनु₀ ७५ ] editorial_bracket
parent ligne 4
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4 स्वरे षड्जादिरूपे स्थित्वा तदीयतारमग्निवत् स्पृष्ट्वा कलामेकां च main
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5 चिरमेकस्मिन् annotation_inline
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via heuristic_short
6 स्थित्वा यत्र पुनरपि सहसा मन्द्र आगम्यते, स बिन्दुः । यथा - सा [ स ] सा इति editorial_bracket
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7 ुमा annotation_inline
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8 या annotation_inline
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9 [६] editorial_bracket
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10 बिन्दुः। main
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11 [ अनु₀ ७६ ] editorial_bracket
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12 एककलान्तरं स्पृष्ट्वा बिन्दोरेव विपर्ययोच्चारणा [ -त् ] editorial_bracket
parent ligne 10
via heuristic_brackets
13 प्रवृत्तविनिवृत्तत्वान्निवृत्तप्रवृत्ताख्यः। यथा— सा सासा [ इति ] निवृत्तप्रवृत्तः । editorial_bracket
parent ligne 10
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14 [ 9 ] editorial_bracket
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15 द्निवृत्तास्यः। main
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16 ,तो, annotation_inline
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via heuristic_short
17 ₀त (?) annotation_inline
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via heuristic_markers
18 [ अनु₀ ७७ ] editorial_bracket
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19 आक्रीडितवदारोहावरोहक्रमेण सप्तकलो वेणुः। यथा—सरिगमपधनि निधपमगरिस । main
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20 ष (ष्क ? द्क ) लो annotation_inline
parent ligne 19
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21 6 page_number
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22 इति विणुः। main
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23 [ अनु。 ७८ ] editorial_bracket
parent ligne 22
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24 मन्द्रसप्तकमध्ये पवननिरोधेन १६त्रिश्रुतेः कम्पनात् कम्पितस्त्रिकलः। यथा- main
via surya_layout
25 <b>.म. ्नी (?)</b> हि main
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26 सरिगमपधनिस [ इति ] कम्पितः। editorial_bracket
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27 [९] editorial_bracket
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28 सा₀ annotation_inline
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29 [ अनु₀ ७९ ] editorial_bracket
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30 मध्यसप्तके त्रिश्रुतेः कम्पनात् त्रिकलः कुहरितः। यथा—सरिगमपधनिस [ इति ] editorial_bracket
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via heuristic_brackets
31 ,सा main
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32 कुहरितः। annotation_inline
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33 [ 80 ] editorial_bracket
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34 [ अनु。 ८० ] editorial_bracket
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35 तारसप्तके त्रिश्रुतेः कम्पनात् त्रिकलो रेचितः । [ यथा - ] सरिगमपधनिसा [ इति ] editorial_bracket
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36 रेचितः। main
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37 [ ११ ] editorial_bracket
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38 [ अनु₀ ८१ ] editorial_bracket
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39 द्वयोः स्वरयोर्बहुनां च स्वराणां समकलगमागमाच्चतुर्दशकलः प्रेङ्खोलितः। यथा— unknown
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40 ο₹ο annotation_inline
parent ligne 36
via heuristic_height
170 lignes a valider — change uniquement les roles incorrects.