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 20596). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p108 LEFT — 17 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 198 page_number
via heuristic_pagenum
3 उदाहरणम् - .....शुद्धा । [१४] page_header
via surya_layout
4 [.....]<sub>&o</sub> page_header
via surya_layout
5 उदाहरणम् – धापा निनिसा निधानिगामा पापारिपापा धानिनि । धानीगारी गासागासा सा - page_header
via surya_layout
6 सासापा पामापापा । गमसानिगागमसा गासाधामागामामा । मध्यमा [१५] page_header
via surya_layout
7 पञ्चमांशा पार्वती[स्याद्]धैवतान्ता च देशजा । editorial_bracket
parent ligne 9
via heuristic_brackets
8 तु पार्धत्या annotation_inline
parent ligne 9
via heuristic_height
9 ४१क्षत्रपरिषदि गीता पूर्णा षड्जसमुद्भवा ॥३३॥ main
via surya_layout
10 हृष्टा क्षत्रपरिषदि गीयते पूर्ण क्सु (?) main
via surya_layout
11 उदाहरणम् - पापापागा मारिरिनिरिमधा पापापा सारिमा । पागारिरिसनि धापापाधा । पार्वती । [१६] editorial_bracket
parent ligne 10
via heuristic_brackets
12 ॥ इति शार्दूलमते [भित्रषड्जस्य] भाषा: षोडश समाप्ता: ॥ editorial_bracket
parent ligne 10
via heuristic_brackets
13 लक्ष्यलक्षणसंयुक्ताः प्रस्तारेण समन्विताः । main
via surya_layout
14 उक्ता भाषा: समीचीना विभाषाभिर्विभूषिता: ॥३४॥ main
via surya_layout
15 •(पि? भि)॰ annotation_inline
parent ligne 14
via heuristic_markers
16 ॥ इति भाषालक्षणं समाप्तम् ॥ editorial_bracket
parent ligne 14
via heuristic_brackets
17 [॥ इति चतुर्थोऽध्याय:॥] editorial_bracket
parent ligne 14
via heuristic_brackets

vol_II_p048 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 78 page_number
via heuristic_pagenum
3 १९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता । main
via surya_layout
4 इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥ main
via surya_layout
5 अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् । main
via surya_layout
6 यापि वाचकः annotation_inline
parent ligne 5
via heuristic_height
7 मन्थवत् annotation_inline
parent ligne 5
via heuristic_height
8 योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥ main
via surya_layout
9 १३ ०रूदश्च वा annotation_inline
parent ligne 8
via heuristic_height
10 [गीति-भेदाः] section_header
via surya_layout
11 [तत्र मतङ्गमतम् ] section_header
via surya_layout
12 इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: । main
via surya_layout
13 (त ? ती) annotation_inline
parent ligne 12
via heuristic_height
14 प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥ main
via surya_layout
15 (त ? ति:) annotation_inline
parent ligne 14
via heuristic_height
16 तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका । main
via surya_layout
17 साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥ main
via surya_layout
18 (त ?ति) annotation_inline
parent ligne 17
via heuristic_height
19 भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी । main
via surya_layout
20 १४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥ main
via surya_layout
21 सप्तगीत्यो मया annotation_inline
parent ligne 20
via heuristic_height
22 [॥ इति मतङ्गमतम्॥] editorial_bracket
parent ligne 20
via heuristic_brackets
23 [दुर्गशक्तिमतम्] section_header
via surya_layout
24 गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा । main
via surya_layout
25 ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥ main
via surya_layout
26 याष्ट्रिकेन महात्मना annotation_inline
parent ligne 25
via heuristic_height
27 ॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥ main
via surya_layout

vol_I_p095 RIGHT — 48 lignes

page vol_I_p095 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARSA</b> page_header
via surya_layout
2 173 page_number
via heuristic_pagenum
3 Madhyama table
via surya_layout
4 Pañcama table
via surya_layout
5 Niṣāda-gāndhāra table
via surya_layout
6 Dhaivata table
via surya_layout
7 Gändhära table
via surya_layout
8 Nişāda table
via surya_layout
9 Şadja-rşabha table
via surya_layout
10 Şadja table
via surya_layout
11 Gāndhāra table
via surya_layout
12 This list does not seem to follow the general statement that all those which main
via surya_layout
13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
via surya_layout
14 not included here, as are neither samvadins nor vivadins. The passage listing the main
via surya_layout
15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
via surya_layout
16 interpolation. It has been put within square brackets by the editor. main
via surya_layout
17 Our author's statement that nişāda and gāndhāra are established as main
via surya_layout
18 anuvadins as they are less by one sruti obviously with reference to the svaras main
via surya_layout
19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
via surya_layout
20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
via surya_layout
21 respectively and are hence vivadins. main
via surya_layout
22 44. Here again, the application of the concept of vivada in melodic structuring main
via surya_layout
23 is being illustrated. ( see glossary ) main
via surya_layout
24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
via surya_layout
25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
via surya_layout
26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
via surya_layout
27 narratives) which is associated with the use of two svaras; sāmika pertains to main
via surya_layout
28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
via surya_layout
29 literally means the interval of a svara, the implication seems to be that a group main
via surya_layout
30 of four svaras is the first step towards the formation of a heptad from a triad; main
via surya_layout
31 auduva stands for a group of five svaras ( the etymology of this word is given in main
via surya_layout
32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
via surya_layout
33 literally meaning complete, stands for a group of all the seven svaras. main
via surya_layout
34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
via surya_layout
35 svara, because in current practice, generally three tones are employed in main
via surya_layout
36 reciting the pk. The practice of the recitation of gatha is not generally known main
via surya_layout
37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
via surya_layout
38 is, however, notable that the number three is associated with sāman in NS in main
via surya_layout
39 another context and that is the trisama spoken of in the beginning of main
via surya_layout
40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
via surya_layout
41 rendering of three sāmans is prescribed there. These sāmans are composed of main
via surya_layout
42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
via surya_layout
43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
via surya_layout
44 instruments, it is not just 'song'. main
via surya_layout
45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
via surya_layout
46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
via surya_layout
47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
via surya_layout
48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
via surya_layout

vol_II_p123 LEFT — 31 lignes

page vol_II_p123 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
via surya_layout
2 228 page_number
via heuristic_pagenum
3 [२. कामलेखा] section_header
via surya_layout
4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
via surya_layout
5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
via surya_layout
6 विंशति विषमे annotation_inline
parent ligne 5
via heuristic_height
7 (?)चरमे annotation_inline
parent ligne 5
via heuristic_height
8 [३. बाणलेखा] section_header
via surya_layout
9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
via surya_layout
10 (電?) annotation_inline
parent ligne 9
via heuristic_height
11 ऽपि+(विशिष्टम्) annotation_inline
parent ligne 9
via heuristic_height
12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
parent ligne 9
via heuristic_brackets
13 न्त annotation_inline
parent ligne 9
via heuristic_height
14 [४. चन्द्रलेखा] section_header
via surya_layout
15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
via surya_layout
16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
via surya_layout
17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
parent ligne 16
via heuristic_brackets
18 [ग. वर्णेलाप्रकारा:] section_header
via surya_layout
19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
via surya_layout
20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
parent ligne 19
via heuristic_brackets
21 ++ annotation_inline
parent ligne 19
via heuristic_height
22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
parent ligne 19
via heuristic_brackets
23 (च)तथा annotation_inline
parent ligne 19
via heuristic_height
24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
via surya_layout
25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
via surya_layout
26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
via surya_layout
27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
parent ligne 26
via heuristic_brackets
28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
parent ligne 26
via heuristic_brackets
29 अलिलतनामोपेता annotation_inline
parent ligne 26
via heuristic_height
30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
parent ligne 26
via heuristic_brackets
31 ....भवति रम्यतरा annotation_inline
parent ligne 26
via heuristic_height

vol_II_p059 LEFT — 34 lignes

page vol_II_p059 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BŖHADDEŚĪ page_header
via surya_layout
2 100 page_number
via heuristic_pagenum
3 [अनु॰ १८०] editorial_bracket
parent ligne 4
via heuristic_brackets
4 अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति । main
via surya_layout
5 [४. भिन्नकैशिकः] section_header
via surya_layout
6 [अनुः १८१] editorial_bracket
parent ligne 5
via heuristic_brackets
7 शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो भेदः main
via surya_layout
8 (कटी?गी) annotation_inline
parent ligne 7
via heuristic_height
9 शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते। एतदुक्तं भवति - येन main
via surya_layout
10 स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति। लक्षणं चास्य यथा- main
via surya_layout
11 <b>(?)</b> annotation_inline
parent ligne 10
via heuristic_height
12 (स्थं ?)संस्थानेन main
via surya_layout
13 •केन annotation_inline
parent ligne 12
via heuristic_height
14 <b>ण्य</b>ने annotation_inline
parent ligne 12
via heuristic_height
15 संस्थानेन annotation_inline
parent ligne 12
via heuristic_height
16 शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:। editorial_bracket
parent ligne 12
via heuristic_brackets
17 षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥ main
via surya_layout
18 [अन्॰ १८२] editorial_bracket
parent ligne 17
via heuristic_brackets
19 अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात् । main
via surya_layout
20 ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयं यद्यपि रागः main
via surya_layout
21 उदयं(?) annotation_inline
parent ligne 20
via heuristic_height
22 तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम् । येन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं main
via surya_layout
23 संस्थाने(न) annotation_inline
parent ligne 22
via heuristic_height
24 विहाय तैरेव स्वरैरालाप: कर्तव्य:। शुद्धकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं main
via surya_layout
25 विभिन्नकैशिके annotation_inline
parent ligne 24
via heuristic_height
26 (य) annotation_inline
parent ligne 24
via heuristic_height
27 भिद्यते । दानवीरे चास्य विनियोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । main
via surya_layout
28 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
29 [श्रुतिभिन्नः] section_header
via surya_layout
30 साम्प्रतं श्रुतिभिन्नस्य लक्षणमाह - main
via surya_layout
31 भिन्नतानस्य annotation_inline
parent ligne 30
via heuristic_height
32 ६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु । main
via surya_layout
33 गान्धारो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥ ३१२॥ main
via surya_layout
34 (आधा ? गान्या)रो annotation_inline
parent ligne 33
via heuristic_height
157 lignes a valider — change uniquement les roles incorrects.