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 20607). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p059 LEFT — 53 lignes

page vol_I_p059 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 100 page_number
via heuristic_pagenum
3 उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस editorial_bracket
parent ligne 9
via heuristic_brackets
4 रि annotation_inline
parent ligne 9
via heuristic_height
5 सा annotation_inline
parent ligne 9
via heuristic_height
6 धा annotation_inline
parent ligne 9
via heuristic_height
7 सा annotation_inline
parent ligne 9
via heuristic_height
8 पा annotation_inline
parent ligne 9
via heuristic_height
9 सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस main
via surya_layout
10 नी annotation_inline
parent ligne 9
via heuristic_short
11 री main
via surya_layout
12 सा annotation_inline
parent ligne 11
via heuristic_height
13 गा annotation_inline
parent ligne 11
via heuristic_height
14 धा annotation_inline
parent ligne 11
via heuristic_height
15 सा annotation_inline
parent ligne 11
via heuristic_height
16 मा annotation_inline
parent ligne 11
via heuristic_height
17 सरिमप, मगरिस [ इति ] उद्घट्टितः। editorial_bracket
parent ligne 11
via heuristic_brackets
18 [ २५ ] editorial_bracket
parent ligne 11
via heuristic_brackets
19 पा annotation_inline
parent ligne 11
via heuristic_height
20 सा annotation_inline
parent ligne 11
via heuristic_height
21 अन्₀ ९५ ] section_header
via surya_layout
22 त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं main
via surya_layout
23 कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु editorial_bracket
parent ligne 22
via heuristic_brackets
24 धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु main
via surya_layout
25 २६ । annotation_inline
parent ligne 24
via heuristic_short
26 इत्याक्षिप्तकः । main
via surya_layout
27 अनु, ९६ section_header
via surya_layout
28 प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव editorial_bracket
parent ligne 27
via heuristic_brackets
29 क्रमेणा- main
via surya_layout
30 व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -] editorial_bracket
parent ligne 29
via heuristic_brackets
31 सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा main
via surya_layout
32 संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा, main
via surya_layout
33 गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा, main
via surya_layout
34 पा annotation_inline
parent ligne 33
via heuristic_height
35 म annotation_inline
parent ligne 33
via heuristic_height
36 पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा, main
via surya_layout
37 [ २७ ] editorial_bracket
parent ligne 36
via heuristic_brackets
38 मरिसा सरिमा, गरिसा इति सम्प्रदानः । main
via surya_layout
39 अन्० ९७ section_header
via surya_layout
40 सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि, editorial_bracket
parent ligne 39
via heuristic_brackets
41 गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि, main
via surya_layout
42 ₹, annotation_inline
parent ligne 41
via heuristic_height
43 धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः। editorial_bracket
parent ligne 41
via heuristic_brackets
44 Ⅰ २८ ] editorial_bracket
parent ligne 41
via heuristic_brackets
45 गा annotation_inline
parent ligne 41
via heuristic_height
46 धा annotation_inline
parent ligne 41
via heuristic_height
47 मा annotation_inline
parent ligne 41
via heuristic_height
48 सा annotation_inline
parent ligne 41
via heuristic_height
49 सा annotation_inline
parent ligne 41
via heuristic_height
50 पा annotation_inline
parent ligne 41
via heuristic_height
51 [ अनु。 ९८ ] section_header
via surya_layout
52 ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -] editorial_bracket
parent ligne 51
via heuristic_brackets
53 सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा main
via surya_layout

vol_II_p066 RIGHT — 39 lignes

page vol_II_p066 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1.50 4 1 annotation_inline
parent ligne 5
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 115 page_number
via heuristic_pagenum
4 [Anu. 198] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
via surya_layout
6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
via surya_layout
7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
via surya_layout
8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra. main
via surya_layout
9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
via surya_layout
10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
via surya_layout
11 songs comprised of svara and pada. main
via surya_layout
12 [7. Ţakkakaiśika] section_header
via surya_layout
13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
via surya_layout
14 and concluding note and is weak in the svaras comprised of two śrutis each main
via surya_layout
15 (gāndhāra and niṣāda). main
via surya_layout
16 (326) annotation_inline
parent ligne 15
via heuristic_short
17 [Anu. 199] editorial_bracket
parent ligne 15
via heuristic_brackets
18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
via surya_layout
19 jātis related to both the grāmas, how is it proper to say that it is related to main
via surya_layout
20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
parent ligne 19
via heuristic_brackets
21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
via surya_layout
22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
via surya_layout
23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
via surya_layout
24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
via surya_layout
25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
via surya_layout
26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
via surya_layout
27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
via surya_layout
28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
via surya_layout
29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
via surya_layout
30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
32 obtains in songs comprised of svara and pada. main
via surya_layout
33 [8. Mālavakaisika] section_header
via surya_layout
34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
via surya_layout
35 and nyāsa and is weak in dhaivata. main
via surya_layout
36 (327) annotation_inline
parent ligne 35
via heuristic_short
37 Some prefer pancama for the function of nyāsa in it and others prefer main
via surya_layout
38 găndhāra, but that is not seen in practice. main
via surya_layout
39 (328) main
via surya_layout

vol_I_p056 LEFT — 41 lignes

page vol_I_p056 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 94 page_number
via heuristic_pagenum
3 ग्रंसरि रिस रिंग गरि गम मंग मंप पम पंध धंप धनि निध निस सनि [ इति ] editorial_bracket
parent ligne 5
via heuristic_brackets
4 [ १२ ] editorial_bracket
parent ligne 5
via heuristic_brackets
5 प्रेङ्खोलितः। main
via surya_layout
6 [ अनु。 ८२ ] editorial_bracket
parent ligne 5
via heuristic_brackets
7 अंशाच्चतुर्थं पञ्चमं वा स्वरं गत्वा यत्र मन्द्रे पुनरागम्यते [ स ] तारमन्द्रप्रसन्नः। editorial_bracket
parent ligne 5
via heuristic_brackets
8 रिगमपधरि गमपधनिग मपधनिसम। अथवा मन्द्रस्वरात् तारं main
via surya_layout
9 यथा—18सरिगमपस annotation_inline
parent ligne 8
via heuristic_short
10 [ १३ ] editorial_bracket
parent ligne 8
via heuristic_brackets
11 गत्वा पुनः सहसा मन्द्रवशादागम्यते स तारमन्द्रप्रसन्नः। main
via surya_layout
12 (व) .द्वा. annotation_inline
parent ligne 11
via heuristic_height
13 [ अनु₀ ८३ ] editorial_bracket
parent ligne 11
via heuristic_brackets
14 मन्द्रात् सहसा तारं प्राप्य मन्द्रत्वेन क्रमेणावरोहान्मन्द्रतारप्रसन्नः । [ यथा - ] editorial_bracket
parent ligne 11
via heuristic_brackets
15 ₹ः annotation_inline
parent ligne 11
via heuristic_height
16 ⋴रः annotation_inline
parent ligne 11
via heuristic_height
17 19सपमगरिस रिधपमगरि गनिधपमग मसनिधपम। अथवा—मन्द्रस्वरात् main
via surya_layout
18 तारस्वरमुच्चार्य क्रमेणावरुह्य च मन्द्र एवागम्यते [ स ] मन्द्रतारप्रसन्नः। editorial_bracket
parent ligne 17
via heuristic_brackets
19 १४। annotation_inline
parent ligne 17
via heuristic_height
20 यथा - ससनिध पमगरिस [ इति ] मन्द्रतारप्रसन्नः। editorial_bracket
parent ligne 17
via heuristic_brackets
21 [ अनु॰ ८४ ] editorial_bracket
parent ligne 17
via heuristic_brackets
22 द्विरूपश्च प्रस्तारः स्थायिन्यारोहिणि च। तत्र स्थायिन्येकस्वरः स्वस्मात् main
via surya_layout
23 स्य (?) annotation_inline
parent ligne 22
via heuristic_height
24 ्यी त्या, इणी main
via surya_layout
25 विक annotation_inline
parent ligne 24
via heuristic_height
26 क्रमशस्तारमन्द्रा [-रोहा-] वरोहणेन [ आरोहिणि च ] मन्द्रतारारोहणेन[ ावरोहणेन ] editorial_bracket
parent ligne 24
via heuristic_brackets
27 स्वरेण [ ? ] प्रस्तारः । [ यथा ] सरिरिस सरिगगरिस [ सरिगममगरिस ] editorial_bracket
parent ligne 24
via heuristic_brackets
28 सरिगमपपमगरिस सरिगमपधधपमगरिस सरिगमपधिनिनिधपमगरिस main
via surya_layout
29 सरिगमपधनिससनिधपमगरिस 20अथवा 21सरिरिस रिगगरि गममग मपपम पधधप main
via surya_layout
30 १५ page_number
via heuristic_pagenum
31 धनिनिध निससनि [ इति ] प्रस्तारः। editorial_bracket
parent ligne 29
via heuristic_brackets
32 [ अनु₀ ८५ ] editorial_bracket
parent ligne 29
via heuristic_brackets
33 प्रस्तार-विपरीतः प्रसादः यथा- main
via surya_layout
34 प्रस्वस्तारः पविपरितः ( ? ) annotation_inline
parent ligne 33
via heuristic_height
35 सनिनिस सनिधधनिस सनि [ ध ] पपधनिस सनिधपममपधिनस editorial_bracket
parent ligne 33
via heuristic_brackets
36 सा annotation_inline
parent ligne 33
via heuristic_height
37 सा annotation_inline
parent ligne 33
via heuristic_height
38 सा annotation_inline
parent ligne 33
via heuristic_height
39 सनिधपमगगमपधनिस सनिधपमगरिरिगमपधनिस सनिधपमगरिससरिगमपधनिस। main
via surya_layout
40 सा annotation_inline
parent ligne 39
via heuristic_height
41 सा page_footer
via surya_layout

vol_I_p049 RIGHT — 37 lignes

page vol_I_p049 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 81 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri main
via surya_layout
4 - <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri< editorial_bracket
parent ligne 3
via heuristic_brackets
5 <math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there main
via surya_layout
6 are six tanas of gandhara (along with the preceding two svaras viz. sa - n). main
via surya_layout
7 Similarly, there is only one krama (original order) of madhyama (added to main
via surya_layout
8 the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas main
via surya_layout
9 beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa - main
via surya_layout
10 ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga main
via surya_layout
11 thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly, main
via surya_layout
12 there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken main
via surya_layout
13 together they are twenty-four. annotation_inline
parent ligne 12
via heuristic_height
14 Similarly, there is only one krama (original order) of pañcama (along with its main
via surya_layout
15 four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa main
via surya_layout
16 (formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni - main
via surya_layout
17 ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has main
via surya_layout
18 twenty-four (varieties beginning with it), taken together they become one main
via surya_layout
19 hundred and twenty. Similarly, dhaivata has one krama (original order along main
via surya_layout
20 with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma - main
via surya_layout
21 ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma - main
via surya_layout
22 ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken editorial_bracket
parent ligne 21
via heuristic_brackets
23 together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is main
via surya_layout
24 only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga - main
via surya_layout
25 ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each main
via surya_layout
26 one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty main
via surya_layout
27 (through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty. main
via surya_layout
28 (Anu. 59) annotation_inline
parent ligne 27
via heuristic_height
29 Thus the tāna-vidhāna (performance of tānas) of svaras is found on the main
via surya_layout
30 (viṇās having) sixty-six strings or hundred strings. The measurements of these main
via surya_layout
31 two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t main
via surya_layout
32 tānas has not been made on these (viņās) in order to avoid a digression; by this main
via surya_layout
33 order itself, it (the demonstration) should be understood by the wise ones on main
via surya_layout
34 their own. annotation_inline
parent ligne 33
via heuristic_height
35 (Anu. 60) annotation_inline
parent ligne 33
via heuristic_height
36 The objective of these tanas has been said to be for the sake of the main
via surya_layout
37 attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in editorial_bracket
parent ligne 36
via heuristic_brackets

vol_I_p096 RIGHT — 61 lignes

page vol_I_p096 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA main
via surya_layout
2 175 page_number
via heuristic_pagenum
3 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, main
via surya_layout
4 instead of rasa (chyle) of our text. Monier Williams also enumerates seven main
via surya_layout
5 dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak main
via surya_layout
6 with rasa. main
via surya_layout
7 62. The seven minerals are not clear. list_item
via surya_layout
8 63. The number of cakras (psychophysical centres in the human body list_item
via surya_layout
9 visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight list_item
via surya_layout
10 or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere list_item
via surya_layout
11 ( in the confused reading in the section on Varṇālankāra towards the end of list_item
via surya_layout
12 Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, list_item
via surya_layout
13 anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last list_item
via surya_layout
14 one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it list_item
via surya_layout
15 is the location of the sahasrāra cakra. These seven names do form part of the list_item
via surya_layout
16 ten cakras spoken of in SR in the following locations - list_item
via surya_layout
17 Name of Cakra table
via surya_layout
18 Location table
via surya_layout
19 1. Ādhāra table
via surya_layout
20 In-between the anus and the genitals table
via surya_layout
21 2. Svādhişthāna table
via surya_layout
22 Root of the genitals table
via surya_layout
23 Around the navel table
via surya_layout
24 3. Manipūra table
via surya_layout
25 4. Anāhata table
via surya_layout
26 Heart table
via surya_layout
27 5. Visuddhi table
via surya_layout
28 Throat table
via surya_layout
29 6. Ājāā table
via surya_layout
30 In-between the two eye-brows table
via surya_layout
31 7. Sahasrāra table
via surya_layout
32 Cerebral aperture table
via surya_layout
33 It is notable that SR associates the production of musical notes with the main
via surya_layout
34 anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone main
via surya_layout
35 and not with all the seven listed above. The treatment of cakras in BrD could main
via surya_layout
36 not be assessed from this stray reference. It is only the number seven that main
via surya_layout
37 corresponds with the connection of seven cakras with the svaras that the author main
via surya_layout
38 is trying to establish here. In note 59 above, we have said that the connection of main
via surya_layout
39 dhaivata with the forehead is not clear. If the seven svaras are connected with main
via surya_layout
40 the seven sthanas listed above, one by one, then dhaivata being the sixth one main
via surya_layout
41 could be connected with the viśuddhi cakra located in-between the eye brows. main
via surya_layout
42 But the location of seven svaras in the seven cakras is not corroborated by any main
via surya_layout
43 other known text. annotation_inline
parent ligne 42
via heuristic_short
44 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as main
via surya_layout
45 follows- main
via surya_layout
46 Name of Svara table
via surya_layout
47 Name of Duipa table
via surya_layout
48 Sadja table
via surya_layout
49 Jambū table
via surya_layout
50 Rsabha table
via surya_layout
51 Šāka table
via surya_layout
52 Gändhära table
via surya_layout
53 Kuśa table
via surya_layout
54 Madhyama table
via surya_layout
55 Krauñca table
via surya_layout
56 Sālmalī table
via surya_layout
57 Pañcama table
via surya_layout
58 Dhaivata table
via surya_layout
59 Sveta table
via surya_layout
60 Nisāda table
via surya_layout
61 Puşkara table
via surya_layout
231 lignes a valider — change uniquement les roles incorrects.