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 20668). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p076 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
via surya_layout
4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
via surya_layout
5 (田) annotation_inline
parent ligne 4
via heuristic_height
6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
via surya_layout
7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
via surya_layout
8 ॰पुत्री annotation_inline
parent ligne 7
via heuristic_markers
9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
via surya_layout
10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
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11 ६ नी annotation_inline
parent ligne 10
via heuristic_height
12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
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13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
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14 सालवाहा annotation_inline
parent ligne 13
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15 чP annotation_inline
parent ligne 13
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16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
via surya_layout
17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
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18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
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19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
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20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
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21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
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22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
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23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
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24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
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25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
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26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
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27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
via surya_layout
28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
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29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
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30 ॰ न्दो annotation_inline
parent ligne 29
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31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
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vol_II_p089 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 161 page_number
via heuristic_pagenum
3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
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4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
parent ligne 3
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5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
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7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
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8 synonym of hindolaka). main
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9 (88) annotation_inline
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
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16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
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18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
parent ligne 23
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
parent ligne 27
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29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
parent ligne 29
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vol_II_p102 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 187 page_number
via heuristic_pagenum
3 Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā main
via surya_layout
4 māgāmā annotation_inline
parent ligne 3
via heuristic_height
5 dhādhāmāgāmānisāsā. Dohyā [v] editorial_bracket
parent ligne 3
via heuristic_brackets
6 Having niṣāda as amśa, ṣadja as the concluding note, being devoid of main
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7 pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha. main
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8 (6) annotation_inline
parent ligne 7
via heuristic_height
9 Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi] editorial_bracket
parent ligne 7
via heuristic_brackets
10 Combined with ṣadja as the initial and concluding note, alaghvī is born of main
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11 a deśa (region), is complete (and) comes into being from takkarāga, which main
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12 is sung in one's own abode. main
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13 (7) annotation_inline
parent ligne 12
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14 Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส main
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15 sādhāgā risārisā nidhānisāsā. Alaghvī [vii] editorial_bracket
parent ligne 14
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16 Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla. main
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17 [2. Now in hindola] section_header
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18 Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī- main
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19 these are the bhāṣās in hindolaka. main
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20 Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic, main
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21 bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup> main
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22 (8) annotation_inline
parent ligne 21
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23 Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā main
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24 pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i] editorial_bracket
parent ligne 23
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25 Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic, main
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26 omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup> main
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27 (9) annotation_inline
parent ligne 26
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28 Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā main
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vol_II_p168 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŠA page_header
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2 319 page_number
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3 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, list_item
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4 SI, II. list_item
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5 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure list_item
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6 of a composition respectively. list_item
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7 60. Twice Rudra would mean <math>11 \times 2 = 22</math>. list_item
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8 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. list_item
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9 62. Here only the number of syllables is regulated and not their long list_item
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10 and short order. list_item
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11 63. Alaghu - that which is not laghu or short. list_item
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12 64. No regulation of the order of long and short syllables is list_item
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13 prescribed. list_item
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14 65. See notes 46, 52. list_item
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15 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, list_item
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16 yati means the order or sequence of layas. Here the first meaning seems to list_item
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17 be relevant. list_item
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18 67. This is again a reference to Matanga within the text. See note 3. list_item
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19 68. Samā yati is that where one and the same laya is sustained from list_item
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20 the beginning to the end. list_item
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21 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī list_item
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22 beginning with 'avinayamapanaya viṣṇo' is well - known. list_item
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23 70. Srotogatā yati is that where there is slow laya in the beginning list_item
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24 followed by fast, like the source of a river that gradually gains speed in its list_item
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25 current. Samā has been explained in note 68. list_item
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26 71. Gopucchā yati is the opposite of srotogatā; it is fast in the list_item
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27 beginning and gradually becomes slow, like the end of the cow's tail which list_item
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28 is first thin and then ends up with a thick bunch of hair. list_item
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29 72. See note 46. list_item
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30 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; list_item
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31 perhaps the contrast of a cluster of syllables in song, followed by a text-free list_item
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32 tonal rendering is implied. list_item
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33 74. Mūrchanā is not known as a kind of gamaka. The combination of list_item
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34 'mūrchanā' with gamaka requires further investigation. list_item
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35 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly list_item
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36 present Karnataka), Gauda (roughly present Bengal), Andhra (roughly list_item
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37 present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the list_item
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38 regions selected for description of types of elā prabandha. Important list_item
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39 omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only list_item
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40 the above five regions in this context. list_item
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41 80,81. The description of the regional specialities in the use of rhyme list_item
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42 and alliteration is interesting indeed. list_item
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vol_II_p163 RIGHT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŚA</b> page_header
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2 309 page_number
via heuristic_pagenum
3 85. The gandhara and that too antara becomes the dhaivata of list_item
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4 madhyamagrāma. Perhaps this phenomenon is being indicated here. list_item
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5 86,87. Adbhuta and hasya on the one hand and karuna on the other list_item
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6 are incompatible. list_item
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7 88. The freedom of the performer is being indicated here. list_item
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8 89,90,91. The situations mentioned under viniyoga and the rasa vīra list_item
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9 are perfectly compatible. list_item
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10 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. list_item
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11 93. The indication of murchana finds place in the description of jatis list_item
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12 for the first time. No rule is prescribed for assigning a particular mūrchanā to list_item
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13 a given jāti. Here it is said that the mūrchanā of jāti is known from the list_item
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14 'statements of authorities', which implies that there is no prescribed rule. list_item
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15 94. The import seems to be that the amsa that is predominant among list_item
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16 amsas (in the case of jātis with more than one amsa) determines the mūrchanā list_item
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17 of a <i>jāti</i>. list_item
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18 95. The four components of gita have been enumerated as svara, pada, list_item
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19 tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). list_item
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20 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the list_item
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21 compositions in Sanskrit or in prescribed non-lexical syllables are used. The list_item
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22 dhruvā performed within the drama is invariably in Prākṛta and provides a list_item
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23 figurative and poetic commentary on the happenings in the drama. NS list_item
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24 XXXII gives numerous illustrations of <i>dhruvā</i> texts. list_item
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25 97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka, list_item
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26 prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga. list_item
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27 98. Prastāvanā(lit.introduction) is twofold, one occurring in the end list_item
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28 of the Pūrvaranga and the other in the beginning of the play immediately after list_item
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29 nāndī i.e. one is composed by the sūtradhāra known as director and the other list_item
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30 by the poet called playwright to-day. list_item
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31 99. Mukha and pratimukha are the first two among the five sandhis or list_item
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32 junctures of drama. list_item
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33 100,101. Garbha is the third sandhi and avamarsa (another name for list_item
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34 vimarsa) is the fourth one. list_item
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35 Chapter IV section_header
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36 (The description of bhāṣās) section_header
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37 [ A. Bhāṣās according to Yāṣṭika ] section_header
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38 1. This whole portion on bhāṣās according to Yāṣṭika seems to form main
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39 part of an independent text. We have retained it in our reconstructed text main
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40 as it embodies very valuable material, but we have numbered its verses main
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172 lignes a valider — change uniquement les roles incorrects.