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 20669). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p087 LEFT — 32 lignes

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1 BRHADDESĨ page_header
via surya_layout
2 156 page_number
via heuristic_pagenum
3 पञ्चमांशा तेन बहुला धान्ता मधुकरी शुभा। main
via surya_layout
4 परस्परं तु संवादो गान्धारपञ्चमस्य हि ॥ ७६॥ main
via surya_layout
5 धैवतस्य निषादस्य संयोगो दृश्यते यत:। main
via surya_layout
6 एषा पूर्णा च सङ्कीर्णा भाषा ककुभसम्भवा<sup>६२</sup> ॥ ७७॥ main
via surya_layout
7 उदाहरणम् -[पापा] निनिनिनिपधपा धनिसासनिसनि सपधानिधाधपा धरिसासागरिमगरिस- editorial_bracket
parent ligne 6
via heuristic_brackets
8 सम । गरिसानिनिधपापासागा । पापामाधा । माधाधामा । नीसासाधाधा । मधुकरी ।[५] editorial_bracket
parent ligne 6
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9 निषादांशा तु षड्जान्ता[निषादग्रहसंयुता] । editorial_bracket
parent ligne 6
via heuristic_brackets
10 +++++++ annotation_inline
parent ligne 6
via heuristic_height
11 [भाषा] ऋषभहीना तु विज्ञेया शकमिश्रिता ॥ ७८॥ editorial_bracket
parent ligne 6
via heuristic_brackets
12 निषादपञ्चमानां तु संवाद: स्यातु धैवते । main
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13 मजुवत्यंशजा[?]छाया छाया शकविमिश्रिता ॥ ७९॥ editorial_bracket
parent ligne 12
via heuristic_brackets
14 उदाहरणम् - नीसानिगधमागारिरिनि निनिसाधाधानिधागमामामपासा सनिसासाधाधामनी main
via surya_layout
15 धाधामानीधापामाधानीसासासा नीसासासारिगारिसा नीसानीसानिधाधामासानीमागारीरि । main
via surya_layout
16 शकमिश्रिता। ६३ [६] editorial_bracket
parent ligne 15
via heuristic_brackets
17 धैवतांशा धैवतान्ता विज्ञेया भिन्नपञ्चमी। main
via surya_layout
18 मध्यमांशा annotation_inline
parent ligne 17
via heuristic_height
19 निषाद: काकली भूयो धैवतेन विमिश्रित: ॥ ८०॥ main
via surya_layout
20 संयोगो दृश्यते यत्र काकल्या धैवतस्य च। main
via surya_layout
21 काक(ल्योद्यै?ल्या धै) वतस्य च annotation_inline
parent ligne 20
via heuristic_height
22 पञ्चमर्षभसंवादो यत्रैव सम्प्रयोजयेत्॥ main
via surya_layout
23 साधारणकृता ह्येषा पूर्णा ६४ प्राया च काकली ६५ ॥ ८१॥ main
via surya_layout
24 उदाहरणम् - धनिधाधा निधापापामरिपापापपमाधाधा पासामनिसासनिरिरिसारी । धाधा । main
via surya_layout
25 परिमापापा । पमधाधामानीधापापापरीधा पापापाधाधासनिधा । भित्रपञ्चमी । [७] editorial_bracket
parent ligne 24
via heuristic_brackets
26 एता भाषा: समुद्दिष्टा: [सप्त वै ककुभस्य च ]॥ ८२॥ editorial_bracket
parent ligne 24
via heuristic_brackets
27 भा(पा) annotation_inline
parent ligne 24
via heuristic_height
28 the state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
parent ligne 24
via heuristic_height
29 . . . annotation_inline
parent ligne 24
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30 7.4 annotation_inline
parent ligne 24
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31 From the substitute of the con- annotation_inline
parent ligne 24
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32 ____ annotation_inline
parent ligne 24
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vol_II_p160 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
via surya_layout
2 303 page_number
via heuristic_pagenum
3 lustre, splendour (Monier Williams). Maitrī Upaniṣad VI. 7 says "bha is so main
via surya_layout
4 called as it illuminates these worlds." It has been used in neuter gender main
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5 because it qualifies 'jyotis'. There is a sāman known as 'bhakāra' wherein all main
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6 the consonants are replaced with bh, keeping the vowels intact. That the main
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7 consonant 'bh' should have been selected for this purpose bears testimony main
via surya_layout
8 to the special importance of this consonant as it stands for light. main
via surya_layout
9 2. 'Hamsa' occurs in several Upanișads; the most relevant occurrence list_item
via surya_layout
10 is in Kathopanişad II.5.2, where hamsa is mentioned as one of the synonyms list_item
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11 of 'ātman'. list_item
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12 3. 'Bharata' here stands for ātman and not the sage Bharata. list_item
via surya_layout
13 4. Bhāratī is another name of Saraswatī and occurs in Rgveda (VIII. list_item
via surya_layout
14 6.9). list_item
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15 The verse containing the above four words is placed in the very main
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16 beginning of the chapter on raga. If it is taken to embody mangalacarana, its main
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17 relevance to rāga is not obvious (See Vol. III). main
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18 5. Here 'Bharata' stands for the sage who is the author of Nāṭyaśāstra. list_item
via surya_layout
19 6,7. 'Dhvani' basically means sound; a 'type of sound' or 'special list_item
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20 sound 'could mean 'a melodic form 'which is called 'dhun' in Hindi. list_item
via surya_layout
21 8,9. The general lakṣaṇa pertains to a category like jāti or rāga and list_item
via surya_layout
22 special lakṣaṇa pertains to the 'individuals' within a category. list_item
via surya_layout
23 10. A rūdha word is that where the etymological meaning is not list_item
via surya_layout
24 relevant; only the conventional meaning operates. list_item
via surya_layout
25 11. Aśvakarņa literally means 'the ear of a horse', but it is used for list_item
via surya_layout
26 a fracture of the bones that resembles the ear of a horse. list_item
via surya_layout
27 12. Yaugika means combinational. Mandapa is a compound list_item
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28 meaning one who drinks 'manda' or the scum of boiled rice or any grain, list_item
via surya_layout
29 stands for an open hall or pavilion. Really speaking, the list_item
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30 but it list_item
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31 combinational meaning does not operate here. list_item
via surya_layout
32 13. Yogarūdha is a type of word where both combination and list_item
via surya_layout
33 convention operate. The classic example is that of pankaja, which means list_item
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34 'that which is born in mud', but is restricted to lotus, although many other list_item
via surya_layout
35 things are born of 'mud'. list_item
via surya_layout
36 14. 'Sūkṣma' literally means small or subtle; here we have interpreted list_item
via surya_layout
37 it as being short in time, because 'small' in a temporal context would list_item
via surya_layout
38 naturally mean 'short in time'. list_item
via surya_layout
39 15. 'Kampa' has been translated here as shake according to English list_item
via surya_layout
40 idiom, although literally it could also be rendered as 'tremor'. list_item
via surya_layout
41 16. ' Pāṇi' means 'hand', but here 'hand' could not be relevant to the list_item
via surya_layout
42 context, not even the figurative usage of 'hand' in tāla as a synonym of list_item
via surya_layout

vol_I_p095 RIGHT — 48 lignes

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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
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13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
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14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
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16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
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19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
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20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
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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
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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
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25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
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26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
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27 narratives) which is associated with the use of two svaras; sāmika pertains to main
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28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
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29 literally means the interval of a svara, the implication seems to be that a group main
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30 of four svaras is the first step towards the formation of a heptad from a triad; main
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31 auduva stands for a group of five svaras ( the etymology of this word is given in main
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32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
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33 literally meaning complete, stands for a group of all the seven svaras. main
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34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
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35 svara, because in current practice, generally three tones are employed in main
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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
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38 is, however, notable that the number three is associated with sāman in NS in main
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39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
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41 rendering of three sāmans is prescribed there. These sāmans are composed of main
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42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
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43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
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44 instruments, it is not just 'song'. main
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45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
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46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
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47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
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48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
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vol_II_p051 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 84 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 प्रयोगैर्मसृणै: सूक्ष्मकाकुभिश्च३३ सुयोजितै: । main
via surya_layout
4 ॰क्ष्मै: annotation_inline
parent ligne 3
via heuristic_markers
5 ॰िमेत्रै: annotation_inline
parent ligne 3
via heuristic_markers
6 <sup>३४</sup>एवं साधारणी ज्ञेया सर्वगीतिसमाश्रया ॥२८५॥ main
via surya_layout
7 [६. भाषा गीति:] section_header
via surya_layout
8 प्रयोगैर्गात्रजै: शृक्ष्णै: काकुरक्तै: सुयोजितै: । main
via surya_layout
9 कम्पितैः कोमलैर्दीप्तैर्मालवीकाकुनान्वितैः ॥२८६॥ main
via surya_layout
10 लितै: सुकुमारैश्च प्रयोगैश्च सुसंयुतै:। main
via surya_layout
11 (सीं ? सं) annotation_inline
parent ligne 10
via heuristic_height
12 भाषा गीति: समाख्याता एषा गीतिविचक्षणै: ॥ main
via surya_layout
13 यथा वै रज्यते लोकस्तथा वै सम्प्रयुज्यते ॥२८७॥ main
via surya_layout
14 [७. विभाषा गीति:] section_header
via surya_layout
15 लिलतैर्बहुभिर्दीतै: कम्पितैरौरसै: समै:। main
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16 (र ? रौ) annotation_inline
parent ligne 15
via heuristic_height
17 तारातितारैर्मसृणैर्मध्ये मध्यमदीपितै: ॥२८८॥ main
via surya_layout
18 गमकै: श्रोत्रसुखदैर्ललितैस्तु यदुच्छया। main
via surya_layout
19 विभाषागीतिस्तु संयोज्या यथा लोकोऽनुरज्यते ॥२८९॥ main
via surya_layout
20 [॥ इति गीतिलक्षणम् ॥] editorial_bracket
parent ligne 19
via heuristic_brackets
21 [रागसङ्ख्या, उद्देशश्च] section_header
via surya_layout
22 गीतीनां लक्षणं प्रोक्तं रागसङ्ख्योच्यतेऽधुना । main
via surya_layout
23 गीतानां annotation_inline
parent ligne 22
via heuristic_height
24 पञ्च चोक्षा: समाख्यातास्तत्प्रमाणाश्च भित्रका: ॥२९०॥ main
via surya_layout
25 गौडास्त्रयस्तु कथिता रागाश्चाष्टौ प्रकीर्तिता: । main
via surya_layout
26 सप्त साधारणा: प्रोक्ता भाषाश्चैवात्र षोडश ॥२९१॥ main
via surya_layout
27 द्वादशैव विभाषा: स्युर्नामानि च निबोधत ॥२९२॥ main
via surya_layout

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1 श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ main
via surya_layout
2 <b>OF</b> annotation_inline
parent ligne 1
via heuristic_height
3 ŚRĪ MATANGA MUNI main
via surya_layout
4 (Volume I) main
via surya_layout
153 lignes a valider — change uniquement les roles incorrects.