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 20903). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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L#Texte OCRRole autoCorriger si incorrect
1 ॥ श्री: ॥ annotation_inline
parent ligne 2
via heuristic_height
2 श्रीमतङ्गमुनिप्रणीता section_header
via surya_layout
3 बृहद्देशी section_header
via surya_layout
4 [द्वितीयोऽध्यायः] editorial_bracket
parent ligne 3
via heuristic_brackets
5 [ जातयः] editorial_bracket
parent ligne 3
via heuristic_brackets
6 [१. तासां सङ्ख्या, उद्देश:, भेदाश्च] editorial_bracket
parent ligne 3
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7 [तत्र सङ्ख्या उद्देशश्च] editorial_bracket
parent ligne 3
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8 [अनु ॰ ११४] editorial_bracket
parent ligne 3
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9 इदानीमवसरप्राप्तानां जातीनामुद्देशमाह-तत्र जातयोऽष्टादशैव। एता: सर्वांशभेदेन main
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10 (:) समांश्र annotation_inline
parent ligne 9
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11 शतं चत्वारिशदधिकं सङ्ख्यया भवन्ति। main
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12 <sup>१</sup> तत्र स्वरे annotation_inline
parent ligne 11
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13 र[ जातयोऽष्टादशेत्येवं ब्रह्मणाभिहितं पुरा। editorial_bracket
parent ligne 11
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14 तास्त्वहं वर्तयिष्यामि ग्रहांशादिविभागत: ॥१८५॥ main
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15 [षड्जग्रामाश्रिता जातय:] section_header
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16 षाड्जी चैवार्षभी चैव धैवत्यथ निषादिनी। main
via surya_layout
17 षड्जोदीच्यवती चैव तथा वै षड्जकैशिकी ॥१८६॥ main
via surya_layout
18 षड्जमध्या तथा चैव षड्जग्रामसमाश्रया: ॥१८७॥ main
via surya_layout
19 ॥ इति सप्त षड्जग्रामाश्रयाः॥ editorial_bracket
parent ligne 18
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20 [मध्यमग्रामाश्रिता जातय:] section_header
via surya_layout
21 अत ऊर्ध्वं प्रवक्ष्यामि मध्यमग्रामसंश्रिता: ॥ १८८॥] editorial_bracket
parent ligne 20
via heuristic_brackets
22 गान्धारी मध्यमा चैव पञ्चमी च तथैव हि । main
via surya_layout
23 गान्धारोदीच्यवा चैव तथा गान्धारपञ्चमी ॥ १८९॥ main
via surya_layout
24 ततश्च रक्तगान्धारी मध्यमोदीच्यवा तथा। main
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25 ॰ दच्यि • annotation_inline
parent ligne 24
via heuristic_markers

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L#Texte OCRRole autoCorriger si incorrect
1 149 page_number
via heuristic_pagenum
2 VIMARŚA page_header
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3 As for the distinction between vowel and musical note, Abhinavagupta has main
via surya_layout
4 made a remarkable contribution in the conception of the autonomy of musical main
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5 note; this will be dealt with under the definition of svara in our text. main
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6 16. In language vyañjana, consonant ( lit. the act or instrument of mani- list_item
via surya_layout
7 festation ) is the phonetic unit that brings about specificity, but it can be list_item
via surya_layout
8 pronounced only with the help of vowel, otherwise it is impotent or ineffective. list_item
via surya_layout
9 Hence svara has been identified here with the śakti (supreme energy or power) list_item
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10 that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and list_item
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11 Garland of Letters, p. 260). The underlying idea is that Siva obtains His state list_item
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12 only from the association with Sakti, otherwise it is like Sava (a dead body). list_item
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13 Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in list_item
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14 Sabdakalpadruma Pt. V, p. 5) list_item
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15 17. Svarūpa (lit. own form) means the phonetic form of word and list_item
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16 sentence without reference to meaning. The whole world being a manifestation list_item
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17 of dhvani (sound), the very form of word and sentence without reference to list_item
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18 meaning, delineates or 'paints' the world because this form itself is a stage of list_item
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19 manifestation that in itself is the basis of further manifestation. list_item
via surya_layout
20 18. The sentence is the basic semantic unit, the 'word' becomes meaningful list_item
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21 when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa ) list_item
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22 which is mentioned here. list_item
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23 19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the list_item
via surya_layout
24 suffix sup or tin (nominal or verbal suffixes), it is not just a combination of list_item
via surya_layout
25 syllables. list_item
via surya_layout
26 20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing list_item
via surya_layout
27 about the action denoted by verb (Monier Williams), Kāraka is the hetu or list_item
via surya_layout
28 nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini, list_item
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29 viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha list_item
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30 (genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses list_item
via surya_layout
31 the relation of two nouns to each other, but not the relation of a noun and a list_item
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32 verb.' ( Monier Williams ) list_item
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33 The sentence is formed with padas that have sup or tin suffixes combined main
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34 with nouns and verbs respectively, standing, in turn, for kāraka and kriyā. main
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35 22. Mahāvākya has four primary connotations as follows - list_item
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36 (a) An aggregation of sentences where the apprehension of the meaning of list_item
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37 the individual components (sentences) leads to the apprehension of the total list_item
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38 meaning of the aggregate, just as in the aggregate of five components in the list_item
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39 nyāya-vākya used for inference. This is the view of nyāya. list_item
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40 (b) An aggregate of sentences where one sentence is primary and the others list_item
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41 are secondary. This is the view of Mimāmsā. list_item
via surya_layout
42 (c) A sentence that expresses deep philosophical meaning. This is the view list_item
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43 of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I list_item
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44 am brahman ) etc. are accepted as mahā-vākyas. list_item
via surya_layout
45 (d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any list_item
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46 literary composition. list_item
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L#Texte OCRRole autoCorriger si incorrect
1 -- 1 annotation_inline
parent ligne 4
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2 History 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 S annotation_inline
parent ligne 4
via heuristic_height
3 184 page_number
via heuristic_pagenum
4 BRHADDEŚĪ section_header
via surya_layout
5 [१. अथ टके] section_header
via surya_layout
6 पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्। main
via surya_layout
7 ..(ता? न्ता) annotation_inline
parent ligne 6
via heuristic_height
8 भाषे annotation_inline
parent ligne 6
via heuristic_height
9 <sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥ main
via surya_layout
10 चैषा ॰ annotation_inline
parent ligne 9
via heuristic_markers
11 उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा main
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12 धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] editorial_bracket
parent ligne 11
via heuristic_brackets
13 मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा । main
via surya_layout
14 सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥ main
via surya_layout
15 उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- main
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16 सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- main
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17 सानिसा। पौराली । [२] editorial_bracket
parent ligne 16
via heuristic_brackets
18 धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता । main
via surya_layout
19 (वैध ? धैव) annotation_inline
parent ligne 18
via heuristic_height
20 टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥ main
via surya_layout
21 शकभाषा annotation_inline
parent ligne 20
via heuristic_height
22 उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- main
via surya_layout
23 माधमागसासासा । त्रावणी । [३] editorial_bracket
parent ligne 22
via heuristic_brackets
24 मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा । main
via surya_layout
25 विपा annotation_inline
parent ligne 24
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26 मान annotation_inline
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27 विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥ main
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28 ॰रागस्यैपा annotation_inline
parent ligne 27
via heuristic_markers
29 मूढलालिता annotation_inline
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30 उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा । main
via surya_layout
31 रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] editorial_bracket
parent ligne 30
via heuristic_brackets
32 तानल॰ annotation_inline
parent ligne 30
via heuristic_markers
33 भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । main
via surya_layout
34 साधारणा तु पङ्जांशान्ता main
via surya_layout
35 पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥ main
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36 <b>ल्होनं</b> annotation_inline
parent ligne 35
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37 স্ত(?) annotation_inline
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38 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE annotation_inline
parent ligne 35
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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
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2 110 page_number
via heuristic_pagenum
3 समनन्तरौ स्वरौ द्वौ विचरत्युद्वाहितो द्विकल एव । main
via surya_layout
4 आरोहत्येककलां पुनरेककलां प्रसादयति। ।१४८॥ main
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5 50otto annotation_inline
parent ligne 4
via heuristic_short
6 ++++ annotation_inline
parent ligne 4
via heuristic_height
7 उद्वाहित एव स्यादुपलोलकसंज्ञको द्विरभ्यस्तः । main
via surya_layout
8 एकं द्वौ त्रीन् गच्छन् स्वरान् क्रमेण [ स ] क्रमो ज्ञेयः ॥१४९॥ editorial_bracket
parent ligne 7
via heuristic_brackets
9 51सह् annotation_inline
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10 (डो १डे) त्रीणि main
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11 ۰₹۵ annotation_inline
parent ligne 10
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12 एकान्तरमारुह्य प्रत्येकान्तरं स्वरं यस्तु । main
via surya_layout
13 ्र भी (?) annotation_inline
parent ligne 12
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14 निष्कृजितसंज्ञकोऽसौ ज्ञेयः सूरिभिरलङ्कारः ॥१५०॥ main
via surya_layout
15 क्रमयोगेनानेन तु सञ्चार्येकान्तरस्वरो द्विकलः । main
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16 <i>दे</i> (३)। annotation_inline
parent ligne 15
via heuristic_short
17 ्नासी ज्ञेयः main
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18 द्वचवरः षट्पर एवं ह्यारोही हादमानः स्यात् ॥१५१॥ main
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19 ď annotation_inline
parent ligne 18
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20 त्रिकलत्वपरषड्जमेवमारोहि (?) main
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21 अथ रिक्षतस्तु समनन्तरस्वरे द्वे कले पुनः स्थित्वा । main
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22 अर्धकलामारोही पुनरेव तथावरोही स्यात्52 ॥१५२॥ main
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23 ।हि oतत् oचापको हि annotation_inline
parent ligne 22
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24 <b>.</b>4. main
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25 आवर्तकश्चतुर्षु स्वरेषु समनन्तरेषु सम्भवति । main
via surya_layout
26 आरोहणावरोहणविधिना चैकान्तरेष्विप वा ॥१५३॥ main
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27 ज्ञेयो निरन्तरकृतस्त्वष्टकलः सान्तरस्तथा कार्यः । main
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28 ,रुध्वंष्ट. unknown
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29 तज्ज्ञैः कलाश्चतसस्त्वावृत्त्या [ ऽऽ ] वर्तको भवति ॥१५४॥ editorial_bracket
parent ligne 27
via heuristic_brackets
30 प्राज्ञेः main
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31 अधिरुह्य च स्वरांस्त्रीन् स्वरान्तरं लङ्घयति च निवृत्तौ । main
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32 53से annotation_inline
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33 पुनरपि च परावृत्त्या परीवर्तकोऽष्टकलो ज्ञेयः ॥१५५॥ main
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34 •र्तेषु 54कलो annotation_inline
parent ligne 33
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35 यस्य स्वरावतीतौ तथा परं ह्यन्तरस्वरो भवति । main
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36 <b>.</b>पतितौ annotation_inline
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37 परस्त्व, annotation_inline
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38 य: annotation_inline
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39 एककलश्च तथा भवेत् तदुद्घट्टितो नित्यम् ॥१५६॥ main
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40 •द्वाहितो <sup>55</sup>,त्या main
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41 भव annotation_inline
parent ligne 40
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42 आक्षिप्तकस्त्रिस्वरजः कर्तव्यः षड्विधः कलामानः । main
via surya_layout
43 <b>०रारज प्रथगेककलात्रयकृतश्च (?)</b> main
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44 मा. annotation_inline
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45 एककलस्त्वधरः स्यात् षट्कलिको वापरो ज्ञेयः ॥१५७॥ main
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1 14.00 annotation_inline
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2 TRANSLATION page_header
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3 111 page_number
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4 [Anu. 193] section_header
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5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
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6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
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7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
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8 the context of entry and the like in the behaviour of those who perform domestic main
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9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
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10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
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11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
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12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
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13 in the songs comprised of svara and pada. main
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14 [3. Mālavapañcama] section_header
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15 Mālavapancamashould be known to have pancamaasits anistand concluding main
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16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
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17 are comprised of two śrutis (gāndhāra and niṣāda). main
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18 (322) main
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19 [Anu. 194] section_header
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20 This means-Mālavapañcamais related to madhyamagrāma on account of main
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21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
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22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
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23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
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24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
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25 female apartments). The mūrchanā beginning with pañcama obtains. main
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26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
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27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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29 like caccatputa obtains in the songs comprised of svara and pada. main
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30 [4. Vesarașādava] section_header
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31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
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32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
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33 (323) main
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34 [Anu. 195] section_header
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35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
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36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
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37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
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38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
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39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
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40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
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41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
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42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
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196 lignes a valider — change uniquement les roles incorrects.