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 20943). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p065 LEFT — 40 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> page_header
via surya_layout
2 112 page_number
via heuristic_pagenum
3 आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः । main
via surya_layout
4 स्त्रिस्वरः annotation_inline
parent ligne 3
via heuristic_height
5 एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥ main
via surya_layout
6 द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम् main
via surya_layout
7 ₀हो₀ ₀तततोऽप<b>₀</b> annotation_inline
parent ligne 6
via heuristic_markers
8 समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥ main
via surya_layout
9 समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि । main
via surya_layout
10 ₀द्यपरश्चतुःपरो (?) वापि annotation_inline
parent ligne 9
via heuristic_markers
11 आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥ main
via surya_layout
12 स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः । main
via surya_layout
13 ₀कद्वयश्च annotation_inline
parent ligne 12
via heuristic_markers
14 क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥ main
via surya_layout
15 .मनो. annotation_inline
parent ligne 14
via heuristic_height
16 (?) main
via surya_layout
17 आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः । editorial_bracket
parent ligne 16
via heuristic_brackets
18 यः annotation_inline
parent ligne 16
via heuristic_height
19 समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥ main
via surya_layout
20 •ला annotation_inline
parent ligne 19
via heuristic_height
21 <b>.</b>Ų. main
via surya_layout
22 आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र । main
via surya_layout
23 बादा++वरोही annotation_inline
parent ligne 22
via heuristic_short
24 प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥ main
via surya_layout
25 <b>ब्न्स्याकार</b>ु (२) main
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26 हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः । main
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27 म्, annotation_inline
parent ligne 26
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28 द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥ main
via surya_layout
29 च ,मती(?)चतस्य annotation_inline
parent ligne 28
via heuristic_short
30 वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् । main
via surya_layout
31 आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥ main
via surya_layout
32 गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः । editorial_bracket
parent ligne 31
via heuristic_brackets
33 ,णां annotation_inline
parent ligne 31
via heuristic_height
34 एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥ main
via surya_layout
35 .नीमा, annotation_inline
parent ligne 34
via heuristic_height
36 स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् । main
via surya_layout
37 द् गाम्युरसि किचित् उदावेध ।। main
via surya_layout
38 ₀र annotation_inline
parent ligne 37
via heuristic_markers
39 बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥ editorial_bracket
parent ligne 37
via heuristic_brackets
40 ,नाः page_footer
via surya_layout

vol_I_p043 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 68 page_number
via heuristic_pagenum
2 <b>BRHADDES!</b> page_header
via surya_layout
3 मूर्छनेत्युच्यते, अवतानस्त्वारोहक्रमेण भवतीति भेदः। main
via surya_layout
4 ₀नाऽऽरोह्₀ नोऽयरोहक्रमेण annotation_inline
parent ligne 3
via heuristic_markers
5 [ तानानां यज्ञनामानि ] section_header
via surya_layout
6 अधुना तानानां यज्ञनामानि कथ्यन्ते— main
via surya_layout
7 अग्निष्टोमोऽत्यग्निष्टोमो वाजपेयोऽथ षोडशी। main
via surya_layout
8 पुण्डरीकोऽश्वमेधश्च राजसूयश्च सप्तमः॥१०४॥ main
via surya_layout
9 ॥ इति षड्जहीनषाडवताननामानि ॥३1 editorial_bracket
parent ligne 8
via heuristic_brackets
10 <sup>32</sup>स्विष्टकृद् <sup>33</sup>बहुसौवर्णो गोसवश्च महाव्रतः। main
via surya_layout
11 —वृद ब्हः सु annotation_inline
parent ligne 10
via heuristic_height
12 विश्वजिद् अब्रह्मयज्ञश्च प्राजापत्यस्तथैव च ॥१०५॥ main
via surya_layout
13 बहु annotation_inline
parent ligne 12
via heuristic_height
14 ॥ इति ऋषभहीनषाडवताननामानि ॥ editorial_bracket
parent ligne 12
via heuristic_brackets
15 अश्वक्रान्तो रथक्रान्तो विष्णुक्रान्तस्तथैव च। main
via surya_layout
16 सूर्यक्रान्तो गजक्रान्तो अबलिभिन्नागयज्ञकः॥१०६॥ main
via surya_layout
17 वलतीनाम वज्रको annotation_inline
parent ligne 16
via heuristic_short
18 ॥ इति पञ्चमहीनषाडवताननामानि ॥ editorial_bracket
parent ligne 16
via heuristic_brackets
19 <sup>36</sup>चातुर्मास्योऽथ <sup>37</sup>संस्थाऽऽख्यः <sup>36</sup>शास्त्रश्चैवोक्थकस्तथा। main
via surya_layout
20 ₄सिक्₀ annotation_inline
parent ligne 19
via heuristic_markers
21 संज्ञन्च annotation_inline
parent ligne 19
via heuristic_height
22 ०कोत्थ₀ annotation_inline
parent ligne 19
via heuristic_markers
23 सौत्रामणिश्च चित्रा च उद्भिद्यागश्च सप्तमः॥१०७॥ main
via surya_layout
24 39<sub>0</sub>णी च पि. main
via surya_layout
25 ।। इति निषादहीनषाडवताननामानि ।। list_item
via surya_layout
26 ॥ इति षड्जग्रामे षाडवताननामानि अष्टाविंशतिः ॥ list_item
via surya_layout
27 सावित्री ४०चार्धसावित्री सर्वतोभद्र एव च। list_item
via surya_layout
28 o To annotation_inline
parent ligne 27
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29 [ 41 आदित्यानामयनश्च गवामयननामकः। ] list_item
via surya_layout
30 <b>+</b>य्सर्पाणामयनः षष्ठः सप्तमः कौणपायनः॥१०८॥ list_item
via surya_layout
31 ॰पॉयजनसज्ञष्य तथा वेकुण्ठवायनः list_item
via surya_layout
32 ।। इति मध्यमग्रामे षर्जहीनताननामानि ।। list_item
via surya_layout

vol_II_p091 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 programme. annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŠĪ page_header
via surya_layout
3 164 page_number
via heuristic_pagenum
4 ऋषभांशा पञ्चमान्ता विज्ञेया षड्जदुर्बला । main
via surya_layout
5 প্লা annotation_inline
parent ligne 4
via heuristic_height
6 निषादकाकलीरूपा कर्तव्या सा तु नित्यशः॥ ९७॥ main
via surya_layout
7 साधारणकृता ह्येषा विभाषा गीतवेदिभि:। main
via surya_layout
8 ८७अन्थाली विश्रुता लोके कित्रराणां च वल्लभा ॥ ९८॥ main
via surya_layout
9 अमाली annotation_inline
parent ligne 8
via heuristic_height
10 उदाहरणम् - रीमापापाधाधाधाधापा धाधासापापापा धानिनिपा। पासापाधापापापा मरिमरि- main
via surya_layout
11 धाधापधपसाधाधापापा धधपधपापाधापा। पामारिरिसाधापापापा मपधममारिरिधाधपपाप। main
via surya_layout
12 मामाधपपापममरिरिमपापा धपापापधपधसासारिगरिधपापापा । अन्धाली। [७] editorial_bracket
parent ligne 11
via heuristic_brackets
13 अल्पर्षभा मध्यमांशा पञ्चमन्याससंयुता । main
via surya_layout
14 मध्यमांशाल्पऋपभा annotation_inline
parent ligne 13
via heuristic_height
15 मध्यधैवतसंवादो बाहुल्यं पञ्चमस्य तु ॥ main
via surya_layout
16 ॰वादस्तुल्यं स्यात् annotation_inline
parent ligne 15
via heuristic_markers
17 मध्यमः annotation_inline
parent ligne 15
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18 ८८ सम्पूर्णा पञ्चमाच्चेयं भाषा तानोद्भवा भवेत् ॥ ९९॥ main
via surya_layout
19 सम्पूर्णपाड(वा) चेयं annotation_inline
parent ligne 18
via heuristic_height
20 उदाहरणम् - मामामगासारिरिनिसागरि । सानिनिगागागसानिपापा पासानिसासासानिसानि - main
via surya_layout
21 निधधनिनिसा। गरिसासासानिनिसाधानिपापा धानिनिगगसासासासासागासानीधामापापा । main
via surya_layout
22 तानोद्भवा। [८] editorial_bracket
parent ligne 21
via heuristic_brackets
23 त्रावणी पञ्चमन्यासा पञ्चमर्षभदुर्बला । main
via surya_layout
24 त्रापणी annotation_inline
parent ligne 23
via heuristic_height
25 द्विश्रुतीनां स्वरूपेण गमनं तत्प्रयोक्तृभि: ॥ १००॥ main
via surya_layout
26 तु annotation_inline
parent ligne 25
via heuristic_height
27 षड्जमध्यमबाहुल्यं पञ्चमर्षभयोस्तथा । main
via surya_layout
28 साधारणकृता होषा त्रावणी देशसम्भवा ८९॥१०१॥ main
via surya_layout
29 उदाहरणम् -सासासापापापा धाधाधाधानीनीनीसासानिधानिधाधारिसासा नीधानीधासाममरि main
via surya_layout
30 मारिमागागारिसा सनिपापापा निधानिसासनिसनिमधधसनिधामागामाधानीसासाधानीसामधा - main
via surya_layout
31 मागामाधानीसास। सससनिसासानिगासनिधामामाधारीसासा सधानीधापा । त्रावणी । [९] editorial_bracket
parent ligne 30
via heuristic_brackets
32 त्रापणी annotation_inline
parent ligne 30
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vol_II_p094 RIGHT — 30 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 171 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Combined with dhaivata as the initial and concluding note, complete, main
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4 delightful to the people, having concert between dhaivata - niṣāda and ṣadja- main
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5 gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full main
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6 of rasa and is also dear to the deity. 50 In performance, it is characterised main
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7 by smoothness and continuity by the singers bedecked with svaras. main
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8 <math>(111-112)</math> annotation_inline
parent ligne 7
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9 Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā main
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10 dhādhārisāmādhānidhādhā. Bāṅgālī [vi] editorial_bracket
parent ligne 9
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11 Having madhyama as amśa, dhaivata as the concluding note, being weak in main
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12 pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja- main
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13 gāndhāra, saindhavī has been known to be born of the Sindhu region and to main
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14 bear a regional name. main
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15 (113) annotation_inline
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16 Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā main
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17 māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā main
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18 mādhādhādhā. Saindhavī [vii] editorial_bracket
parent ligne 17
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19 Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is main
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20 comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in main
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21 niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is main
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22 beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga). main
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23 <math>(114-115)</math> annotation_inline
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24 Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā main
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25 dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] editorial_bracket
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26 Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama main
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27 being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- main
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28 dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known main
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29 as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 main
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30 <math>(116-117)</math> annotation_inline
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L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
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2 Ė annotation_inline
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3 151 page_number
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4 VIMARŚA page_header
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5 ì annotation_inline
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6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
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7 music which is rendered through the voice or stringed and wind instruments. main
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8 BṛD does not mention vādya along with gīta here, nor in verse 14 where desī main
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9 music is defined as 'that which is sung.' Since voice sets the model followed by main
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10 stringed and wind instruments, gita is the word for the melodic aspect of music main
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11 and the content of the above instruments is included in it. This extension of the main
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12 meaning of gita gets established when the word vādya is juxtaposed with it, main
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13 because in that case vādya gets restricted to drums. But here, in absence of that main
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14 juxtaposition, gita would acquire a further extension by way of also including main
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15 vādya in its orbit. Hence gīta stands here for the totality of music. It is notable main
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16 that gita is followed by svara in this verse. This looks like a repetition because main
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17 svara is the main constituent of gita. This could be construed as an emphasis on main
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18 'svara' through an independent reference to it. main
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19 3. Nrtta generally stands for pure dance where the delineation of artha main
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20 (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). main
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21 Nṛtta is dependent on nāda, because it has to be accompanied on instruments, main
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22 specially drums. annotation_inline
parent ligne 21
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23 4. The statement that the world is made up of nāda seems to be somewhat main
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24 out of place here, because the context is that of nada being the essence of main
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25 music and dance. But if one recalls the exposition of the order of manifestation main
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26 or formation of gandharva beginning from bindu and moving forward through main
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27 nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its main
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28 auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) main
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29 incorporates all the stages upto gandharva and hence the fundamental nature main
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30 of nāda as established in gīta could be logically extended to the 'world' because main
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31 the world or phenomenon itself is a manifestation of nāda through the above main
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32 stages. SR expresses the same idea in the following manner - main
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33 "Nāda manifests the letters ( of alphabet ), letters constitute the word and main
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34 words make a sentence; so, the entire business of life is carried on through main
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35 language and therefore, the whole phenomenon (i.e. the world) is based on main
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36 nāda". (SR1, 2.2) annotation_inline
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37 Just as SR has related the business of life with nāda through verbal main
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38 communication that is based on the same, BrD has used gita in an extended main
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39 meaning, including in it all the manifestations of nada and has expounded nada main
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40 to be the essence of the whole world. annotation_inline
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41 It would be interesting to note here that S R also speaks of nāda being the main
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42 essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in main
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43 that context. annotation_inline
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44 "Nāda is the very essence of vocal music, instrumental music is enjoyable as main
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45 it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental main
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46 music); therefore, all the three together depend on nāda". (SRI, 2.1) main
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47 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva main
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48 (three gods), representing three aspects of the manifestation of the Ultimate main
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49 Reality into the phenomenon of the universe, viz. creation, preservation and main
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50 destruction. Although the three of them occur in Vedic literature, yet the idea main
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51 (vide) annotation_inline
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185 lignes a valider — change uniquement les roles incorrects.