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 21073). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p114 RIGHT — 27 lignes

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1 211 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. <i>Gadya</i>] section_header
via surya_layout
4 That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of main
via surya_layout
5 description 10 (divine or human) and is sung as such, is said here to be gadya, main
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6 by the proficient ones in music. main
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7 (385) annotation_inline
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8 [4. Daṇḍaka] section_header
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9 Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the main
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10 middle (and) again combined with pada, that song is known as daṇḍaka. main
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11 (386) main
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12 [5. Varņa] section_header
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13 Bedecked with birudas12 (eulogistic phrases) related to plenty, main
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14 renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math> main
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15 (387) annotation_inline
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16 ******* annotation_inline
parent ligne 14
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17 [6. Paddhaḍi] section_header
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18 Combined with svara (and) pāṭa and endowed with tāla, composed in any main
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19 language and combined with birudas is that paddhaḍī. main
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20 (388) main
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21 [7. Adilā] section_header
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22 Where there is the brilliant arrangement of svaras at the end of every foot, main
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23 combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name. main
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24 (389) annotation_inline
parent ligne 23
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25 [8. Catușpadi] section_header
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26 Where the song is endowed with meaning in every unit of text (pada) main
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27 (and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m main
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vol_I_p047 LEFT — 33 lignes

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1 <b>BRHADDEŚI</b> page_header
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2 76 page_number
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3 [ अनु. ५१ ] editorial_bracket
parent ligne 4
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4 ननु मध्यमसप्तकेन मूर्छनानिर्देशः क्रियते यदि तदा किमुक्तं मध्यमेन main
via surya_layout
5 स्वरेणेति ? सत्यमुक्तम्। स्वरजात्यपेक्षया एकवचनम्। १७ कण्ठ्ये स्वरे main
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6 ₀णर्ये annotation_inline
parent ligne 5
via heuristic_markers
7 मूर्छना कार्येति भावः। वैणग्रहणं च शरीर अप्रकीर्तितस्यापि स्थानस्य main
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8 ्रतितः तस्यापि annotation_inline
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9 लाभार्थम्। main
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10 अनु₀ ५२ editorial_bracket
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11 ननु षाडवौडुविते क्रियमाणे मूर्छनाप्रत्यभिज्ञानमस्ति वा न वा ? main
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12 अस्त्येव मूर्छनाप्रत्यभिज्ञानमिति। तथा चाह दत्तिलः — main
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13 "एवं कृतेऽपि तानत्वे गणयित्वा विनाशिनम्। main
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14 oWo annotation_inline
parent ligne 13
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15 <sup>७७</sup>विद्वानेतावतिथ्येषा मूर्छनेत्यवधारयेत्।।" main
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16 दत्तिलम् ३७ | annotation_inline
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17 च ते annotation_inline
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18 [ अनु₀ ५३ ] editorial_bracket
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19 ७४ननु प्रथमायां सप्तम्यां च मूर्छनायां षड्जे लुप्ते रिगमपधनीति main
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20 एकमेव रूप भवति, तत्र न ज्ञायते विशेषः। सत्यम्, भेदो नास्ति । main
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21 वस्तुगणने पुनरस्त्येव भेदः, मन्द्रतारकृतो भेदः। main
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22 [ अनु₀ ५४ ] editorial_bracket
parent ligne 21
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23 ७१इद तु प्रयोक्तृश्रोतृसुखार्थमेव मूर्छना-तानान्यत्वमुक्तम्। main
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24 तानप्रयोजनमपि त्रिस्थानप्राप्त्यर्थीमेत्युक्तम्। main
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25 माना, annotation_inline
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26 [ अनु₀ ५५ ] editorial_bracket
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27 ननु मूर्छनास्तावज्जातिरागेषूपयोगिन्य इति युक्तं तासां कथनम्, main
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28 <sup>80</sup>ंगभाषादिषुपः annotation_inline
parent ligne 27
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29 तानास्तु 📭 कुत्रोपयुज्यन्ते ? उच्यते- main
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30 द्वयोग्रामयोजीतिरागान्यत्वप्रतिपादनार्थं प्रयोगस्तानानाम्। main
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31 यद्वा ६४नष्टोद्दिष्टसंख्यासिद्ध्यर्थं प्रयोगस्तानानाम्। main
via surya_layout
32 (vide) unknown
via fallback
33 <b>ेत्रन्द्रष्ट</b>ः annotation_inline
parent ligne 31
via heuristic_height

vol_II_p088 RIGHT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 159 page_number
via heuristic_pagenum
3 [4. Bhāṣās in hindolaka] section_header
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4 Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā main
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5 is formed with the (profuse) use of gandhara. The to and fro movement main
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6 between şadja and gandhara should be arranged there by the performers. main
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7 (83) unknown
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8 Illustration main
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9 Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. main
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10 Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] editorial_bracket
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11 Having pancama as amśa, şadja as the concluding note, being devoid of main
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12 ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised main
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13 of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. main
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14 (84) annotation_inline
parent ligne 13
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15 Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā main
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16 gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] editorial_bracket
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17 Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), main
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18 thus has been described chevāțī and concert between șadja-madhyama and main
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19 similarly şadja-gāndhāra should always be put up. main
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20 (85) annotation_inline
parent ligne 19
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21 Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā main
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22 nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama main
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23 pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] editorial_bracket
parent ligne 22
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24 Having şadja às amśa and madhyama as concluding note, being weak in main
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25 niṣāda and ṛṣabha (which are also perhaps omissible), there being concert main
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26 between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to main
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27 be şadjamadhyamā, should be known to be hexatonic and pentatonic by main
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28 nature. It is sung also by Kinnaras.<sup>33</sup> main
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29 <math>(86-87)</math> main
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vol_II_p098 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 178 page_number
via heuristic_pagenum
3 [११. अथ टककैशिके] section_header
via surya_layout
4 धैवताद्यन्तसंयुक्ता ज्ञेया <sup>१२२</sup>मालवपञ्चमी । main
via surya_layout
5 <sup>१२३</sup>षड्जर्षभसंवाद: स्यात् <sup>१२४</sup>षड्जधैवतयोस्तथा ॥ main
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6 बहुधैव तयोस्तथा annotation_inline
parent ligne 5
via heuristic_height
7 <sup>१२५</sup>सम्पूर्णा सुस्वरा ह्येषा देशभाषा मनोहरा ॥ १३३॥ main
via surya_layout
8 उदाहरणम्-धैवत धापाधैवत धाधाधारिमामाधा । पामधाधापामागरिमाधापाधा। मालवा [१] editorial_bracket
parent ligne 7
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9 षड्जांशा धैवतन्यासा विज्ञेया <sup>१२६</sup>भित्रवालिका । main
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10 भित्रलालिका annotation_inline
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11 धैवतनिषादबाहुल्यं दृश्यते च परस्परम् ॥ १३४॥ main
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12 •बाहु<del>ल्</del>या annotation_inline
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13 क्वचिद् दृष्टं न दृष्टं च भित्रपञ्चमसंज्ञिता[?]। editorial_bracket
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14 किशिद् प्रष्टं annotation_inline
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15 एषा तु कथिता लोके भाषा सङ्कीर्णशोभना ॥ १३५॥ main
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16 उदाहरणम् - सासासागासाधा नीसासाधानीमधा निधाधाधा निधामाधा निमधापाधाधाधा main
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17 भित्रवालिका।[२] editorial_bracket
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18 भित्रलालिता annotation_inline
parent ligne 16
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19 <sup>१२७</sup>गान्धारांशा धैवतान्ता द्राविडी सम्प्रकीर्तिता । main
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20 द्विश्रुतीनां च गमनं षड्जधैवतयोस्तथा ॥ main
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21 द्राविडविषये होषा देशाख्या सुमनोहरा<sup>१२८</sup> ॥ १३६॥ main
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22 उदाहरणम्-[गा]धानिमधानिधाधाधानिधामधापाधाधा पामाधाधागामाधाधा सागासानि- editorial_bracket
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23 धाधा पामागाममनि[धा] । द्राविडी । [३] editorial_bracket
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24 ॥ एताष्ट्रक्ककैशिकभाषास्तिस्र: ॥ main
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25 [१२. अथ वेसरपाडवे ] editorial_bracket
parent ligne 24
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26 मध्यमाद्यन्तसंयुक्ता विज्ञेया बाह्यषाडवा । main
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27 ॰पाडवं annotation_inline
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28 १२९द्विश्रुत्यो: स्याच्च संवादो मध्यमर्पभयोस्तथा ॥ १३७॥ main
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29 वि? द्वित्र्तिभ्यां च annotation_inline
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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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158 lignes a valider — change uniquement les roles incorrects.