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 21088). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p083 RIGHT — 46 lignes

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1 149 page_number
via heuristic_pagenum
2 VIMARŚA page_header
via surya_layout
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
via surya_layout
5 note; this will be dealt with under the definition of svara in our text. main
via surya_layout
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
via surya_layout
10 that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and list_item
via surya_layout
11 Garland of Letters, p. 260). The underlying idea is that Siva obtains His state list_item
via surya_layout
12 only from the association with Sakti, otherwise it is like Sava (a dead body). list_item
via surya_layout
13 Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in list_item
via surya_layout
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
via surya_layout
16 sentence without reference to meaning. The whole world being a manifestation list_item
via surya_layout
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
via surya_layout
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
via surya_layout
21 when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa ) list_item
via surya_layout
22 which is mentioned here. list_item
via surya_layout
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
via surya_layout
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
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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
via surya_layout
40 (b) An aggregate of sentences where one sentence is primary and the others list_item
via surya_layout
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
via surya_layout
43 of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I list_item
via surya_layout
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
via surya_layout
46 literary composition. list_item
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vol_I_p048 LEFT — 38 lignes

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1 <b>BRHADDES!</b> page_header
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2 78 page_number
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3 [ अनु₀ ५६ ] editorial_bracket
parent ligne 4
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4 कूटतानानां सहस्राणि पञ्च त्रयस्त्रिंशदधिकानि निष्पद्यन्ते। main
via surya_layout
5 <sub>०</sub>मस्त्रिः main
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6 दत्तिलेनाप्युक्तम्— annotation_inline
parent ligne 5
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7 <sup>83</sup>"पूर्णाः पञ्च सहस्राणि त्रयस्त्रिशच्च संख्यया। main
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8 ुर्णः, annotation_inline
parent ligne 7
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9 मसत्, main
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10 कथयन्ति प्रतिग्राममुपायो गणनेऽधुना।" main
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11 नेधुनः दत्तिलम् ३९ ] editorial_bracket
parent ligne 10
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12 पयोगेन main
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13 गणनाऽत्र परेण तानप्रयोगेण पूर्वस्तानप्रयोगो हन्यते। तथा चाह main
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14 ₀मा₃ annotation_inline
parent ligne 13
via heuristic_markers
15 दत्तिलः — main
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16 "हन्यादनन्तरायेण पूर्वा यस्य क्रमोत्क्रमात्। main
via surya_layout
17 गुणकारसमास्तत्र क्रमाः ध्ये शेषाः स्युरुत्क्रमाः।" main
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18 दित्तलम् ४० | unknown
via fallback
19 माच्छे. annotation_inline
parent ligne 17
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20 [ अनु<sub>०</sub> ५७ ] editorial_bracket
parent ligne 17
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21 इदानी गुणनोपायं कथयति— द्वाभ्यां पराभ्यामेकः पूर्वो बऽहन्येत main
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22 J. annotation_inline
parent ligne 21
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23 द्वावेव भवतः। तौ च द्वौ त्रिभिर्हतौ षड् भवतः । ते [ च षट् ] editorial_bracket
parent ligne 21
via heuristic_brackets
24 ्रित annotation_inline
parent ligne 21
via heuristic_height
25 ्रत्वा annotation_inline
parent ligne 21
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26 चतुर्हताश्चतुर्विंशतिर्भवन्ति। सा चतुर्विंशतिः पञ्चभिर्हता शतं विंशत्यधिकं main
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27 भवति। विंशत्यधिकं शतं षड्भिर्हतं शतानि सप्त-विंशत्यधिकानि भवति। main
via surya_layout
28 ्रन्ति main
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29 तानि सप्तभिर्हतानि पञ्चसहस्राणि चत्चारिंशदधिकानि भवन्ति। unknown
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30 अनु₀ ५८ editorial_bracket
parent ligne 28
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31 तत्र क्रमकृतास्तान् स्फोटयित्वा ह्युत्क्रमकृतानि कूटतानानां सप्त- main
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32 स्वरप्रयोगात् पञ्चसहस्राणि त्रयस्त्रिशदधिकानि भवन्ति। main
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33 प्रस्तारो annotation_inline
parent ligne 32
via heuristic_short
34 यथा— main
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35 तत्र षड्जस्वरस्य स इत्येकः क्रमः। ऋषभस्य सरीत्येक एव क्रमः। रिस main
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36 इति च व्युक्तमो द्वितीयः। गान्धारस्य सरिगेत्येकः क्रमः। गरिसेत्यादयो main
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37 ुम annotation_inline
parent ligne 36
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38 ुत्यतः annotation_inline
parent ligne 36
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vol_I_p065 RIGHT — 43 lignes

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1 113 page_number
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2 <b>TRANSLATION</b> page_header
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3 Sampradana is said here to be in the order of a gap after each svara; 105 (it is) main
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4 like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in main
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5 (158) annotation_inline
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6 due course. 107 annotation_inline
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7 Hasita (is known as such as it) is pronounced in a manner similar to main
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8 1 page_number
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9 laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka main
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10 (159) annotation_inline
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11 by the wise, being made up of gapless svaras. main
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12 (That which) ascends in gapless svaras like hasita with three or four svaras main
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13 (in each phrase) in ekakala 109 (form), should be known as one named hunkāra. main
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14 (160) annotation_inline
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15 Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is main
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16 catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending main
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17 (161) annotation_inline
parent ligne 16
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18 another sthana (register). annotation_inline
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19 1 page_number
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20 In the beginning, after having pronounced a pada 112 (syllabic unit) where main
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21 there is a short varna 113 (?) composed of two svaras and (which) ascends in one main
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22 (162) annotation_inline
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23 kalā (phrase) without a gap that is vidhuta. main
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24 In the beginning it is arohin; (like) prastara where there is descent main
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25 according to definite measure (pramāṇa),114 that is said to be udgīta alankāra. main
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26 (163) annotation_inline
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27 One should ascend (in) gapless svaras like hunkāra in the other two kalās main
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28 (phrases) there are two svaras each that are shaking 115 and then there are two main
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29 (164) annotation_inline
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30 lower svaras. annotation_inline
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31 Thus should be known gatravarna in the prescription (vidhi) of varna and main
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32 alankāra. With ākāra 116 and okāra other long syllables should also be combined. main
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33 (165) annotation_inline
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34 ı annotation_inline
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35 Thus has been indicated the prescription about alankarana (ornamentation main
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36 or the act of 'making adequate') pertaining to the alankara of gita (melodic main
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37 rendering). The giti musical rendering should be ornamented with these main
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38 (166) annotation_inline
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39 without conflicting with the varna.117 main
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40 One should 'do' (use) an alankāra at the proper place; one should not tie main
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41 the kānci (ornament for the waist) on the bosom. There could be many main
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42 (167) annotation_inline
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43 alankāras, they should not be used without varņa.118 main
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vol_II_p152 LEFT — 43 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 286 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
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3 2. Gāthā main
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4 आर्यालक्षणसंयुक्ता गाथा प्राकृतभाषया । main
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5 गीयते पूर्ववद् रम्या छन्दोलक्षणवेदिभि:॥ main
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6 Mānaso IV.16.256. annotation_inline
parent ligne 5
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7 आर्येव प्राकृते गेया स्यात् पञ्चचरणाश्रया । main
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8 त्रिपदी षट्पदी गाथेत्यपरे सूरयो जगुः॥ main
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9 SR IV.232. annotation_inline
parent ligne 8
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10 3. Dvipathaka main
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11 गातव्या (व्य:) स्वरसंयुक्तस्तालेन परिवर्जिता: (त:) । main
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12 प्रबन्धो द्विपथाभिज्ञो गीतविद्याविशारदै: ॥ main
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13 Mānaso IV.16.261. annotation_inline
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14 छन्दसा द्विपथेन स्याद् द्विपथ: स्वरमुक्तिक: । main
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15 तालहीन: सतालो वा स च ज्ञेयश्रतुर्विध:॥ main
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16 स्वरैरेकोऽन्य: प्रयोगै: सोभयानुभयौ परौ । main
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17 प्राकृते दोहसंज्ञोऽसौ तस्य भेदा नव त्विमे ॥ main
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18 SR IV.232-34. annotation_inline
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19 8. Reconstruction based on - main
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20 कयापि भाषया क्लृप्ता ...... main
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21 भाषया तु यया कया..... main
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22 Mānaso IV.16.316, 318. main
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23 9. Reconstruction based on S Rāj I.3.3.32 b. list_item
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24 येन केनापि तालेन रागेणाभिमतेन च। list_item
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25 10. cf. (i) list_item
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26 गीयते स्वरसंयुक्ता गीतज्ञैध चतुष्पदी ॥ list_item
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27 Mānaso IV.16.285. main
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28 समे पोडश मात्रा: स्यु: पादे पञ्चदशायुजि । main
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29 (ii) annotation_inline
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30 यस्यां भित्रार्थयमकावधौ सा तु चतुष्पदी ॥ main
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31 स्वरतेनकसंयुक्ता तेनकन्याससंयुता ॥ main
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32 SR IV.271,272. main
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33 11. This line seems to pertain to the description of <i>dodhaka</i>, which is list_item
via surya_layout
34 incomplete due to a break in the text. list_item
via surya_layout
35 12. The description of totaka is missing due to a break in the text. The list_item
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36 following extracts from other texts are relevant for filling the gap- list_item
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37 येन केनापि तालेन रागेणाभीप्सितेन च। list_item
via surya_layout
38 (i) list_item
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39 गातव्यस्ता (स्तो)टको नाम प्रबन्धो गीतवेदिभि:॥ list_item
via surya_layout
40 Mānaso IV.16.267, main
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41 तोटकच्छन्दसा न्यस्तस्वरोऽङ्ग्रयन्ते तु तोटक:। main
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42 (ii) annotation_inline
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43 SR IV. 244. main
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vol_II_p089 LEFT — 30 lignes

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1 BRHADDEŚĪ page_header
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2 160 page_number
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3 यापापाधापासासापाधापमगामामा page_header
via surya_layout
4 उदाहरणम् - सापापाधामामा पागामगापधाधापागमा main
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5 गामसासासागागामागामामा । षड्ज[मध्यमा]।[४] editorial_bracket
parent ligne 4
via heuristic_brackets
6 मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु । main
via surya_layout
7 ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ main
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8 भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ main
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9 प्रेक्षके मधुकरी annotation_inline
parent ligne 8
via heuristic_height
10 मापानिसासारिरोगमगारीसासा main
via surya_layout
11 उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा main
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12 निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५] editorial_bracket
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13 मधु(क)री annotation_inline
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14 ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ editorial_bracket
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15 [५.अथ पञ्चमे] ७४ editorial_bracket
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16 पञ्चमांशा तदन्ता च निषादबहुला सदा। main
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17 परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥ main
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18 <sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । main
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19 आभौरी annotation_inline
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20 पूर्ण annotation_inline
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21 एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ main
via surya_layout
22 उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि- main
via surya_layout
23 मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास - main
via surya_layout
24 रिमाधारिमपापा । आभीरी। [१] editorial_bracket
parent ligne 23
via heuristic_brackets
25 भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । main
via surya_layout
26 मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ main
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27 मध्यम् annotation_inline
parent ligne 26
via heuristic_height
28 भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥ main
via surya_layout
29 उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा editorial_bracket
parent ligne 28
via heuristic_brackets
30 मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२] editorial_bracket
parent ligne 28
via heuristic_brackets
200 lignes a valider — change uniquement les roles incorrects.