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 21113). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p020 LEFT — 36 lignes

page vol_I_p020 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 22 page_number
via heuristic_pagenum
3 तदुक्तम्— main
via surya_layout
4 "कथं प्रतीतिश्च भवेदमुष्या main
via surya_layout
5 नादौ नभो व्याकुलितश्रुति स्यात् । main
via surya_layout
6 ुत्वा, । annotation_inline
parent ligne 5
via heuristic_height
7 रा annotation_inline
parent ligne 5
via heuristic_height
8 भवेदलक्ष्यावयवा श्रुतिस्तु main
via surya_layout
9 [ तेनैव ] नैवावयवा प्रतीता ।। editorial_bracket
parent ligne 8
via heuristic_brackets
10 ॰वी annotation_inline
parent ligne 8
via heuristic_markers
11 ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति । main
via surya_layout
12 तासा भवतीताः annotation_inline
parent ligne 11
via heuristic_height
13 ती २ annotation_inline
parent ligne 11
via heuristic_height
14 यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥ main
via surya_layout
15 श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥ main
via surya_layout
17 तस्या annotation_inline
parent ligne 16
via heuristic_height
18 ুস্ annotation_inline
parent ligne 16
via heuristic_height
19 मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥ main
via surya_layout
20 ٥٣, annotation_inline
parent ligne 19
via heuristic_height
21 सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः। main
via surya_layout
22 [ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।। editorial_bracket
parent ligne 21
via heuristic_brackets
23 ₀णः ₀न्तोऽप्या₃ annotation_inline
parent ligne 21
via heuristic_markers
24 ++++ main
via surya_layout
25 सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा । main
via surya_layout
26 ०णी तु annotation_inline
parent ligne 25
via heuristic_short
27 स annotation_inline
parent ligne 25
via heuristic_height
28 विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥ main
via surya_layout
29 भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥ main
via surya_layout
30 किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः । main
via surya_layout
31 निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥" main
via surya_layout
32 अत्रोच्यते- annotation_inline
parent ligne 31
via heuristic_short
33 अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा। main
via surya_layout
34 ₀প্লাপ্রউন<sup>87</sup> annotation_inline
parent ligne 33
via heuristic_markers
35 गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः main
via surya_layout
36 118311 main
via surya_layout

vol_II_p052 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 86 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 षाडव: पञ्चमश्चैव तथा कैशिकमध्यम:। main
via surya_layout
4 चोक्षसाधारितश्चैव चोक्षकैशिक इत्यपि ॥ main
via surya_layout
5 एते चोक्षास्तु विज्ञेया, भिन्नकान् साम्प्रतं शृणु ॥२९३॥ main
via surya_layout
6 भित्रषड्जश्च तानश्च भित्रकैशिकमध्यम:। main
via surya_layout
7 भित्रपञ्चमसंज्ञश्च पञ्चमो भित्रकैशिक: ॥२९४॥ main
via surya_layout
8 भिन्नपञ्चम इत्युक्तस्त्रयो गौडा: annotation_inline
parent ligne 7
via heuristic_height
9 प्रकीर्तिताः annotation_inline
parent ligne 7
via heuristic_height
10 गौडपञ्चम इत्येको गौडकैशिक इत्यपि । main
via surya_layout
11 गौडकैशिकमध्यमस्त्रयो गौडा: प्रकीर्तिता: ॥२९५॥ main
via surya_layout
12 टकरागश्च सौवीरस्तथा मालवपञ्चम:। main
via surya_layout
13 टङ्क annotation_inline
parent ligne 12
via heuristic_height
14 षाडवो बोट्टरागश्च तथा हिन्दोलक: पर: ॥२९६॥ main
via surya_layout
15 ट[क]ककैशिक इत्युक्तस्तथा मालवकैशिक:। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एते रागाः समाख्याता नामतो मुनिपुङ्गवैः ॥२९७॥ main
via surya_layout
17 नर्तः शकाख्यः ककुभस्तथा भम्माणपञ्चमः । main
via surya_layout
18 (नर्तः) annotation_inline
parent ligne 17
via heuristic_height
19 हमीण annotation_inline
parent ligne 17
via heuristic_height
20 रूपसाधारितश्चैव तथा गान्धारपञ्चम: । main
via surya_layout
21 षड्जकैशिकसंज्ञश्च सप्त साधारणा: स्मृता: ॥२९८॥ main
via surya_layout
22 [॥ इति रागसङ्ख्या, उद्देशश्च ॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [रागाणां विशेषलक्षणानि] section_header
via surya_layout
24 [क. तत्र शुद्धरागाः] section_header
via surya_layout
25 इदानीं शुद्धानां लक्षणमाह - main
via surya_layout
26 <sup>३५</sup>अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका: । main
via surya_layout
27 <sup>३६</sup>स्वजा(?) main
via surya_layout
28 निरपेक्षा॰ annotation_inline
parent ligne 27
via heuristic_markers
29 स्वजात्यन्यतमाश्चेव ते शुद्धाः परिकीर्तिताः ॥२९९॥ main
via surya_layout
30 [१.शुद्धषाडव:] section_header
via surya_layout
31 [अनु॰ १६४] section_header
via surya_layout
32 तत्र षाडव इति कस्मात्३७ ? किं षड्भि: स्वरैगीयत इति षाडव:, यद् वा षट्सु रागेषु main
via surya_layout
33 (vide) annotation_inline
parent ligne 32
via heuristic_height

vol_II_p129 RIGHT — 25 lignes

page vol_II_p129 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 241 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [43. Varņasvara] section_header
via surya_layout
4 That which is composed with pāṭas of the hand and is again combined with main
via surya_layout
5 tenakas, is combined with svaras, padas, pāṭas and tenakas (and) is sung in main
via surya_layout
6 combination with tāla, that is known as varņasvara. main
via surya_layout
7 (486) annotation_inline
parent ligne 6
via heuristic_height
8 [44. Muktāvalī] section_header
via surya_layout
9 (That which) is sung with charming padas having anuprāsa (and where main
via surya_layout
10 there) is the name of the object of description, that is known as muktāvalī. main
via surya_layout
11 (487) annotation_inline
parent ligne 10
via heuristic_height
12 [45. Pratāpavardhana] section_header
via surya_layout
13 Well combined with pāṭas generating enthusiasm and also with svaras, main
via surya_layout
14 tenakas (and) where singing is accomplished with the birudas of the object of main
via surya_layout
15 description, that is said to be the prabandha pratāpavardhana. main
via surya_layout
16 (488) annotation_inline
parent ligne 15
via heuristic_height
17 Thus eight above forty 92 (48) beautiful prabandhas are clearly to be seen. main
via surya_layout
18 (489) annotation_inline
parent ligne 17
via heuristic_height
19 [The blemishes of gita] section_header
via surya_layout
20 One should avoid (the song) that is defective by the standard of the people main
via surya_layout
21 (loka),93 defective by śāstraic94 (critical) standard, repetitive, defective in main
via surya_layout
22 metre and vulgar or indecent, embodying deviation from proper order, main
via surya_layout
23 devoid of meaning, 95 having dubious text and meaning, indulging in main
via surya_layout
24 violation of (kalās 96 and) split.97 main
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25 (490) annotation_inline
parent ligne 24
via heuristic_height

vol_II_p124 LEFT — 29 lignes

page vol_II_p124 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 (vide) unknown
via fallback
2 BRHADDEŚĪ page_header
via surya_layout
3 230 page_number
via heuristic_pagenum
4 [४.मालती] section_header
via surya_layout
5 एला गुरुलघुरचिता मधुरध्वनिशोभिता तथा सरला । main
via surya_layout
6 (वि)रचिता annotation_inline
parent ligne 5
via heuristic_height
7 बहुगमकालङ्कारा रमणीया मालती भवति ॥४५२॥ main
via surya_layout
8 <sup>४२</sup>बहुग(य?)म(का) main
via surya_layout
9 [५. ललिता] section_header
via surya_layout
10 गातव्या गन्धर्वैर्ललिता ललितेन वर्णनियमेन । main
via surya_layout
11 प्रथमिव चरणयुगलं <sup>४३</sup>सगमकमथ बिन्दुमूर्छनायुक्तम् ॥ ४५३॥ main
via surya_layout
12 सयमकमथ annotation_inline
parent ligne 11
via heuristic_height
13 1 page_number
via heuristic_pagenum
14 [६.हेमवती ?] section_header
via surya_layout
15 लिलतपदं बिरुदान्तं तथा च यतिसंस्थितगमकम्। main
via surya_layout
16 बिरुतां कथं(?) annotation_inline
parent ligne 15
via heuristic_height
17 oतं annotation_inline
parent ligne 15
via heuristic_height
18 चरणयुगक्रममेवं नाम ततो भवति वर्णनीयस्य ॥ ४५४॥ main
via surya_layout
19 °त्रयः annotation_inline
parent ligne 18
via heuristic_markers
20 [७.कुसुमवती ?] section_header
via surya_layout
21 लघुवर्णपदनिबद्धं तत् पुनरिप गीयते, गीत्वा । main
via surya_layout
22 गातृजननामधेयं वीरविलासादिवर्णनापूर्वम् ॥४५५॥ main
via surya_layout
23 यस्यां वर्णेला सा कथिता क्रमतो मतङ्गेन । main
via surya_layout
24 प्रतापोत्साहधैर्यादिवर्णनागुणगौरवम् ॥ ४५६॥ main
via surya_layout
25 क्रमशो दृश्यते यस्यां वर्णेला सा प्रकीर्तिता । main
via surya_layout
26 मण्ठद्वितीयकङ्कालै: प्रतितालेन गीयते ॥४५७॥ main
via surya_layout
27 मद्रद्वितीयं(कं)काल॰ annotation_inline
parent ligne 26
via heuristic_markers
28 प्रकारेणैकेन कथिता येनाधुना स्फुटम् । main
via surya_layout
29 कथ्यते तु समरसेन वर्णेलासप्तकं पुन: ॥४५८॥ main
via surya_layout

vol_I_p094 RIGHT — 45 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 171 page_number
via heuristic_pagenum
3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
via surya_layout
4 p. 46) main
via surya_layout
5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
via surya_layout
6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
via surya_layout
7 does not carry further the argument that vowels and musical tones cannot be list_item
via surya_layout
8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
via surya_layout
9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
via surya_layout
10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
via surya_layout
11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
via surya_layout
12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
via surya_layout
13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
via surya_layout
14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
via surya_layout
15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
via surya_layout
16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
via surya_layout
17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
via surya_layout
19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
via surya_layout
21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
via surya_layout
26 work that uses solfa-syllables, the above discussion has a historical context. list_item
via surya_layout
27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
via surya_layout
28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
via surya_layout
29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
via surya_layout
30 ends in this case. The first one of these is the vādin or point of reference and list_item
via surya_layout
31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
via surya_layout
32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
via surya_layout
37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
via surya_layout
40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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168 lignes a valider — change uniquement les roles incorrects.