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 21115). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p063 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 108 page_number
via heuristic_pagenum
3 [घ. रागगीतिगता वेसरागीतिगता वा रागा:] section_header
via surya_layout
4 [अनु॰ १९०] section_header
via surya_layout
5 नन् वेसराणां कथं रागशब्द: प्रवर्तते ? आसोपदेशात् । तथा चाह कश्यप: - main
via surya_layout
6 आ(टो?प्तो)फ annotation_inline
parent ligne 5
via heuristic_height
7 <sup>६७</sup> ‘चतुर्णामपि वर्णानां यो राग: शोभनो भवेत् । main
via surya_layout
8 योगा राग:+शोभना(?) annotation_inline
parent ligne 7
via heuristic_height
9 स सर्वो दृश्यते येषु तेन रागा इति स्मृता: ॥'' main
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10 [अनु॰ १९१] section_header
via surya_layout
11 दुर्गशक्तिमते रागा एव वेसरा गण्यन्ते । तथा चाह दुर्गशक्ति: - main
via surya_layout
12 ६८‘‘स्वरा: सरन्ति यद्वेगात् तस्माद् वेसरका: स्मृता: ।’’ main
via surya_layout
13 दुर्गशक्तिमते वेसरषाडव एव मुख्य:, षाडवत्वेन क्रमायातत्वात् । कश्यपमते तु टक्कराग main
via surya_layout
14 एव मुख्य:, लक्ष्मीप्रीतिकरत्वात् । तद्यथा - main
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15 [१. टक्करागः] section_header
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16 <sup>६९</sup>षड्जांशन्याससंयुक्तष्टक्करागोऽल्पपञ्चम: । main
via surya_layout
17 कारणं चास्य निर्दिष्टे धैवतीषड्जमध्यमे ॥३२०॥ main
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18 कार(णा?णं चा)स्य annotation_inline
parent ligne 17
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19 [अनु॰ १९२] section_header
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20 अस्यार्थः - टक्करागः षड्जग्रामसम्बन्धः , धैवतीषड्जमध्यमासमुत्पत्रत्वात् । षड्जोऽस्य main
via surya_layout
21 ग्रहोंऽशश्च न्यासश्च। निषादपञ्चमयोरत्राल्पत्वम् <sup>७९</sup> निषादगान्धारावत्र काकल्यन्तरौ। पूर्णश्चायम् । main
via surya_layout
22 युद्धवीरेऽस्य प्रयोग: । वीराद्धुतौ रसौ । षड्जादिमूर्छना । वर्ण: सञ्चारी । प्रसन्नान्तोऽलङ्कार: । main
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23 शुद्ध annotation_inline
parent ligne 22
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24 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
25 [२. सौवीर:] section_header
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26 अंशश्च षड्जो न्यासश्च कारणं षड्जमध्यमा । main
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27 सौवीरकस्य गान्धारो निषादश्चापि दुर्बल: ॥३२१॥ main
via surya_layout

vol_I_p102 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 187 page_number
via heuristic_pagenum
3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
via surya_layout
4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
via surya_layout
5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
via surya_layout
6 mātrās; there also each kalā of time will be related to each phrase. list_item
via surya_layout
7 76,77. Identical with note 52 above. list_item
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8 78. All the four sa belong to the tāra-sthāna. list_item
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9 79. See note 47 above. list_item
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10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
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11 probably it has been used because the units of phrases here are not equal, they list_item
via surya_layout
12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
via surya_layout
13 81. Here the traditional rule of having a shake only on svaras with three list_item
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14 <i>śrutis</i> seems to have been abandoned. list_item
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15 82. Kalā obviously means phrase-unit here. list_item
via surya_layout
16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
via surya_layout
17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
via surya_layout
18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
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20 perhaps, be taken as the first indication of the advent of desi talas. list_item
via surya_layout
21 84. It is notable that BrD has not classified alankāras into varņas. list_item
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22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
via surya_layout
23 but they have not been described. list_item
via surya_layout
24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
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25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
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29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
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30 outside the above seven, but are very important on account of special tala list_item
via surya_layout
31 patterns and association with dance. All these forms are prescribed in list_item
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32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
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33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
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34 hence the units of text of songs could be stretched by the melody through list_item
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35 alankāras, the comprehension of the meaning of the text of songs being not list_item
via surya_layout
36 important there. list_item
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37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
via surya_layout
38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
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39 listener is very important and hence stretching of the syllables of the text is not list_item
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40 desirable. list_item
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41 88. The implication of this statement is not clear, because alankaras of the list_item
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42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
parent ligne 46
via heuristic_height
48 e le par Alle annotation_inline
parent ligne 46
via heuristic_height
49 and the second annotation_inline
parent ligne 46
via heuristic_height

vol_I_p030 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
via heuristic_height
2 43 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
parent ligne 4
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6 pa annotation_inline
parent ligne 4
via heuristic_height
7 ga unknown
via surya_layout
8 ц unknown
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9 dha unknown
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10 ni annotation_inline
parent ligne 4
via heuristic_height
11 sa annotation_inline
parent ligne 4
via heuristic_height
12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
parent ligne 4
via heuristic_brackets
13 ārcika] editorial_bracket
parent ligne 4
via heuristic_brackets
14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
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16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
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19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
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20 should be known as being comprised of two svaras, the (combination of) three main
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21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
parent ligne 24
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26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
parent ligne 26
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28 is born of six angas is called sadja.53 main
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vol_II_p149 LEFT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 San Carlotte Comment annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĨ page_header
via surya_layout
3 280 page_number
via heuristic_pagenum
4 13. P.t. reads - main
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5 गान्धारांशा तु षड्जान्ता पूर्णा द्राविडदेशजा । main
via surya_layout
6 गीयते नित्यमेवैषा विभाषा (विजरा ? पिञ्जरी) शुभा ॥ main
via surya_layout
7 Thus the second and third feet are repeated from the description of drāviḍī main
via surya_layout
8 from verse 11 and have hence been omitted by us. main
via surya_layout
9 14. The reading 'paurālī' is suggested by the ed. main
via surya_layout
10 वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै: । main
via surya_layout
11 15. cf. annotation_inline
parent ligne 10
via heuristic_short
12 S Rāj II.2.1.1084 cd. main
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13 Kalā (appendix) on SR II, p. 142 treats it as a <i>vibhāṣā</i>. main
via surya_layout
14 16. P.t. contains repeated portion here as follows - main
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15 उदाहरणम् -सासासासा धासासासा सारीमामा सानीधासा सानीधापा सामामापाधा । सासा । धागारिसारिसा निधानि । सासा । main
via surya_layout
16 धागारिसारिसा निधानि । सासा । अलघ्वी । टक्करागे शार्दूलमते भाषा: समाप्ता: । भित्रवलितिका रविचन्द्रा भित्रपौराली द्राविडी main
via surya_layout
17 पार्वती चैव हिन्दोलके ? main
via surya_layout
18 The ed. notes that the lakṣaṇa of paurālī and illustration of vibhāvinī is not main
via surya_layout
19 available in the MSS, because the illustration that follows the repeated main
via surya_layout
20 portion reproduced above bears the name paurālī. But we have taken it to main
via surya_layout
21 be the illustration of vibhāvinī as it matches the description of this bhāṣā. main
via surya_layout
22 Thus both the description and illustration of paurālī are taken to be lost. main
via surya_layout
23 S Rāj II.2.1.1086 describes paurālī as - main
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24 पञ्चमांशग्रहन्यासा गाल्पा मालवपञ्चमे । main
via surya_layout
25 सावरोहिप्रसन्त्रान्ता भाषा पौरालिका रसे ॥ main
via surya_layout
26 बीभत्से मुनिना प्रोक्ता मतङ्गेन भयाकुले ॥ main
via surya_layout
27 करुणे दैन्यभूयिष्ठे आहुर्वेदवर्ती बुधा: । main
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28 17. cf. annotation_inline
parent ligne 27
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29 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX, p. 76. main
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30 सग्रहान्ता वेगवती धांशा मालवपञ्चमे । main
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31 18. cf.(i) annotation_inline
parent ligne 30
via heuristic_short
32 सप्तस्वरा विभाषेयमञ्जनासून्सम्मता ॥ main
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33 Kalā (appendix) on SR II. p. 142. main
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34 (ii) annotation_inline
parent ligne 33
via heuristic_short
35 पूर्णा वेदवती भाषा सान्ता मालवपञ्चमे । main
via surya_layout
36 पञ्चमांशग्रहा योज्या रसे सा करुणे बुधै: ॥ main
via surya_layout
37 S Rāj II.2.1.1088. annotation_inline
parent ligne 36
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38 .....गर्वे त्वान्ध्रॉ प्रचक्षते । main
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39 19. cf.(i) annotation_inline
parent ligne 38
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40 Citation from Kaśyapa in Abhi Bhā on NŚ XXIX.p.76. main
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41 (ii) annotation_inline
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42 .....सर्वभावनियोगभाक् । main
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43 S Rāj 11.2.1.1090 d. main
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44 Our reconstruction is in close proximity of p.t. 'Vyādhau daṣṭeṣu' could be main
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45 another possibility; the meaning would be - 'in the context of disease and of main
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46 those bitten (by poisonous creatures)* main
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47 20. cf. annotation_inline
parent ligne 46
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48 औप्र्वे क्रोधे च गान्धारी .....ा main
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49 Citation from Kasyapa in Abhi Bhā on NŚ XXIX., p. 76. main
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vol_II_p061 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 . 4 unknown
via fallback
2 2 a - annotation_inline
parent ligne 5
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3 104 page_number
via heuristic_pagenum
4 BRHADDEŚĪ page_header
via surya_layout
5 [ग. गौडरागाः] section_header
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6 [अनु॰ १८६] editorial_bracket
parent ligne 5
via heuristic_brackets
7 नन् गौडाः कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात् । main
via surya_layout
8 किं लक्षणम् ? उच्यते । तद्यथा - main
via surya_layout
9 ओहाटी मन्द्रजोपात्ता प्रयोगे ध्वनिकम्पितै:। * main
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10 ओहाडी मन्त्रजा(?)+तु प्रयोगै (दूं?र्हू)तकम्पितै:। main
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11 अविश्रामेण त्रिस्थाने गौडी गीतिरुदाहृता ॥३१५॥ main
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12 गौह॰ annotation_inline
parent ligne 11
via heuristic_markers
13 [१.गौडपञ्चम:] section_header
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14 गौडपञ्चमस्य लक्षणम् - main
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15 गौडपञ्चमनिष्पत्तौ धैवतीषड्जमध्यमे । main
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16 धैवतांशो मध्यमान्तो रहित: पञ्चमेन तु ६३॥३१६॥ main
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17 (वि? र)हित: annotation_inline
parent ligne 16
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18 [अन्॰ १८७] editorial_bracket
parent ligne 16
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19 अस्यार्थ: -गौडपञ्चम: षड्जग्रामसम्बन्ध:,धैवतीषड्जमध्यमाजात्यो: समुत्पन्नत्वात्। main
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20 धैवतोंऽशो ग्रहश्च। मध्यमो न्यासः। निषादगान्धारौ काकल्यन्तरौ । पञ्चमरहितोऽयं षट्स्वरः । main
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21 प्र(ह)स annotation_inline
parent ligne 20
via heuristic_height
22 उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोग:।बीभत्सभयानकरसौ।धैवतादिमूर्छना।आरोही main
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23 (क)रसो रसः annotation_inline
parent ligne 22
via heuristic_height
24 प्रसन्नमध्योऽलङ्कार: । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते main
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25 वर्णः। annotation_inline
parent ligne 24
via heuristic_short
26 चच्चत्पुटादिताल:। main
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27 चचत्पुटताल: annotation_inline
parent ligne 26
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28 [२.गौडकैशिक:] section_header
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29 उत्पन्नः कैशिकीषड्जमध्यमाजातितो मतः। main
via surya_layout
30 षड्जांशः पञ्चमन्यासः सम्प्रोक्तो गौडकैशिकः ॥३१७॥ main
via surya_layout
31 (स:) annotation_inline
parent ligne 30
via heuristic_height
32 (vide) annotation_inline
parent ligne 30
via heuristic_height
185 lignes a valider — change uniquement les roles incorrects.