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 21164). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p011 LEFT — 30 lignes

page vol_II_p011 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 4 page_number
via heuristic_pagenum
3 आन्ध्री च नन्दयन्ती च कार्मारव्यथ कैशिकी । main
via surya_layout
4 अङ्धी annotation_inline
parent ligne 3
via heuristic_height
5 ₹क annotation_inline
parent ligne 3
via heuristic_height
6 एवमेकादश ज्ञेया मध्यमग्रामसंश्रया: ॥ १९०॥ main
via surya_layout
7 [॥ इत्येकादशमध्यमग्रामाश्रया:॥] editorial_bracket
parent ligne 6
via heuristic_brackets
8 [साधारणकृता जातय:] section_header
via surya_layout
9 साधारणकृतास्तिस्रो विज्ञेया जातयो बुधै: । main
via surya_layout
10 मध्यमा पञ्चमी चैव तथा वै षड्जमध्यमा ॥१९१॥ main
via surya_layout
11 मत्सरी annotation_inline
parent ligne 10
via heuristic_height
12 ॥ इति सङ्ख्या, उद्देशश्च॥ editorial_bracket
parent ligne 10
via heuristic_brackets
13 [२. शुद्धाः, विकृताः, संसर्गजा विकृताश्च] section_header
via surya_layout
14 [ अनु ॰ ११५] section_header
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15 आभ्योऽष्टादशजातिभ्य: सप्तस्वराख्याश्चोक्ता द्विधा शुद्धा विकृताश्चेति । तत्र शुद्धा main
via surya_layout
16 अन्यूनस्वराः*स्वस्वरांशग्रहन्यासापन्यासाश्च । एभ्यो लक्षणेभ्योऽन्यतमेन द्वाभ्यां बहुभिर्वा main
via surya_layout
17 ्रा स्वरस्वरग्रहान्यासाध (?)<br>लक्षणैर्विकृतिमुपगता न्यासवर्ज विकृतसंज्ञा भवन्ति । main
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18 <sup>५</sup>व्यायापि तुष्टा(?) main
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19 <sup>६०</sup>वजा annotation_inline
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20 [अनु०११६] editorial_bracket
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21 तंत्रं न्यासविधिमाह-तत्र न्यासविधौ या जातय: शुद्धा:,तासु नामकारी यो न्यास: [स] editorial_bracket
parent ligne 18
via heuristic_brackets
22 ्बलः यवाः विकारित । विकृतासु च नामकारी [न्यास:] तारो वा मन्द्रो वा भवतीत्यनियम:। editorial_bracket
parent ligne 18
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23 <sup>७</sup>कविकारी <b>या मन्द्रो भवतीत्य</b>नियम: । annotation_inline
parent ligne 18
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24 [ अनु ११७ ] section_header
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25 तत्र शुद्धानां जातीनां शुद्धत्वं विकृतत्वं च रूपद्वयमस्ति । एकादशानां जातीनां विकृतोद्भवत्वादु main
via surya_layout
26 विकृतत्वमेव रूपं भवति न तु शुद्धत्विमिति कुत एतत् ? ता हि परस्परसंसर्गाज्ञायन्ते । तथा main
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27 वृ॰ annotation_inline
parent ligne 26
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28 (ते?न्ते) annotation_inline
parent ligne 26
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29 । ननु annotation_inline
parent ligne 26
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30 चाह भरत: - main
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vol_II_p116 RIGHT — 23 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 215 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [15. Hayalīlā] section_header
via surya_layout
4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
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5 latter) half is sung with birudas, that is known as hayalīlā. main
via surya_layout
6 (397) main
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7 [16. <i>Gajalīlā</i>] section_header
via surya_layout
8 That which is completely composed according to gajalīlā but where the tāla main
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9 is gajalīla, that should be known by the name gajalīlā. main
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10 (398) main
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11 [17. Simhalīlā] section_header
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12 Composed in simhalilā metre, combined with svara and tena, that which is main
via surya_layout
13 sung with birudas is sinihalīlaka. main
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14 (399) main
via surya_layout
15 [18. Śarabhalila] section_header
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16 Where eight feet are composed with svaras and pāṭas, that is held to be main
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17 śarabhalīla, having eight rāgas and tālas. main
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18 (400) main
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19 [19. Śukacańcu] section_header
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20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
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21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
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22 regions, is named śukacańcu, that is dear to the people. main
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23 (401) main
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vol_II_p099 RIGHT — 22 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 181 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- main
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4 mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the main
via surya_layout
6 mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made main
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7 hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with main
via surya_layout
8 the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\ main
via surya_layout
9 delightful to the people. main
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10 <math>(139-140)</math> main
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11 Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. main
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12 Nādākhyā [ii] editorial_bracket
parent ligne 11
via heuristic_brackets
13 These two are there in vesarașādava. main
via surya_layout
14 13. Now the bhāṣās in bhinnatāna section_header
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15 Having pañçama as amsa and the same as the concluding note, this table
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16 sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid table
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17 of rṣabha, by the knowledgeable ones in music. table
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18 (141) table
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19 .....[Tānodbhavā] table
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20 [This one is in bhinnatāna] table
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21 [14. Bhāṣās in gāndhārapancama] table
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22 .....[Gāndhārī] table
via surya_layout

vol_II_p105 RIGHT — 31 lignes

page vol_II_p105 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>TRANSLATION</b> page_header
via surya_layout
2 193 page_number
via heuristic_pagenum
3 Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. main
via surya_layout
4 Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī main
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5 [v] editorial_bracket
parent ligne 4
via heuristic_brackets
6 Gāndhārī has gāndhāra as amśa (and) pancama as the concluding note, is main
via surya_layout
7 complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) main
via surya_layout
8 ascending the top of a mountain. 16 annotation_inline
parent ligne 7
via heuristic_height
9 (19) annotation_inline
parent ligne 7
via heuristic_height
10 Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. main
via surya_layout
11 Sāgāsānidhāpāpā. Gāndhārī [vi] editorial_bracket
parent ligne 10
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12 Thus end the bhāṣās in mālavapañcama according to main
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13 the opinion of Sārdūla. annotation_inline
parent ligne 12
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14 [4. Now in bhinnaṣaḍja] section_header
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15 Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, main
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16 gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and main
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17 śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). main
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18 <math>(20-21)</math> annotation_inline
parent ligne 17
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19 Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and main
via surya_layout
20 is with sparse <i>şadja</i>. main
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21 (22) annotation_inline
parent ligne 20
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22 Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini main
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23 dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā main
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24 nidhāmāmadhā niniridhādhā. Trāvaņī [i] editorial_bracket
parent ligne 23
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25 Combined with dhaivata as the initial and concluding note, having sparse main
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26 sa (ṣadja), ṣadja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the main
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27 worship of deities.<sup>18</sup> annotation_inline
parent ligne 26
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28 (23) annotation_inline
parent ligne 26
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29 Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. main
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30 Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. main
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31 Ṣaḍjabhāṣā [ii] editorial_bracket
parent ligne 30
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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
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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
via surya_layout
8 89,90,91. The situations mentioned under viniyoga and the rasa vīra list_item
via surya_layout
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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146 lignes a valider — change uniquement les roles incorrects.