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 21213). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p028 LEFT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDES!</b> page_header
via surya_layout
2 38 page_number
via heuristic_pagenum
3 [ अनु. २५ ] editorial_bracket
parent ligne 4
via heuristic_brackets
4 इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते main
via surya_layout
5 द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः main
via surya_layout
6 स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम main
via surya_layout
7 विवादित्वम्। विवादिमण्डलं यथा— main
via surya_layout
8 स annotation_inline
parent ligne 7
via heuristic_height
9 नि annotation_inline
parent ligne 7
via heuristic_height
10 रि annotation_inline
parent ligne 7
via heuristic_height
11 ध annotation_inline
parent ligne 7
via heuristic_height
12 4 page_number
via heuristic_pagenum
13 Ŧ annotation_inline
parent ligne 7
via heuristic_height
14 ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ editorial_bracket
parent ligne 7
via heuristic_brackets
15 ` annotation_inline
parent ligne 7
via heuristic_height
16 [ अनु. २६ ] editorial_bracket
parent ligne 7
via heuristic_brackets
17 विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान main
via surya_layout
18 25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः main
via surya_layout
19 प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो editorial_bracket
parent ligne 18
via heuristic_brackets
20 भवेत् ॥ इति षड्जग्रामे ॥ editorial_bracket
parent ligne 18
via heuristic_brackets
21 [ अनु. २७ ] editorial_bracket
parent ligne 18
via heuristic_brackets
22 इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च editorial_bracket
parent ligne 18
via heuristic_brackets
23 तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः main
via surya_layout
24 प्रदश्यते । annotation_inline
parent ligne 23
via heuristic_short
25 संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ main
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26 विवादिनौ । annotation_inline
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27 ___ •नादनुः ____ main
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vol_I_p095 RIGHT — 48 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARSA</b> page_header
via surya_layout
2 173 page_number
via heuristic_pagenum
3 Madhyama table
via surya_layout
4 Pañcama table
via surya_layout
5 Niṣāda-gāndhāra table
via surya_layout
6 Dhaivata table
via surya_layout
7 Gändhära table
via surya_layout
8 Nişāda table
via surya_layout
9 Şadja-rşabha table
via surya_layout
10 Şadja table
via surya_layout
11 Gāndhāra table
via surya_layout
12 This list does not seem to follow the general statement that all those which main
via surya_layout
13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
via surya_layout
14 not included here, as are neither samvadins nor vivadins. The passage listing the main
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15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
via surya_layout
16 interpolation. It has been put within square brackets by the editor. main
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17 Our author's statement that nişāda and gāndhāra are established as main
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18 anuvadins as they are less by one sruti obviously with reference to the svaras main
via surya_layout
19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
via surya_layout
20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
via surya_layout
21 respectively and are hence vivadins. main
via surya_layout
22 44. Here again, the application of the concept of vivada in melodic structuring main
via surya_layout
23 is being illustrated. ( see glossary ) main
via surya_layout
24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
via surya_layout
25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
via surya_layout
26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
via surya_layout
27 narratives) which is associated with the use of two svaras; sāmika pertains to main
via surya_layout
28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
via surya_layout
29 literally means the interval of a svara, the implication seems to be that a group main
via surya_layout
30 of four svaras is the first step towards the formation of a heptad from a triad; main
via surya_layout
31 auduva stands for a group of five svaras ( the etymology of this word is given in main
via surya_layout
32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
via surya_layout
33 literally meaning complete, stands for a group of all the seven svaras. main
via surya_layout
34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
via surya_layout
35 svara, because in current practice, generally three tones are employed in main
via surya_layout
36 reciting the pk. The practice of the recitation of gatha is not generally known main
via surya_layout
37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
via surya_layout
38 is, however, notable that the number three is associated with sāman in NS in main
via surya_layout
39 another context and that is the trisama spoken of in the beginning of main
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40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
via surya_layout
41 rendering of three sāmans is prescribed there. These sāmans are composed of main
via surya_layout
42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
via surya_layout
43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
via surya_layout
44 instruments, it is not just 'song'. main
via surya_layout
45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
via surya_layout
46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
via surya_layout
47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
via surya_layout
48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
via surya_layout

vol_I_p054 LEFT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> main
via surya_layout
2 90 page_number
via heuristic_pagenum
3 (२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः main
via surya_layout
4 आवर्तकः annotation_inline
parent ligne 3
via heuristic_short
5 (२३) main
via surya_layout
6 (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः main
via surya_layout
7 (धिन ? धुतः) annotation_inline
parent ligne 6
via heuristic_short
8 (३२) उद्गीतः (३३) गात्रवर्णश्चेति। main
via surya_layout
9 [ अनु₀ ७० ] editorial_bracket
parent ligne 8
via heuristic_brackets
10 इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं main
via surya_layout
11 oसाo annotation_inline
parent ligne 10
via heuristic_height
12 यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा main
via surya_layout
13 तारगति annotation_inline
parent ligne 12
via heuristic_short
14 १ page_number
via heuristic_pagenum
15 नी सा इति प्रसन्नादिः। main
via surya_layout
16 [ अनु₀ ७१ ] editorial_bracket
parent ligne 15
via heuristic_brackets
17 तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा editorial_bracket
parent ligne 15
via heuristic_brackets
18 | २ | main
via surya_layout
19 इति प्रसन्नान्तः। annotation_inline
parent ligne 18
via heuristic_short
20 [ अनु॰ ७२ ] editorial_bracket
parent ligne 18
via heuristic_brackets
21 यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा main
via surya_layout
22 सरिगमधन(सा) annotation_inline
parent ligne 21
via heuristic_short
23 [ ३ ] editorial_bracket
parent ligne 21
via heuristic_brackets
24 सानी धापामागारी सा इति प्रसन्नाद्यन्तः । main
via surya_layout
25 निध प म गरि annotation_inline
parent ligne 24
via heuristic_height
26 अनु₀ ७३ editorial_bracket
parent ligne 24
via heuristic_brackets
27 🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा— main
via surya_layout
28 सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ] editorial_bracket
parent ligne 27
via heuristic_brackets
29 4 page_number
via heuristic_pagenum
30 ग annotation_inline
parent ligne 27
via heuristic_height
31 [ अनु₀ ७४ ] editorial_bracket
parent ligne 27
via heuristic_brackets
32 स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः main
via surya_layout
33 श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] editorial_bracket
parent ligne 32
via heuristic_brackets
34 स्व annotation_inline
parent ligne 32
via heuristic_height
35 द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] editorial_bracket
parent ligne 32
via heuristic_brackets
36 <b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b> main
via surya_layout
37 । ५ । annotation_inline
parent ligne 36
via heuristic_short
38 मध्यमग्रामे annotation_inline
parent ligne 36
via heuristic_height

vol_I_p051 LEFT — 38 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 84 page_number
via heuristic_pagenum
3 मपधनिसरिगमपधनिस । अश्वक्रान्ता ६ main
via surya_layout
4 पधनिसरिगमपधनिसरि । अभिरुद्गता [ ७ ] editorial_bracket
parent ligne 3
via heuristic_brackets
5 ॥ इति षड्जग्रामे ॥ editorial_bracket
parent ligne 3
via heuristic_brackets
6 [ अनु₀ ६३ ] editorial_bracket
parent ligne 3
via heuristic_brackets
7 'मध्यमग्रामेऽप्येवमेव मपधनिसरिगाद्या मूर्छना निसरिगमपधाद्या main
via surya_layout
8 <math>[:]^{95}</math>रागकाले द्वादशस्वरमूर्छना अवगन्तव्याः । ताश्च षड्जग्रामे <math>[:]^{95}</math> editorial_bracket
parent ligne 7
via heuristic_brackets
9 मूर्छनासु अन्तर्गता ज्ञेयाः । तद्यथा— main
via surya_layout
10 निसरिगमपधनिसरिगम। सौवीरी [१] editorial_bracket
parent ligne 9
via heuristic_brackets
11 सरिगमपधनिसरिगमप। हरिणाश्वा [२] editorial_bracket
parent ligne 9
via heuristic_brackets
12 रिगमपधनिसरिगमपध। कलोपनता [३] editorial_bracket
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13 [8] editorial_bracket
parent ligne 9
via heuristic_brackets
14 गमपधनिसरिगमपधनि। शुद्धमध्या main
via surya_layout
15 मपधनिसरिगमपधनिस। मार्गी main
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16 [4] editorial_bracket
parent ligne 15
via heuristic_brackets
17 [६] editorial_bracket
parent ligne 15
via heuristic_brackets
18 पधनिसरिगमपधनिसरि। पौरवी main
via surya_layout
19 [ ૭ ] editorial_bracket
parent ligne 18
via heuristic_brackets
20 धनिसरिगमपधनिसरिग। हृष्यका main
via surya_layout
21 ॥ इति मध्यमग्रामे ॥ editorial_bracket
parent ligne 20
via heuristic_brackets
22 [ इति ग्राममूर्छनाप्रकरणम् ] editorial_bracket
parent ligne 20
via heuristic_brackets
23 VI [ वर्णालंकारप्रकरणम् ] editorial_bracket
parent ligne 20
via heuristic_brackets
24 [ तत्र वर्णाः ] editorial_bracket
parent ligne 20
via heuristic_brackets
25 अतः परं प्रदर्श्यन्ते वर्णाश्चत्वार एव हि। main
via surya_layout
26 स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।। main
via surya_layout
27 [ अनु₀ ६४ ]. editorial_bracket
parent ligne 26
via heuristic_brackets
28 वर्णशब्देन किमुच्यते ? वर्णशब्देन गानमभिधीयते। यत्र समाः main
via surya_layout
29 नन् annotation_inline
parent ligne 28
via heuristic_short
30 स्वरा अनुपहतरूपास्तिष्ठन्ति तेभ्यो यद्गीतं वर्णाभिव्यक्तिकृद् यत्र पदे main
via surya_layout
31 त् annotation_inline
parent ligne 30
via heuristic_height
32 स वर्णः स्थायीत्युच्यते। यथा— main
via surya_layout
33 षाङ्ज्यां सासासासा, मध्यमायां तु मामामामा इति। main
via surya_layout
34 सारीसासारीसा annotation_inline
parent ligne 33
via heuristic_height
35 षज्जा annotation_inline
parent ligne 33
via heuristic_height
36 <sup>1</sup>षड्जात annotation_inline
parent ligne 33
via heuristic_height
37 <b>य्यत्र गीते संचरिन्त स्वराः परस्परमन्त्यसहिताः।</b> main
via surya_layout
38 एकैकशो [ द्विशो ] वा स संचारी वर्ण उच्यते।। ११९ ॥ editorial_bracket
parent ligne 37
via heuristic_brackets

vol_II_p076 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 134 page_number
via heuristic_pagenum
3 मध्यमग्रामदेहा<sup>३</sup> च तथा गान्धारपञ्चमी । main
via surya_layout
4 इत्येता: प्रकटा भाषाष्टकरागस्य षोडश<sup>४</sup>॥२०॥ main
via surya_layout
5 (田) annotation_inline
parent ligne 4
via heuristic_height
6 शुद्धा तु प्रथमा ज्ञेया ५चार्धवेसरिका तत:। main
via surya_layout
7 हर्षपूरी तृतीया तु माङ्गाली च चतुर्थिका ॥२१॥ main
via surya_layout
8 ॰पुत्री annotation_inline
parent ligne 7
via heuristic_markers
9 पञ्चमी सैन्धवी ज्ञेया आभीरी षष्टिका मता। main
via surya_layout
10 खञ्जरी गुर्जरी चैवमष्टौ मालवकैशिके ॥२२॥ main
via surya_layout
11 ६ नी annotation_inline
parent ligne 10
via heuristic_height
12 काम्बोजा प्रथमा ज्ञेया मध्यमग्रामिका मता । main
via surya_layout
13 ५सातवाहनिका चैव तदन्ते भोगवर्धनी ॥२३॥ main
via surya_layout
14 सालवाहा annotation_inline
parent ligne 13
via heuristic_height
15 чP annotation_inline
parent ligne 13
via heuristic_height
16 पञ्चमी ९मुहरी ज्ञेया षष्ठी च शकमिश्रिता । main
via surya_layout
17 प्रयोक्तव्या प्रयत्नेन सप्तमी भित्रपञ्चमी ॥२४॥ main
via surya_layout
18 एतास्तु ककुभे सप्त भाषा ज्ञेया मनोहरा:। main
via surya_layout
19 प्रथमा वेसरी ज्ञेया द्वितीया चैव मञ्जरी १० ॥२५॥ main
via surya_layout
20 ततः कार्या च छेवाटी चतुर्थी षड्जमध्यमा। main
via surya_layout
21 पञ्चमी मधुरी ज्ञेया पञ्च <sup>११</sup>हिन्दोलकोद्भवाः ॥२६॥ main
via surya_layout
22 आभीरी भाविनी चैव माङ्गाली सैन्धवी तथा। main
via surya_layout
23 गूर्जरी दाक्षिणात्या च <sup>१२</sup>आन्ध्री तानोद्भवा परा ॥२७॥ main
via surya_layout
24 अन्ध्री त्वात्रो॰ annotation_inline
parent ligne 23
via heuristic_markers
25 नवमी त्रावणी ज्ञेया १३कैशिकी दशमी स्मृता । main
via surya_layout
26 एता भाषास्तु विज्ञेया गायकै: पञ्चमोद्भवा: ॥२८॥ main
via surya_layout
27 विशुद्धा दाक्षिणात्या तु गान्धारी तदनन्तरम् । main
via surya_layout
28 श्रीकण्ठी चैव पौराली माङ्गाली सैन्धवी तथा ॥२९॥ main
via surya_layout
29 कालिङ्गी च पुलिन्दी च भित्रषड्जोद्भवा नव। main
via surya_layout
30 ॰ न्दो annotation_inline
parent ligne 29
via heuristic_markers
31 सौवीरी प्रथमा ज्ञेया द्वितीया वेगमध्यमा ॥३०॥ main
via surya_layout
182 lignes a valider — change uniquement les roles incorrects.