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 21276). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p129 LEFT — 28 lignes

page vol_II_p129 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 240 page_number
via heuristic_pagenum
3 [४३. वर्णस्वर:] section_header
via surya_layout
4 निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१। main
via surya_layout
5 संयुतैस्तैर्नकै: annotation_inline
parent ligne 4
via heuristic_short
6 स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥ main
via surya_layout
7 तेन्त्र॰ annotation_inline
parent ligne 6
via heuristic_markers
8 गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥ main
via surya_layout
9 वर्णासरक: annotation_inline
parent ligne 8
via heuristic_height
10 [४४. मुक्तावली] section_header
via surya_layout
11 देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते । main
via surya_layout
12 नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥ main
via surya_layout
13 [४५. प्रतापवर्धन:] section_header
via surya_layout
14 उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: । main
via surya_layout
15 ॰कै: पार्द: स्वरैध + annotation_inline
parent ligne 14
via heuristic_markers
16 तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥ main
via surya_layout
17 तेन्तकै॰ annotation_inline
parent ligne 16
via heuristic_markers
18 प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥ main
via surya_layout
19 (तो?नो) annotation_inline
parent ligne 18
via heuristic_short
20 अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥ main
via surya_layout
21 [गीतदोषाः] section_header
via surya_layout
22 लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्। main
via surya_layout
23 ॰शास्त्र +++ पञ्च annotation_inline
parent ligne 22
via heuristic_markers
24 छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥ editorial_bracket
parent ligne 22
via heuristic_brackets
25 + गोदुष्टं main
via surya_layout
26 पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥ main
via surya_layout
27 काप्यमसन्दिग्धं annotation_inline
parent ligne 26
via heuristic_height
28 चाभ्यशि ॰ annotation_inline
parent ligne 26
via heuristic_markers

vol_II_p043 LEFT — 50 lignes

page vol_II_p043 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 68 page_number
via heuristic_pagenum
3 रों रों गां सम मा मा पा पा table
via surya_layout
4 (८) table
via surya_layout
5 (8) table
via surya_layout
6 मा पा मा परि गा गा गा गा table
via surya_layout
7 (१०) table
via surya_layout
8 धानी पामा धानी सासा table
via surya_layout
9 (११) table
via surya_layout
10 नी नी नी नी नी नी नी table
via surya_layout
11 (१२) table
via surya_layout
12 मा मा धा नी नी धा पा पा table
via surya_layout
13 (१३) table
via surya_layout
14 मा पा मा परि गा गा गा गा table
via surya_layout
15 (88) table
via surya_layout
16 नी नी पा धनि गा गा गा गा table
via surya_layout
17 सारी गासानी नी नी नी table
via surya_layout
18 (१५) table
via surya_layout
19 (१६) table
via surya_layout
20 नी नी धा पा पा पा पा पा table
via surya_layout
21 ॥ [इति] कार्मारवी ॥ table
via surya_layout
22 1411 page_number
via heuristic_pagenum
23 [७. गान्धारपञ्चमी] section_header
via surya_layout
24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
via surya_layout
25 (育) annotation_inline
parent ligne 24
via heuristic_short
26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
via surya_layout
27 १८००भूरिभि: annotation_inline
parent ligne 26
via heuristic_short
28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
via surya_layout
29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
via surya_layout
30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
via fallback
31 (१) table
via surya_layout
32 मा मा पम धनि धप मा धा नी table
via surya_layout
33 (२) table
via surya_layout
34 सनि धा पा पा पा पा पा पा table
via surya_layout
35 (3) table
via surya_layout
36 धा नी सा सा मा मा पा पा table
via surya_layout
37 नी नी नी नी नी नी नी table
via surya_layout
38 (8) table
via surya_layout
39 (4) table
via surya_layout
40 नी नी धप मा निध निध पा पा table
via surya_layout
41 <b>(६)</b> table
via surya_layout
42 पा पा री री री री पा पा table
via surya_layout
43 (७) table
via surya_layout
44 मा रिग सा सध नी नी नी नी table
via surya_layout
45 (८) table
via surya_layout
46 नी री सा रिस री री री री table
via surya_layout
47 नी गा सा निग सा नी नी नी table
via surya_layout
48 (९) table
via surya_layout
49 (१०) table
via surya_layout
50 नी मां नी मां पा पा गां गां table
via surya_layout

vol_II_p063 LEFT — 27 lignes

page vol_II_p063 LEFT
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
via surya_layout
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
via surya_layout
15 [१. टक्करागः] section_header
via surya_layout
16 <sup>६९</sup>षड्जांशन्याससंयुक्तष्टक्करागोऽल्पपञ्चम: । main
via surya_layout
17 कारणं चास्य निर्दिष्टे धैवतीषड्जमध्यमे ॥३२०॥ main
via surya_layout
18 कार(णा?णं चा)स्य annotation_inline
parent ligne 17
via heuristic_height
19 [अनु॰ १९२] section_header
via surya_layout
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
via surya_layout
23 शुद्ध annotation_inline
parent ligne 22
via heuristic_height
24 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
25 [२. सौवीर:] section_header
via surya_layout
26 अंशश्च षड्जो न्यासश्च कारणं षड्जमध्यमा । main
via surya_layout
27 सौवीरकस्य गान्धारो निषादश्चापि दुर्बल: ॥३२१॥ main
via surya_layout

vol_II_p041 RIGHT — 47 lignes

page vol_II_p041 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 65 page_number
via heuristic_pagenum
3 dhā nī sā sā rī rī rī rī table
via surya_layout
4 (3) table
via surya_layout
5 sā sā sā rī gā mā mā mā table
via surya_layout
6 (4) table
via surya_layout
7 mā dhā nī dhā mā dhā mā pā table
via surya_layout
8 . annotation_inline
parent ligne 24
via heuristic_height
9 <b>(5)</b> table
via surya_layout
10 gā rī sā dhani rī rī rī rī table
via surya_layout
11 (6) table
via surya_layout
12 gā rī sā sā pā dhā mā mā table
via surya_layout
13 (7) table
via surya_layout
14 gā gā gā mā pā nidhani nī nī table
via surya_layout
15 (8) table
via surya_layout
16 gã gã nĩ nĩ gã gã gã gã table
via surya_layout
17 (9) table
via surya_layout
18 gā gā nī nī nidha pā pā pā table
via surya_layout
19 (10) table
via surya_layout
20 mā pā mā pā pā pā mā mā table
via surya_layout
21 (11) table
via surya_layout
22 sā mā gā nidha nī nī gā gā table
via surya_layout
23 (12) table
via surya_layout
24 Thus ends <i>Kaišikī</i>. section_header
via surya_layout
25 [5. Madhyamodicyavā] section_header
via surya_layout
26 Madhyamodīcyavā is known to be always complete and having pañcama as main
via surya_layout
27 amsa. annotation_inline
parent ligne 26
via heuristic_short
28 (14) main
via surya_layout
29 The remaining lakṣaṇa should be known to be as in gāndhārodīcyavā. The main
via surya_layout
30 mūrchanā beginning with madhyama obtains. Caccatpuța is known as the main
via surya_layout
31 (prescribed) <i>tāla</i>. main
via surya_layout
32 (15) annotation_inline
parent ligne 31
via heuristic_short
33 The application is (prescribed) in the dhruvā of the fourth act. main
via surya_layout
34 Madhyama is the nyāsa in this jāti. Ṣadja and dhaivata are the apanyāsas. The main
via surya_layout
35 prastāra is thus – main
via surya_layout
36 pā dhani nī nī mā mā nī pā table
via surya_layout
37 (1) table
via surya_layout
38 rī rī rī gā sā riga gā gā . table
via surya_layout
39 (2) table
via surya_layout
40 nī nī nī nī nī nī nī nī table
via surya_layout
41 (3) table
via surya_layout
42 nī nī dhapa mā nidha nidha pā pā table
via surya_layout
43 <b>(4)</b> table
via surya_layout
44 pā pā rī rī rī rī rī rī table
via surya_layout
45 (5) table
via surya_layout
46 mā riga sā sadha nī nī nī nī table
via surya_layout
47 (6) table
via surya_layout

vol_II_p163 RIGHT — 40 lignes

page vol_II_p163 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARŚA</b> page_header
via surya_layout
2 309 page_number
via heuristic_pagenum
3 85. The gandhara and that too antara becomes the dhaivata of list_item
via surya_layout
4 madhyamagrāma. Perhaps this phenomenon is being indicated here. list_item
via surya_layout
5 86,87. Adbhuta and hasya on the one hand and karuna on the other list_item
via surya_layout
6 are incompatible. list_item
via surya_layout
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
via surya_layout
10 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. list_item
via surya_layout
11 93. The indication of murchana finds place in the description of jatis list_item
via surya_layout
12 for the first time. No rule is prescribed for assigning a particular mūrchanā to list_item
via surya_layout
13 a given jāti. Here it is said that the mūrchanā of jāti is known from the list_item
via surya_layout
14 'statements of authorities', which implies that there is no prescribed rule. list_item
via surya_layout
15 94. The import seems to be that the amsa that is predominant among list_item
via surya_layout
16 amsas (in the case of jātis with more than one amsa) determines the mūrchanā list_item
via surya_layout
17 of a <i>jāti</i>. list_item
via surya_layout
18 95. The four components of gita have been enumerated as svara, pada, list_item
via surya_layout
19 tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). list_item
via surya_layout
20 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the list_item
via surya_layout
21 compositions in Sanskrit or in prescribed non-lexical syllables are used. The list_item
via surya_layout
22 dhruvā performed within the drama is invariably in Prākṛta and provides a list_item
via surya_layout
23 figurative and poetic commentary on the happenings in the drama. NS list_item
via surya_layout
24 XXXII gives numerous illustrations of <i>dhruvā</i> texts. list_item
via surya_layout
25 97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka, list_item
via surya_layout
26 prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga. list_item
via surya_layout
27 98. Prastāvanā(lit.introduction) is twofold, one occurring in the end list_item
via surya_layout
28 of the Pūrvaranga and the other in the beginning of the play immediately after list_item
via surya_layout
29 nāndī i.e. one is composed by the sūtradhāra known as director and the other list_item
via surya_layout
30 by the poet called playwright to-day. list_item
via surya_layout
31 99. Mukha and pratimukha are the first two among the five sandhis or list_item
via surya_layout
32 junctures of drama. list_item
via surya_layout
33 100,101. Garbha is the third sandhi and avamarsa (another name for list_item
via surya_layout
34 vimarsa) is the fourth one. list_item
via surya_layout
35 Chapter IV section_header
via surya_layout
36 (The description of bhāṣās) section_header
via surya_layout
37 [ A. Bhāṣās according to Yāṣṭika ] section_header
via surya_layout
38 1. This whole portion on bhāṣās according to Yāṣṭika seems to form main
via surya_layout
39 part of an independent text. We have retained it in our reconstructed text main
via surya_layout
40 as it embodies very valuable material, but we have numbered its verses main
via surya_layout
192 lignes a valider — change uniquement les roles incorrects.