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 21318). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p040 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 62 page_number
via heuristic_pagenum
3 मा मा मा मा मा मा मा मा table
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4 (8) table
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5 धां नी पां मंपं धां नी पां पां table
via surya_layout
6 (4) table
via surya_layout
7 मां पां मां धंनिं पां पां पां पां table
via surya_layout
8 (ξ) table
via surya_layout
9 री गा मा पा पा पा मा पा table
via surya_layout
10 (৩) table
via surya_layout
11 री गा मा पा पा पा मा पा table
via surya_layout
12 (८) table
via surya_layout
13 पा पा पा पा पा पा पा table
via surya_layout
14 (९) table
via surya_layout
15 री गासासारी गागागा table
via surya_layout
16 (१०) table
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17 मा गा पा धंम धा निध पा पा table
via surya_layout
18 (११) table
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19 मों पी मी पेरिने भी भी भी गी table
via surya_layout
20 (१२) table
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21 ॥ [इति] रक्तगान्धारी॥ table
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22 1 411 annotation_inline
parent ligne 23
via heuristic_height
23 [४. कैशिकी] section_header
via surya_layout
24 कैशिक्यामृषभान्येंऽशा, निधावंशौ यदा तदा । main
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25 ॰न्यां(न्येंऽ) annotation_inline
parent ligne 24
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26 (प?य) main
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27 न्यासः पञ्चम एव स्यादन्यदा द्विश्रुती मतौ ॥ main
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28 (वि ? द्वि) annotation_inline
parent ligne 27
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29 अन्ये तु निगपन्यासान्निधयोरंशयोर्विदु: ॥ ११॥ main
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30 ॰न्यासा(न्) निधयो ॰ annotation_inline
parent ligne 29
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31 रिलोपरिधलोपेन षाडवौडुवितं मतम्। main
via surya_layout
32 रिरल्पो निपबाहुल्यमंशानां सङ्गतिर्मिथ: ॥ १२॥ main
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33 षाडवौडुविते द्विष्ट: क्रमात् पञ्चमधैवतौ । main
via surya_layout
34 (दृ ? हि) annotation_inline
parent ligne 33
via heuristic_short
35 षाङ्जीवत् पञ्चपाण्यादि गान्धारादिस्तु मूर्छना ॥ main
via surya_layout
36 पञ्चमप्रेक्षणगतं ध्रुवायां विनियोजनम् ॥ १३॥ main
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37 (प्रो?प्रे) annotation_inline
parent ligne 36
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38 <sup>१७४</sup>अस्यां गान्धारपञ्चमनिषादा न्यासा:। रिवर्ज्या: षट् सप्त वा स्वरा अपन्यासा:। <sup>१७५</sup>प्रस्तार:- main
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39 (गान्धा) annotation_inline
parent ligne 38
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40 पा धनि पा धनि गा गा गा गा main
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41 (१) unknown
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42 पा पा मा निध निध पा पा पा unknown
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43 (२) unknown
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44 (vide) annotation_inline
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45 . . . annotation_inline
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46 . . . . . . . . . . . . . . . . . . . . annotation_inline
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47 the control of the control of the control of the control of the control of the control of the control of the control of annotation_inline
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vol_I_p092 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 167 page_number
via heuristic_pagenum
3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
via surya_layout
4 The word antara in the compound 'antara-mūrchanā' covers both antara main
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5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
via surya_layout
6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
via surya_layout
7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
via surya_layout
8 not be directly covered. The mandala (cycle) beginning with reabha in main
via surya_layout
9 sadjagrāma will cover both the grāmas in the following manner- main
via surya_layout
10 Madhyama-grama annotation_inline
parent ligne 9
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11 pa annotation_inline
parent ligne 9
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12 ma annotation_inline
parent ligne 9
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13 Sadja-grama annotation_inline
parent ligne 9
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14 ga annotation_inline
parent ligne 9
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15 п annotation_inline
parent ligne 9
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16 sa annotation_inline
parent ligne 9
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17 an ga dha unknown
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18 an ga kā ni unknown
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19 ma ni annotation_inline
parent ligne 9
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20 ga ni unknown
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21 kā ni unknown
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22 dha annotation_inline
parent ligne 9
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23 pa annotation_inline
parent ligne 9
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24 пі annotation_inline
parent ligne 9
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25 sa annotation_inline
parent ligne 9
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26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
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27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
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28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
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29 şadja and madhyama) agre-sara; this term could be explained in two ways main
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30 according to the association of agre with time and space. In the context of time main
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31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
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32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
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33 than şadja and madhyama, because primarily şadja and madhyama have to be main
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34 established or accepted on an arbitrary sound and then the interval of rsabha- main
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35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
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36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
via surya_layout
37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
via surya_layout
38 in front or preceding; here preceding will have to be construed in terms of main
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39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
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40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
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41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
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42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
via surya_layout

vol_I_p024 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDEŚ</b>I page_header
via surya_layout
2 30 page_number
via heuristic_pagenum
3 तथा चाह कोहलः — main
via surya_layout
4 <b>"जातिभाषादिसंयोगादनन्तः कीर्तितः स्वरः।</b> main
via surya_layout
5 <b>॰पदैर्युक्तस्त्वलमिति कृतौ योज्यो रसेष्वपि</b>"।। इति। annotation_inline
parent ligne 4
via heuristic_markers
6 。स्ता。 annotation_inline
parent ligne 4
via heuristic_height
7 ना annotation_inline
parent ligne 4
via heuristic_height
8 नित्योऽविनाशी। व्यापकः सर्वगतः। main
via surya_layout
9 तथा चाह कोहलः — annotation_inline
parent ligne 8
via heuristic_short
10 "ऊर्ध्वनाडीप्रयत्नेन सर्वीभत्तिनिघट्टनात्। main
via surya_layout
11 मुर्छितो ध्वनिरामुर्ध्नः स्वरोऽसौ व्यापकः परः"।। main
via surya_layout
12 [ अनु. १७ ] editorial_bracket
parent ligne 11
via heuristic_brackets
13 ननु षड्जादीनां कथं स्वरत्वम् ? व्यञ्जनत्वात्। यदि व्यञ्जनानां main
via surya_layout
14 स्वरत्वमभिधीयते, तदानीं कादीनामेवास्तु स्वरत्वम्। main
via surya_layout
15 अत्रोच्यते — असाधारणत्वात् षड्जादीनामेव स्वरत्वं न कादीनामिति। main
via surya_layout
16 ननु षड्जादीनामसाधारणत्वं कथम् ? आप्तोपदेशात् षड्जादीनामसाधारणत्वम्। main
via surya_layout
17 तथा चाह कोहले महेश्वरः- main
via surya_layout
18 ｡लः annotation_inline
parent ligne 17
via heuristic_height
19 "षड्जं वदति मयूर ऋषभं चातको वदेत्। main
via surya_layout
20 अजा वदित गान्धारं क्रौञ्चो वदित मध्यमम्।। main
via surya_layout
21 ्नित annotation_inline
parent ligne 20
via heuristic_height
22 पुष्पसाधारणे काले कोकिलः पञ्चमं वदेत्। main
via surya_layout
23 प्रावृद्काले तु सम्प्राप्ते धैवतं दर्दुरो वदेत्।। main
via surya_layout
24 सर्वदा च तथा देवि। निषादं वदते गजः॥" main
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25 यद्वा ऊर्ध्वध्वनिगामित्वेन षड्जादीनामेवासाधारणत्वमिति, अथवा main
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26 ₄व annotation_inline
parent ligne 25
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27 षड्जादयः स्वरा न भवन्ति, आकारादय एव स्वराः। षड्जादयस्तु main
via surya_layout
28 तेषामाकारादीनामुच्चारणार्थमिति। main
via surya_layout

vol_I_p013 LEFT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 8 page_number
via heuristic_pagenum
2 BRHADDESI page_header
via surya_layout
3 नकारः प्राण इत्याहुर्दकारश्चानलो भतः । main
via surya_layout
4 %र annotation_inline
parent ligne 3
via heuristic_short
5 नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥ main
via surya_layout
6 10हि annotation_inline
parent ligne 5
via heuristic_short
7 ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् । main
via surya_layout
8 <sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥ main
via surya_layout
9 सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः main
via surya_layout
10 कण्ठमध्ये स्थितो । ३२॥ main
via surya_layout
11 ॰क्तः अ॰ annotation_inline
parent ligne 10
via heuristic_markers
12 1471: annotation_inline
parent ligne 10
via heuristic_height
13 कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः। main
via surya_layout
14 इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥ main
via surya_layout
15 ।। इति नादोत्पत्तिः annotation_inline
parent ligne 14
via heuristic_short
16 П main
via surya_layout
17 III [ श्रुति-प्रकरणम् ] section_header
via surya_layout
18 [ तत्र श्रुतिलक्षणम्, तत्संख्या च ] section_header
via surya_layout
19 --------------------------------------- unknown
via fallback
20 इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् । main
via surya_layout
21 श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥ editorial_bracket
parent ligne 20
via heuristic_brackets
22 <sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥ main
via surya_layout
23 श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥ main
via surya_layout
24 नेर्मावः annotation_inline
parent ligne 23
via heuristic_short
25 [ अनु. १ ] editorial_bracket
parent ligne 23
via heuristic_brackets
26 श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा । main
via surya_layout
27 न्त annotation_inline
parent ligne 26
via heuristic_height
28 •तयः annotation_inline
parent ligne 26
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29 तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात् main
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30 <b>‘देहाकाश</b> annotation_inline
parent ligne 29
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31 पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत् main
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32 नामेरूध्वकार unknown
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33 र्घ annotation_inline
parent ligne 31
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34 ₹ annotation_inline
parent ligne 31
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35 सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया unknown
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36 🛥 "पदावस्थान - annotation_inline
parent ligne 31
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37 - भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?) unknown
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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
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
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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
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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
via surya_layout
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
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
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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
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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
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
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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
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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
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194 lignes a valider — change uniquement les roles incorrects.