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 21350). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p161 RIGHT — 46 lignes

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1 ٠ page_number
via heuristic_pagenum
2 <b>VIMARŚA</b> page_header
via surya_layout
3 305 page_number
via heuristic_pagenum
4 central part of present Madhya Pradesh. The special preference for Mālavā main
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5 requires further investigation. annotation_inline
parent ligne 4
via heuristic_height
6 29. The word gamaka is used here in the sense of vocal embellishments list_item
via surya_layout
7 including shakes; it is not restricted to shake. list_item
via surya_layout
8 30. See note 22. list_item
via surya_layout
9 31. Each grāmarāga is said to be born of one or more jātis. list_item
via surya_layout
10 32. Pūrvaranga has been described in NS IV and V; it embodies list_item
via surya_layout
11 instrumental rendering, song, dance, dialogue etc. presented as a preliminary list_item
via surya_layout
12 to drama. It has both ritualistic and psychological value as it ensures the list_item
via surya_layout
13 success of drama by propitiating the gods and prepares the audience for list_item
via surya_layout
14 being receptive to drama. list_item
via surya_layout
15 33. Kākalī and antara are always prescribed to be sparse, but here only list_item
via surya_layout
16 the sparseness of gandhara is prescribed, although both antara and kakali are list_item
via surya_layout
17 present. It could be construed that gandhara stands for the original list_item
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18 gāndhāra and not antara. See note 91. list_item
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19 • annotation_inline
parent ligne 18
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20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
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21 not easy to comprehend. It could only be surmised that the peculiar form list_item
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22 of a raga in some cases becomes manifest in ascent, in other cases in descent list_item
via surya_layout
23 and similarly a specific alankāra could be assigned to a rāga on account of list_item
via surya_layout
24 having a special role in establishing the same. list_item
via surya_layout
25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
via surya_layout
26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
via surya_layout
27 being its double and dakṣiṇa again being its double. Our text describes two list_item
via surya_layout
28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
via surya_layout
29 being half of dhruva. (See Vol.I. Anu.113) list_item
via surya_layout
30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
via surya_layout
31 that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in list_item
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32 tāla, sounded or unsounded and thirdly, the unsounded action. Here the list_item
via surya_layout
33 first meaning is relevant because the length of kalā depends on the mārga in list_item
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34 use at a given time. list_item
via surya_layout
35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
via surya_layout
36 This is the only caturasra (lit. square) tala, being composed of four kalas or list_item
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37 eight mātrās. list_item
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38 39. Garbha-sandhi is the third among the five sandhis or junctures in list_item
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39 drama described in NŚ XIX; the first two being mukha and pratimukha and list_item
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40 the last two being vimarsa and nirvahana. Garbha literally means 'womb', list_item
via surya_layout
41 the inside or interior of something. In drama garbha-sandhi stands for that list_item
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42 juncture where the 'sprouting' of the 'seed' has taken place, but the fruit list_item
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43 is still enshrouded in the 'garbha'. list_item
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44 40. Our text does not uphold the relationship of any raga to both the list_item
via surya_layout
45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
via surya_layout
46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
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vol_II_p163 RIGHT — 40 lignes

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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
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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
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
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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
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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
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
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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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vol_II_p090 LEFT — 28 lignes

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1 (vide) annotation_inline
parent ligne 4
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2 BŖHADDEŚĪ page_header
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3 162 page_number
via heuristic_pagenum
4 <sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता । main
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5 षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥ main
via surya_layout
6 सम्पूर्णा च मता नित्यं ज्ञेया वै देशसम्भवा । main
via surya_layout
7 सङ्क्षीर्णा annotation_inline
parent ligne 6
via heuristic_height
8 एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥ unknown
via fallback
9 उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम- editorial_bracket
parent ligne 6
via heuristic_brackets
10 धमधपापापा धामपापमसासासानिधसा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा- main
via surya_layout
11 सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३] editorial_bracket
parent ligne 10
via heuristic_brackets
12 पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज्ज्वला । main
via surya_layout
13 सिन्धुदेशसमुद्भूतां विभाषां सैन्धवीं विदु: ॥ main
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14 सैन्धवीषड्जसम्भूतां annotation_inline
parent ligne 13
via heuristic_height
15 षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहु:८९॥ ९४॥ main
via surya_layout
16 उदाहरणम् -पापाधसारिगागागरिमारि। ससानिधाधासनिधाधामसरिगागागरि साधाधमापाधापाधसारिगा - main
via surya_layout
17 रिपपारिगागारिरीसाधासाधापा मापापाधापाधापा मामामापा धाधासारीरिसाधापा मापापा । सैन्धवी ।[४] editorial_bracket
parent ligne 16
via heuristic_brackets
18 गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा<sup>८२</sup>। main
via surya_layout
19 षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥ main
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20 ८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥ main
via surya_layout
21 उदाहरणम् - गरीमामामधानिधापापा धाधानीधामामामाधा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप- main
via surya_layout
22 रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा- main
via surya_layout
23 नीसनीसनीधामपापा । गूर्जरी । [५] editorial_bracket
parent ligne 22
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24 ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । main
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25 ८५सम्पूर्ण[कथिता]होषा जाता गान्धारप[ञ्च]मे ॥ editorial_bracket
parent ligne 24
via heuristic_brackets
26 ८६विभाषेयं सदा ज्ञेया देशाख्या पश्चमोद्भवा ॥ ९६। main
via surya_layout
27 उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धापापापपा निरिरिगरिगरिमगरिरिरि।ध - main
via surya_layout
28 निधधनिधाधनिधापा पानिरिरिगारिगाधामागारिरिसा निरिगामागारीनिधापापा।दाक्षिणात्या।[६] editorial_bracket
parent ligne 27
via heuristic_brackets

vol_I_p032 RIGHT — 46 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 47 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 The third (letter) of the eighth (group viz. 's') combined with the Hari-bija main
via surya_layout
4 <math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out main
via surya_layout
5 with all effort. annotation_inline
parent ligne 4
via heuristic_short
6 (63) main
via surya_layout
7 The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja main
via surya_layout
8 (viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna main
via surya_layout
9 (64) annotation_inline
parent ligne 8
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10 (brahmagranthi). main
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11 The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja, main
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12 (viz. 'a'), one should always draw out (this) svara which is attractive among the main
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13 (65) annotation_inline
parent ligne 12
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14 various svaras. main
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15 The last (letter) of the sixth group, (viz. 'm') combined with the initial one main
via surya_layout
16 (viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras. main
via surya_layout
17 (66) annotation_inline
parent ligne 16
via heuristic_short
18 The first one of the same (sixth group, viz. 'p') combined with the first one main
via surya_layout
19 (viz. 'a'), know that as the beautiful svara, associated with the number (five) of main
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20 (67) annotation_inline
parent ligne 19
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21 vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup> main
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22 The fourth (letter) of the fifth group (viz. 'dh') combined with the initial main
via surya_layout
23 one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68) main
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24 The last (letter) of the fifth group (viz. 'n') differentiated by the end that is main
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25 other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture) main
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26 is combined with 'high' sound. main
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27 (69) annotation_inline
parent ligne 26
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28 Thus, this much has been shown as the svaroddhāra (analysis of svara-names) main
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29 (70 ab) annotation_inline
parent ligne 28
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30 contained in agama.79 main
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31 [ Assignment of community, colour and the like to svaras ] section_header
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32 Now I shall speak of the assignment of community, colour and the like (to main
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33 <math>(70 \text{ cd})</math> main
via surya_layout
34 svaras). main
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35 (i) Kula-Vamśa. section_header
via surya_layout
36 Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods, main
via surya_layout
37 this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa). main
via surya_layout
38 (71) unknown
via fallback
39 The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda main
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40 (72) annotation_inline
parent ligne 39
via heuristic_short
41 born in the community of demons, is called 'ni'. main
via surya_layout
42 (ii) Colours. section_header
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43 Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot, main
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44 gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi- main
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45 (73) annotation_inline
parent ligne 44
via heuristic_short
46 florum). main
via surya_layout

vol_I_p010 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (朝:) page_header
via surya_layout
2 श्रीमतङ्गमुनिप्रणीता section_header
via surya_layout
3 बृहद्देशी section_header
via surya_layout
4 प्रथमोऽध्यायः table
via surya_layout
5 [देशी-प्रकरणम्] table
via surya_layout
6 .............. table
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7 --------------------------------------- table
via surya_layout
8 - 11 table
via surya_layout
9 [ तत्र ध्वनेर्देशीत्वम् ] table
via surya_layout
10 [ मतङ्ग उवाच ] table
via surya_layout
11 नानाविधेषु देशेषु जन्तूनां सुखदो भवेत् table
via surya_layout
12 - 1 table
via surya_layout
13 ततः प्रभृति लोकानां नरेन्द्राणां यदृच्छया ॥१॥ table
via surya_layout
14 देशे देशे प्रवृत्तोऽसौ ध्वनिर्देशीति संज्ञितः । table
via surya_layout
15 [ ग्रन्थकृत्वचनम् ] table
via surya_layout
16 मतङ्गस्य वचः श्रुत्वा नारदो मुनिरब्रवीत् ॥२॥ table
via surya_layout
17 [ नारद उवाच ] table
via surya_layout
18 ननु ध्वनेस्तु देशीत्वं कथं जातं महामुने । table
via surya_layout
19 अमूर्तत्वाच्च तस्येति सत्यं मे वक्तुमर्हसि ॥३॥ table
via surya_layout
20 2 तेषां हि इति table
via surya_layout
21 मतङ्ग उवाच table
via surya_layout
22 यथादेशानुभूतत्वाद् ध्वनेः स्थानानुगत्वतः ॥४॥ table
via surya_layout
23 <sup>3</sup> ₀नुभूतदेशाञ्च table
via surya_layout
24 ³<sub>०</sub>गादपि table
via surya_layout
25 --------------------------------------- table
via surya_layout
26 11 page_number
via heuristic_pagenum
27 ------- table
via surya_layout
28 ततो बिन्दुस्ततो नादस्ततो मात्रास्त्वनुक्रमात् ॥५॥ table
via surya_layout
29 वर्णास्तु मातृकोद्भूता मातृका द्विविधा मताः । table
via surya_layout
30 स्वर-व्यञ्जनरूपेण जगज्ज्योतिरिहोच्यते ॥६॥ table
via surya_layout
31 इ्वर्यते देशभाषायां कादिक्षान्तं यथाविधि । table
via surya_layout
32 ५ यामादि, table
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33 तेन स्वराः समाख्याता अन्ये षड्जादयः स्वराः ॥७॥ table
via surya_layout
193 lignes a valider — change uniquement les roles incorrects.