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 21495). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p022 LEFT — 36 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 26 page_number
via heuristic_pagenum
3 गान्धार्या द्वावनंशौ च हेयावृषभधैवतौ । main
via surya_layout
4 <sup>६८</sup>षु (गेआ?हेपा) main
via surya_layout
5 क्रमात्रित्यं त्वपन्यासौ विज्ञेयौ षड्जपञ्चमौ ॥२२२॥ main
via surya_layout
6 ६९ल्यमफ annotation_inline
parent ligne 5
via heuristic_short
7 धैवतादृषभं गच्छेदेवं भ स्यात् सर्वमेव तत् । main
via surya_layout
8 तुष्ध unknown
via fallback
9 (व?वं) main
via surya_layout
10 प्रायशो रक्तगान्धार्यामपन्यासस्तु मध्यम: ॥२२३॥ main
via surya_layout
11 ७२०यां अ annotation_inline
parent ligne 10
via heuristic_short
12 (मा/प:) main
via surya_layout
13 बहुप्रयोग: कर्तव्यो धैवतोऽथ निषादवान् । main
via surya_layout
14 षड्जगान्धारसञ्चार: कार्यश्चास्यां प्रयोक्तभि: ॥२२४॥ main
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15 (जं?ज) annotation_inline
parent ligne 14
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16 (₹?₹:) main
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17 श्स्याः annotation_inline
parent ligne 16
via heuristic_height
18 गान्धारोदीच्यवा प्राय: षड्जोदीच्यवतीसमा । main
via surya_layout
19 (य?य:) annotation_inline
parent ligne 18
via heuristic_short
20 षड्जश्च मध्यमश्चांशौ न चौडुवितमिष्यते ॥२२५॥ main
via surya_layout
21 0130 page_number
via heuristic_pagenum
22 पञ्चांशा मध्यमायास्तु ज्ञेया द्विश्रुतिवर्जिता:। main
via surya_layout
23 क्रमात् ताभ्यां च हीनत्वं बहुलौ षड्जमध्यमौ ॥२२६॥ main
via surya_layout
24 (मी) annotation_inline
parent ligne 23
via heuristic_short
25 गान्धारोदीच्यवावतु मध्यमोदीच्यवा भवेत्। main
via surya_layout
26 (तुल्या मध्यमोदीच्यवा) main
via surya_layout
27 साप्तस्वर्यं तु नित्यं स्यादस्यामंशस्तु पञ्चम: ॥२२७॥ main
via surya_layout
28 पञ्चम्यां गुरुभि: प्रोक्तावंशावृषभपञ्चमौ । main
via surya_layout
29 •धेवती<sup>७३</sup> annotation_inline
parent ligne 28
via heuristic_short
30 <sup>७४</sup>सनिषादावपन्यासौ मध्यमर्षभसंगति: ॥२२८॥ main
via surya_layout
31 समध्यमाः annotation_inline
parent ligne 30
via heuristic_height
32 षड्जमध्यमगान्धारा अल्पाश्च परिकोर्तिता: । main
via surya_layout
33 <b>ल्लु<sup>७५</sup>,</b> main
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34 स्यात्रिषादाच्च गान्धारो मध्यमावच्च हीनता ॥२२९॥ main
via surya_layout
35 अल्पस्य परिकोर्तिता annotation_inline
parent ligne 34
via heuristic_short
36 स्यात्रिपादाच्य + + + मध्यमा चच्च होनता(?) । main
via surya_layout

vol_II_p056 RIGHT — 39 lignes

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1 95 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 prescribed; ṣāḍava is in pūrvaranga, but in the citra (pūrvaranga?)comprised of main
via surya_layout
4 eighteen aigas (components), kaišikamadhyama (is performed) in the end. main
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5 This is the application of śuddha rāgas prescribed by Brahmā." main
via surya_layout
6 [NS as quoted in Kalā on SR II.2.30-32] editorial_bracket
parent ligne 5
via heuristic_brackets
7 [B. Bhinna rāgas] section_header
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8 Now he (the author) has spoken of the description of bhinna rāgas. main
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9 Bhinna (modified) 45 on account of śruti, bhinna on account of jāti, bhinna main
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10 on account of śuddha (rāga) similarly having (bhinna) svara, it (this category main
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11 of rāgas) is called bhinnaka because it is modified in respect of (the above) main
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12 four. annotation_inline
parent ligne 11
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13 (304) annotation_inline
parent ligne 11
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14 [Anu. 172] editorial_bracket
parent ligne 11
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15 (Contention) Whatisstated by the word 'bhinna?' Does the word bhinnamean main
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16 that which is split or does it mean 'this is distinct from that'? This should not be main
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17 said. 'Bhinna' here is said to be vikṛta (modified). The state of being vikṛta is main
via surya_layout
18 according to the prescription given before in terms of śruti-bhinna and the like. main
via surya_layout
19 [Svarabhinna] section_header
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20 [Anu. 173] editorial_bracket
parent ligne 19
via heuristic_brackets
21 Now for the sake of elucidating the aforesaid description of bhinna (rāgas), main
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22 the definition of svarabhinna (out of the four) is being spoken of in the main
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23 beginning - annotation_inline
parent ligne 22
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24 When the <math>v\bar{a}din^{46}</math> is upheld (as the initial note) and the <math>sainv\bar{a}din</math> or <math>anu main
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25 or vivādin is released (as the finale), that is called svara-bhinna. main
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26 (305) annotation_inline
parent ligne 25
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27 [Anu. 174] editorial_bracket
parent ligne 25
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28 This means – the madhyama that is the graha and amsa of suddha-sādava main
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29 (rāga) that belongs to madhyamagrāma, is replaced with dhaivata that is taken main
via surya_layout
30 up as being vivādin or anuvādin. When the samvādin of the svara madhyama main
via surya_layout
31 is treated as a point of release (tyāga) or placement (nyāsa), then it is called main
via surya_layout
32 svara-bhinna. In bhinna-ṣaḍja, dhaivata is vādin on account of 'speaking out' main
via surya_layout
33 (vadana) and it is again of abundant usage. main
via surya_layout
34 (Contention) Out of the five (bhinna) rāgas, why is bhinna -ṣaḍja being main
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35 described in the beginning itself? Truly has it been said, on account of its main
via surya_layout
36 prominence. Its prominence is thus-just as in the (rāgas of) śuddhagīti, there is main
via surya_layout
37 the prominence of śuddha ṣāḍava, similar is the case of bhinna ṣaḍjain the (rāgas main
via surya_layout
38 of) bhinna gīti, on account of this (bhinna-ṣadja) being a variety of that (śuddha main
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39 sādava).<sup>47</sup> main
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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
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
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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
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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
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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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
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vol_I_p070 RIGHT — 34 lignes

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1 1 page_number
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2 123 page_number
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3 <b>TRANSLATION</b> page_header
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4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
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5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
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6 performer), and vartini is moved downwards, visarjitā is moved outwards main
via surya_layout
7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
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8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
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10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
via surya_layout
11 two viz. kṛṣṇā and padmini27 are also (used). main
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12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
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13 (181) annotation_inline
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14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
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16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
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17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
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18 having the predominance of both is vitti vitti, (and) having the predominance main
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19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
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22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
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25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
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26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
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27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
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28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
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29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
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30 (Anu. 110) annotation_inline
parent ligne 29
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31 The vādya (presentation on instruments) should be done with sama, atīta main
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32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
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33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
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34 110 page_number
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180 lignes a valider — change uniquement les roles incorrects.