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 21567). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p068 LEFT — 31 lignes

page vol_II_p068 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 118 page_number
via heuristic_pagenum
2 BRHADDESÎ page_header
via surya_layout
3 [अनु॰ २०२] editorial_bracket
parent ligne 4
via heuristic_brackets
4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
via surya_layout
5 न(क?) र्क annotation_inline
parent ligne 4
via heuristic_height
6 न्दौ annotation_inline
parent ligne 4
via heuristic_height
7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
via surya_layout
8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
via surya_layout
9 [१.नर्तरागः] section_header
via surya_layout
10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
via surya_layout
11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
via surya_layout
14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
via surya_layout
15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
parent ligne 15
via heuristic_height
17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
via surya_layout
22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
parent ligne 21
via heuristic_markers
23 [२. शक:] section_header
via surya_layout
24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
via surya_layout
25 (जि? ह्जी) annotation_inline
parent ligne 24
via heuristic_short
26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
via surya_layout
27 काकल्य:(?) annotation_inline
parent ligne 26
via heuristic_height
28 [अनुष् २०५] section_header
via surya_layout
29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
via surya_layout
30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
via surya_layout
31 (पश्चमस्याल्पत्वम्) annotation_inline
parent ligne 30
via heuristic_height

vol_I_p104 RIGHT — 66 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARSA page_header
via surya_layout
2 191 page_number
via heuristic_pagenum
3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
via surya_layout
4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
via surya_layout
5 predominance of gita and vādya has been viewed here alongwith temporal main
via surya_layout
6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
via surya_layout
7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
via surya_layout
8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
via surya_layout
9 following correspondences have been indicated in the above passages in NS and main
via surya_layout
10 S R; BrD is in agreement with them here. main
via surya_layout
11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
via surya_layout
16 Mārga table
via surya_layout
17 Yati table
via surya_layout
18 Pāņi or table
via surya_layout
19 Avayava table
via surya_layout
20 Laya table
via surya_layout
21 Graha table
via surya_layout
22 Citrā table
via surya_layout
23 Māgadhi table
via surya_layout
24 Citrā table
via surya_layout
25 Druta table
via surya_layout
26 Samā table
via surya_layout
27 Uparipāņi table
via surya_layout
28 Ogha table
via surya_layout
29 Sambhāvitā Vārtika table
via surya_layout
30 Vytti table
via surya_layout
31 Madhya table
via surya_layout
32 Srotogatā Sama table
via surya_layout
33 Anugata table
via surya_layout
34 Daksiņā Pythulā table
via surya_layout
35 Vilambita table
via surya_layout
36 Daksina table
via surya_layout
37 Gopucchā Avapāņi table
via surya_layout
38 Tattva table
via surya_layout
39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
via surya_layout
40 this word seems to have been used in the general sense of the variable factors list_item
via surya_layout
41 that operate tāla, like mārga, yati, laya etc. list_item
via surya_layout
42 33. Laya lit. means merging; the rest or pause immediately following an list_item
via surya_layout
43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
via surya_layout
44 intervening time between one kriyā (action) and another. Druta (fast), list_item
via surya_layout
45 madhya (medium) and vilambita (slow) are the three layas that are list_item
via surya_layout
46 progressively double, each succeeding laya being double of the preceding one list_item
via surya_layout
47 i.e. the rest or pause is double and hence the tempo is slower. list_item
via surya_layout
48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
via surya_layout
49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
via surya_layout
50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
via surya_layout
51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
via surya_layout
52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
via surya_layout
55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
via surya_layout
56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
via surya_layout
57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
via surya_layout
58 each unit of 'song' or melody that is ogha. list_item
via surya_layout
59 40. See note 34 above. list_item
via surya_layout
60 41. See note 33 above. list_item
via surya_layout
61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
via surya_layout
62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
via surya_layout
63 follows the song or melody, which means that it is not perfectly identical with list_item
via surya_layout
64 the latter. list_item
via surya_layout
65 44. See note 34 above. list_item
via surya_layout
66 45. See note 33 above. list_item
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_I_p011 RIGHT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 5 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 The state of being consonant (vyanjanatva) is common to all the (seven) main
via surya_layout
4 groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the main
via surya_layout
5 state of Siva simply on account of (its) manifestation through Sakti (svara). (8) main
via surya_layout
6 Varņas (letters and syllables) are known as such because they delineate the main
via surya_layout
7 whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18 main
via surya_layout
8 (sentence) and through the conveying of the meaning of sentence. (9) main
via surya_layout
9 This pada 19 is always known by the wise to be preceded by syllable (varna) main
via surya_layout
10 i.e. the former presupposes the latter. The sentence, on the other hand, is a main
via surya_layout
11 combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing main
via surya_layout
12 about the action denoted by a verb) (and) is made up of words. (10) main
via surya_layout
13 From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great main
via surya_layout
14 sentence) and in succession (arise) the Vedas with their angas 23 (anciliary main
via surya_layout
15 disciplines); all those are manifested from dhvani. From there (Vedas) is the main
via surya_layout
16 origin of Gandharva<sup>24</sup> (music). (11) main
via surya_layout
17 Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of main
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18 everything. The whole world of immobile and mobile (beings) is encompassed main
via surya_layout
19 by dhvani. (12) annotation_inline
parent ligne 18
via heuristic_height
20 Dhvani is said to be twofold according to (its) division into manifest and main
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21 unmanifest (states). Being manifest on account of the obtaining of varnas 26 it main
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22 (dhvani) has reached the countenance (beginning) of desi. (13) main
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23 Thus ends the origin of desi. main
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24 [The definition of dest and marga ] section_header
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25 That which is sung by women, children, cowherds and kings<sup>27</sup> out of their main
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26 own will with love (and pleasure) in their own (respective) regions is called desi main
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27 (music). (14) annotation_inline
parent ligne 26
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28 This mārga 28 (course) (of deśi) is known to be twofold viz. that which is main
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29 nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound, main
via surya_layout
30 relatively less structured). That which is structured through ālāpa (melodic main
via surya_layout
31 elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is main
via surya_layout
32 called desi. (15, 16ab). annotation_inline
parent ligne 31
via heuristic_height

vol_II_p097 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 4
via heuristic_height
2 176 page_number
via heuristic_pagenum
3 BRHADDEŚĪ page_header
via surya_layout
4 उदाहरणम् - धाधानिधासासानिधा धानिधाधाधापामागारिरिरिगामपापाधा main
via surya_layout
5 पगारिरिधमाधापा- annotation_inline
parent ligne 4
via heuristic_short
6 पाधा पामरिगामानी annotation_inline
parent ligne 4
via heuristic_height
7 धापाधाधा धामपाधापानिरिगरिसारिधा रिधारिधारिपाधाधाधाधानि। सासा- main
via surya_layout
8 প্ৰাণ annotation_inline
parent ligne 7
via heuristic_height
9 रिगागामसामपमाधाधा धापाधासानिधैवतधाधा । धैवतभूषिता । [३] editorial_bracket
parent ligne 7
via heuristic_brackets
10 विशाला पञ्चमांशा तु धैवतान्ता मनोहरा। main
via surya_layout
11 सुसम्पूर्णस्वरा होषा ११८ सञ्चार: सधयोर्हि च ॥ main
via surya_layout
12 शो धैवतस्तत: annotation_inline
parent ligne 11
via heuristic_height
13 एषा भाषा तु विज्ञेया किन्नरैर्गीयते सदा ॥ १३०॥ main
via surya_layout
14 उदाहरणम् – पाधासासाधानी गासानिधाधा। पाधाधा। निसासानीधा पामागानिनिनिरिगामामा– main
via surya_layout
15 नीधानिसारिगारिसासानिधा रिगास निसानिधानि नीधापधधधपापामागारिरिधा- main
via surya_layout
16 गाममधा annotation_inline
parent ligne 15
via heuristic_height
17 रिरिममध्यमगमापापापा निधधधधपामाधा निसासासारिरिरिमममपमपापाधा नीसानीधापाधा- main
via surya_layout
18 धा पानिनिनिसासामधापाधानिधा । विशाला । [४] editorial_bracket
parent ligne 17
via heuristic_brackets
19 एता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषा:। main
via surya_layout
20 भित्रप(ञ्च)मभाषा(:) annotation_inline
parent ligne 19
via heuristic_height
21 [९ अथ बोट्टरागे ] section_header
via surya_layout
22 पोट्ट annotation_inline
parent ligne 21
via heuristic_height
23 पञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज्ज्वला । main
via surya_layout
24 <sup>११९</sup>धैवतनिषादसञ्चारो दृश्यते <sup>१२०</sup>बहुल: सदा ॥ १३१॥ main
via surya_layout
25 ॰निपाद: annotation_inline
parent ligne 24
via heuristic_markers
26 एषा बङ्गालभाषा तु बोट्टरागे प्रगीयते । main
via surya_layout
27 (तु) annotation_inline
parent ligne 26
via heuristic_height
28 सर्वेषां मङ्गलानां च नायकैर्गीयते सदा ॥ main
via surya_layout
29 मङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता ॥ १३२ ॥ unknown
via fallback
30 उदाहरणम् - पाधापाधामा धापामा गारिरिरिगमपा धासागासानिधापापामा । मङ्गला । [१] editorial_bracket
parent ligne 28
via heuristic_brackets
31 माङ्गाली annotation_inline
parent ligne 28
via heuristic_height
32 [१०. अथ मालवपञ्चमे] section_header
via surya_layout
33 ······<sup>१२१</sup>[ भाविनी ] table
via surya_layout
189 lignes a valider — change uniquement les roles incorrects.