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 21646). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p097 LEFT — 33 lignes

page vol_II_p097 LEFT
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

vol_II_p126 LEFT — 24 lignes

page vol_II_p126 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 234 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 [७. मोहिनी] section_header
via surya_layout
4 पञ्चपादसमायुक्ता मूर्छनागमकान्विता । main
via surya_layout
5 मोहिनी नाम सा ज्ञेया वर्णेला सप्तमी शुभा ॥ ४६६॥ main
via surya_layout
6 [॥ इति प्रकारान्तरेण वर्णेलासप्तकम् ४४॥] editorial_bracket
parent ligne 5
via heuristic_brackets
7 [ङ. देशैलाप्रकारा:] section_header
via surya_layout
8 लाटकर्णाटगौडान्ध्रद्रविडानां स्वभाषया । main
via surya_layout
9 पृथक् पृथग् भवन्त्येताः मार्गयुक्ता मनोहराः ॥ ४६७॥ main
via surya_layout
10 [१. लाटैला] section_header
via surya_layout
11 <sup>४५</sup>अन्त्यप्राससमायुक्ता मध्यादिप्रासवर्जिता । main
via surya_layout
12 अत: annotation_inline
parent ligne 11
via heuristic_height
13 रसैर्भावैश्च संयुक्ता लाटैला परिकीर्तिता ॥४६८॥ main
via surya_layout
14 [२. कणटैला] section_header
via surya_layout
15 प्रासैर्मनोहरैर्दिव्यैरादिमध्यान्तगोचरै:। main
via surya_layout
16 एला कर्णाटिका प्रोक्ता ललितध्वनिसंयुता ॥ ४६९॥ main
via surya_layout
17 [३. गौडेला] section_header
via surya_layout
18 सर्वत्र प्राससहिता गमकैश्च विवर्जिता । main
via surya_layout
19 नादबिन्द्रसोपेता एला सा गौडदेशजार्ध ॥४७०॥ main
via surya_layout
20 नदा० annotation_inline
parent ligne 19
via heuristic_height
21 [४. आन्ध्रैला] section_header
via surya_layout
22 अनेकगमकाकीर्णामनेकध्वनिमिश्रिताम् । main
via surya_layout
23 अनेकरागसङ्कीर्णामेलामान्ध्रीं विदुर्बुधाः ॥४७१॥ main
via surya_layout
24 (मन्द्रीं? मान्ध्रीं) annotation_inline
parent ligne 23
via heuristic_height

vol_I_p023 LEFT — 31 lignes

page vol_I_p023 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 28 page_number
via heuristic_pagenum
2 BRHADDESI page_header
via surya_layout
3 किमत्र कारणम् ? उच्यते - ग्रामद्वयेऽप्यन्तरमूर्छना-प्रतिपादनार्थम्, यद्वा main
via surya_layout
4 ग्रामद्वयेऽपि षड्जमध्यमस्वरौ ग्रामण्यौ भवतः। अन्यस्वरास्तदग्रेसरा main
via surya_layout
5 ₀मध्यपरौ annotation_inline
parent ligne 4
via heuristic_markers
6 इति॥ main
via surya_layout
7 इति तावन्भया प्रोक्ताः श्रुतयो ग्रामसंश्रिताः ॥५२॥ main
via surya_layout
8 ॥ इति श्रुतिप्रकरणम् ॥ editorial_bracket
parent ligne 7
via heuristic_brackets
9 IV [स्वर-प्रकरणम् ] section_header
via surya_layout
10 [ तत्र स्वरलक्षणम् ] section_header
via surya_layout
11 इदानी सम्प्रवक्ष्यामि स्वराणां च विनिश्चयम्। main
via surya_layout
12 तत्रादौ स्वरशब्दस्य व्युत्पत्तिरिह कथ्यते।।५३॥ main
via surya_layout
13 राजृ दीप्ताविति धातोः स्वशब्दपूर्वकस्य च। main
via surya_layout
14 •वस्प<sup>1</sup> annotation_inline
parent ligne 13
via heuristic_height
15 स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः॥५४॥ main
via surya_layout
16 <del>2हि</del> annotation_inline
parent ligne 15
via heuristic_short
17 ेतस्मात् स्वर इति main
via surya_layout
18 । अनु. १५ । section_header
via surya_layout
19 ननु स्वर इति किम् ? उच्यते - रागजनको ध्वनिः स्वर इति। main
via surya_layout
20 तथा चाह कोहलः - annotation_inline
parent ligne 19
via heuristic_short
21 "आत्मेच्छया महीतलाद् वायुरुद्यविधार्यते। main
via surya_layout
22 ∘च्या₊⁴ annotation_inline
parent ligne 21
via heuristic_height
23 हि unknown
via fallback
24 ⁵नाभि₃ annotation_inline
parent ligne 21
via heuristic_height
25 नाडीभित्तौ तथाऽऽकाशे ध्वनी॰ रक्तः स्वरः स्मृतः॥" annotation_inline
parent ligne 21
via heuristic_markers
26 नि annotation_inline
parent ligne 21
via heuristic_height
27 [ अनु. १६ ] section_header
via surya_layout
28 ननु स्वर एवं स्यादेकोऽनेको वा, व्यापकोऽव्यापको main
via surya_layout
29 वा, नित्योऽनित्यो वा स्यात् । अत्रोच्यते - एकोऽनेको main
via surya_layout
30 व्यापको नित्यश्चेति। तत्र निष्कलरूपेणैकः स्वरः main
via surya_layout
31 षइजादिरूपेणानेकः स्वरः। main
via surya_layout

vol_I_p065 LEFT — 40 lignes

page vol_I_p065 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 <b>BRHADDESI</b> page_header
via surya_layout
2 112 page_number
via heuristic_pagenum
3 आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः । main
via surya_layout
4 स्त्रिस्वरः annotation_inline
parent ligne 3
via heuristic_height
5 एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥ main
via surya_layout
6 द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम् main
via surya_layout
7 ₀हो₀ ₀तततोऽप<b>₀</b> annotation_inline
parent ligne 6
via heuristic_markers
8 समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥ main
via surya_layout
9 समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि । main
via surya_layout
10 ₀द्यपरश्चतुःपरो (?) वापि annotation_inline
parent ligne 9
via heuristic_markers
11 आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥ main
via surya_layout
12 स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः । main
via surya_layout
13 ₀कद्वयश्च annotation_inline
parent ligne 12
via heuristic_markers
14 क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥ main
via surya_layout
15 .मनो. annotation_inline
parent ligne 14
via heuristic_height
16 (?) main
via surya_layout
17 आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः । editorial_bracket
parent ligne 16
via heuristic_brackets
18 यः annotation_inline
parent ligne 16
via heuristic_height
19 समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥ main
via surya_layout
20 •ला annotation_inline
parent ligne 19
via heuristic_height
21 <b>.</b>Ų. main
via surya_layout
22 आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र । main
via surya_layout
23 बादा++वरोही annotation_inline
parent ligne 22
via heuristic_short
24 प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥ main
via surya_layout
25 <b>ब्न्स्याकार</b>ु (२) main
via surya_layout
26 हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः । main
via surya_layout
27 म्, annotation_inline
parent ligne 26
via heuristic_height
28 द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥ main
via surya_layout
29 च ,मती(?)चतस्य annotation_inline
parent ligne 28
via heuristic_short
30 वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् । main
via surya_layout
31 आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥ main
via surya_layout
32 गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः । editorial_bracket
parent ligne 31
via heuristic_brackets
33 ,णां annotation_inline
parent ligne 31
via heuristic_height
34 एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥ main
via surya_layout
35 .नीमा, annotation_inline
parent ligne 34
via heuristic_height
36 स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् । main
via surya_layout
37 द् गाम्युरसि किचित् उदावेध ।। main
via surya_layout
38 ₀र annotation_inline
parent ligne 37
via heuristic_markers
39 बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥ editorial_bracket
parent ligne 37
via heuristic_brackets
40 ,नाः page_footer
via surya_layout

vol_I_p084 RIGHT — 51 lignes

page vol_I_p084 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 Ė annotation_inline
parent ligne 6
via heuristic_height
3 151 page_number
via heuristic_pagenum
4 VIMARŚA page_header
via surya_layout
5 ì annotation_inline
parent ligne 6
via heuristic_height
6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
via surya_layout
7 music which is rendered through the voice or stringed and wind instruments. main
via surya_layout
8 BṛD does not mention vādya along with gīta here, nor in verse 14 where desī main
via surya_layout
9 music is defined as 'that which is sung.' Since voice sets the model followed by main
via surya_layout
10 stringed and wind instruments, gita is the word for the melodic aspect of music main
via surya_layout
11 and the content of the above instruments is included in it. This extension of the main
via surya_layout
12 meaning of gita gets established when the word vādya is juxtaposed with it, main
via surya_layout
13 because in that case vādya gets restricted to drums. But here, in absence of that main
via surya_layout
14 juxtaposition, gita would acquire a further extension by way of also including main
via surya_layout
15 vādya in its orbit. Hence gīta stands here for the totality of music. It is notable main
via surya_layout
16 that gita is followed by svara in this verse. This looks like a repetition because main
via surya_layout
17 svara is the main constituent of gita. This could be construed as an emphasis on main
via surya_layout
18 'svara' through an independent reference to it. main
via surya_layout
19 3. Nrtta generally stands for pure dance where the delineation of artha main
via surya_layout
20 (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). main
via surya_layout
21 Nṛtta is dependent on nāda, because it has to be accompanied on instruments, main
via surya_layout
22 specially drums. annotation_inline
parent ligne 21
via heuristic_height
23 4. The statement that the world is made up of nāda seems to be somewhat main
via surya_layout
24 out of place here, because the context is that of nada being the essence of main
via surya_layout
25 music and dance. But if one recalls the exposition of the order of manifestation main
via surya_layout
26 or formation of gandharva beginning from bindu and moving forward through main
via surya_layout
27 nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its main
via surya_layout
28 auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) main
via surya_layout
29 incorporates all the stages upto gandharva and hence the fundamental nature main
via surya_layout
30 of nāda as established in gīta could be logically extended to the 'world' because main
via surya_layout
31 the world or phenomenon itself is a manifestation of nāda through the above main
via surya_layout
32 stages. SR expresses the same idea in the following manner - main
via surya_layout
33 "Nāda manifests the letters ( of alphabet ), letters constitute the word and main
via surya_layout
34 words make a sentence; so, the entire business of life is carried on through main
via surya_layout
35 language and therefore, the whole phenomenon (i.e. the world) is based on main
via surya_layout
36 nāda". (SR1, 2.2) annotation_inline
parent ligne 35
via heuristic_height
37 Just as SR has related the business of life with nāda through verbal main
via surya_layout
38 communication that is based on the same, BrD has used gita in an extended main
via surya_layout
39 meaning, including in it all the manifestations of nada and has expounded nada main
via surya_layout
40 to be the essence of the whole world. annotation_inline
parent ligne 39
via heuristic_height
41 It would be interesting to note here that S R also speaks of nāda being the main
via surya_layout
42 essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in main
via surya_layout
43 that context. annotation_inline
parent ligne 42
via heuristic_height
44 "Nāda is the very essence of vocal music, instrumental music is enjoyable as main
via surya_layout
45 it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental main
via surya_layout
46 music); therefore, all the three together depend on nāda". (SRI, 2.1) main
via surya_layout
47 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva main
via surya_layout
48 (three gods), representing three aspects of the manifestation of the Ultimate main
via surya_layout
49 Reality into the phenomenon of the universe, viz. creation, preservation and main
via surya_layout
50 destruction. Although the three of them occur in Vedic literature, yet the idea main
via surya_layout
51 (vide) annotation_inline
parent ligne 50
via heuristic_height
179 lignes a valider — change uniquement les roles incorrects.