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 21658). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p044 LEFT — 47 lignes

page vol_II_p044 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 70 page_number
via heuristic_pagenum
3 गां पा मां पा नी नी नी नी table
via surya_layout
4 (११) table
via surya_layout
5 (१२) table
via surya_layout
6 मापा मा परि गा गा गा गा table
via surya_layout
7 (१३) table
via surya_layout
8 नी नी पा धा नी गां गां गां table
via surya_layout
9 (१४) table
via surya_layout
10 नी नी नी नी नी नी नी table
via surya_layout
11 (१५) table
via surya_layout
12 मां मां धा नी सनि धा पा पा table
via surya_layout
13 (१६) table
via surya_layout
14 मां पां मां परिग गां गां गां गां table
via surya_layout
15 . ॥ [इति] गान्धारपञ्चमी ॥ editorial_bracket
parent ligne 17
via heuristic_brackets
16 । म॥ annotation_inline
parent ligne 17
via heuristic_height
17 [८, आन्ध्री] section_header
via surya_layout
18 १८३ आन्ध्र्यामंशा निरिगपा रिगयोर्निधयोस्तथा । main
via surya_layout
19 अन्ध्रया(मङ्गा ? मंशा) निरू main
via surya_layout
20 सङ्गतिन्यासपर्यन्तमंशानुक्रमतो व्रजेत् ॥२१॥ main
via surya_layout
21 षाडवं षड्जलोपेन मध्यमादिश्च मूर्छना । main
via surya_layout
22 १८४ दिस्तु annotation_inline
parent ligne 21
via heuristic_short
23 पूर्वावत् तु कलातालविनियोगाः प्रकीर्तिताः ॥२२॥ main
via surya_layout
24 १८५ ॰काल॰ annotation_inline
parent ligne 23
via heuristic_markers
25 <sup>१८६</sup>अस्यामान्ध्र्यां गान्धारो न्यास: । अंशा एवापन्यासा: । <sup>१८७</sup>प्रस्तार: - main
via surya_layout
26 ॰ मन्ध्र्यां table
via surya_layout
27 (१) table
via surya_layout
28 गारी री री री री री री table
via surya_layout
29 री गारी गारी री री री table
via surya_layout
30 (२) table
via surya_layout
31 (३) table
via surya_layout
32 री री गा गा री री मा मा table
via surya_layout
33 (8) table
via surya_layout
34 री गा सा धनि नीं नीं नीं नीं table
via surya_layout
35 (4) table
via surya_layout
36 नीं रीं नीं रीं धनि धनि पा पा table
via surya_layout
37 (६) table
via surya_layout
38 मा पा मा रिग गा गा गा गा table
via surya_layout
39 (७) table
via surya_layout
40 री री गा सम मा मा पा पा table
via surya_layout
41 (८) table
via surya_layout
42 मा पा मा रिग गा गा गा गा table
via surya_layout
43 (9) table
via surya_layout
44 धा नी गा गा गा गा गा गा table
via surya_layout
45 (१०) table
via surya_layout
46 पा पा मा रिग गा गा गा गा table
via surya_layout
47 The same of the same of the same of the same of the same of the same of the same of the same of the same of the same of annotation_inline
parent ligne 25
via heuristic_height

vol_II_p090 LEFT — 28 lignes

page vol_II_p090 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
parent ligne 4
via heuristic_height
2 BŖHADDEŚĪ page_header
via surya_layout
3 162 page_number
via heuristic_pagenum
4 <sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता । main
via surya_layout
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
via surya_layout
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
via surya_layout
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
via heuristic_brackets
24 ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । main
via surya_layout
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_p049 LEFT — 33 lignes

page vol_I_p049 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 80 page_number
via heuristic_pagenum
2 <b>BRHADDEŚ</b>I page_header
via surya_layout
3 व्युत्क्रमाः पञ्च।गरिस गसरि रिगस [ रिसग ] सगरि इति व्युत्क्रमेण editorial_bracket
parent ligne 5
via heuristic_brackets
4 रिगस गसरि annotation_inline
parent ligne 5
via heuristic_height
5 क्टतानाः पञ्च। तदेवं गान्धारस्य षट् तानाः। main
via surya_layout
6 ुञ्चम (?) annotation_inline
parent ligne 5
via heuristic_height
7 एवं मध्यमस्य सरिगमेत्येकः क्रमः। मगरिसेत्येवमादयस्त्रयो- main
via surya_layout
8 ्रयो- - annotation_inline
parent ligne 7
via heuristic_height
9 विंशतिरुत्क्रमाः। तद्यथा—ब्ध्मगरिस, मगसरि, मरिगस, मरिसग, मसगरि, main
via surya_layout
10 मसरिग इति मध्यमपूर्वाः षट् तानाः व्युत्क्रमकृताः। एवं गान्धारर्षभषङ्जानां main
via surya_layout
11 प्रत्येकं षट् ताना भवन्ति मिलित्वा चतुर्विशतिर्भवन्ति। main
via surya_layout
12 एवं पञ्चमस्य सरिगमपेत्येक एव क्रमः। पमगरिसेत्या- main
via surya_layout
13 दिव्युत्क्रमकूटतानानां शतमेकोनविंशतिर्भवन्ति। तद्यथा— सरिगमप, पमगरिस। main
via surya_layout
14 पमगरिसानां प्रत्येकं चतुर्विंशतिर्भवन्ति, मिलित्वा विंशत्यधिकं शतं main
via surya_layout
15 भवति। एवं धैवतस्य सरिगमपधेत्येकः क्रमः। धपमगरिसेति व्युत्क्रमः। main
via surya_layout
16 धपमगरिसानां प्रत्येकं विंशत्यधिकं [ शतं ] भवति, editorial_bracket
parent ligne 15
via heuristic_brackets
17 मिलित्वा annotation_inline
parent ligne 15
via heuristic_height
18 सप्तशतानि विंशत्यधिकानि भवन्ति। एवं निषादस्यापि सरिगमपधनीत्येकः main
via surya_layout
19 क्रमः। निधपमगरिसेति व्युत्क्रमः। निधपमगरिसानां प्रत्येकं सप्तशतानि main
via surya_layout
20 विंशत्यधिकानि भवन्ति, मिलित्वा पञ्चसहस्राणि चत्वारिशच्च भवन्ति। main
via surya_layout
21 . अनु₀ ५९ ो editorial_bracket
parent ligne 20
via heuristic_brackets
22 तदेवमेतेषां स्वराणां तानविधानं षट्षष्टितन्त्र्यां शततन्त्र्यां चोपलभ्यते। main
via surya_layout
23 ुन् annotation_inline
parent ligne 22
via heuristic_height
24 ुना annotation_inline
parent ligne 22
via heuristic_height
25 तयोः स्वमानानि मध्यमादीनि । main
via surya_layout
26 ुभावा ऋ (२म) ना annotation_inline
parent ligne 25
via heuristic_height
27 ( तत्र ) कूटतानभेदप्रदर्शनमिह न कृतमितप्रसङ्गनिवृत्त्यर्थम् । एतेनैव main
via surya_layout
28 क्रमेण बुद्धिमद्भिः स्वयमेव लक्षणीयमिति। main
via surya_layout
29 [ अनु<sub>0</sub> ६० ] editorial_bracket
parent ligne 28
via heuristic_brackets
30 87 तदेषां तानानां प्रयोजनं 88 [ स्थान- ] प्राप्त्यर्थमुक्तम् 89स्थानानि editorial_bracket
parent ligne 28
via heuristic_brackets
31 त्रीण्युक्तानि काकुविधौ, व्यस्तानि षट्षष्टिं विद्या [न्] मन्द्रादिसिद्धये। editorial_bracket
parent ligne 28
via heuristic_brackets
32 ुरुविधो annotation_inline
parent ligne 28
via heuristic_height
33 स्यू annotation_inline
parent ligne 28
via heuristic_height

vol_II_p025 LEFT — 31 lignes

page vol_II_p025 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 32 page_number
via heuristic_pagenum
3 सगमपनि, सरिमपध । षट्स्वरांशा कैशिकी - सगमपधनि । सप्तस्वरांशा षड्जमध्यमा - main
via surya_layout
4 मग annotation_inline
parent ligne 3
via heuristic_height
5 सरिगमपंध annotation_inline
parent ligne 3
via heuristic_height
6 पहज annotation_inline
parent ligne 3
via heuristic_height
7 सरिगमपधनि । एवं त्रिषष्टिरंशा व्याख्याता: । main
via surya_layout
8 मध्यमोदीच्यवा चैव तथा गान्धारपञ्चमी । main
via surya_layout
9 नन्दयन्ती च तिस्रस्ताः पश्चमैकांशतः स्मृताः ॥२४१॥ main
via surya_layout
10 धैवती पञ्चमी चैव ज्ञेये धरिरिपांशके । main
via surya_layout
11 ॰दिवां॰ annotation_inline
parent ligne 10
via heuristic_markers
12 गान्धारोदीच्यवा द्वाभ्यां मध्यम: षड्ज इत्यपि ॥२४२॥ main
via surya_layout
13 (न्म)र्यभ annotation_inline
parent ligne 12
via heuristic_height
14 आर्षभ्यां निरिधा अंशा नैषाद्यां निरिगास्त्रय:। main
via surya_layout
15 (तिरि? निरि) annotation_inline
parent ligne 14
via heuristic_height
16 सगपाः षड्जकैशिक्यां तिस्रस्त्र्यंशाः प्रकीर्तिताः ॥२४३॥ main
via surya_layout
17 (ला:?पा:) annotation_inline
parent ligne 16
via heuristic_height
18 चतुरंशा समनिधै: षड्जोदीच्यवती स्मृता । main
via surya_layout
19 कार्मारवी रिपनिधैरान्ध्री गरिनिपैरपि ॥२४४॥ main
via surya_layout
20 (국 ?) annotation_inline
parent ligne 19
via heuristic_height
21 सगमपधै: षाड्जी स्यात् पञ्चभिश्चापि मध्यमा । main
via surya_layout
22 सरिमपधैरंशै:, स्याद् गान्धारी सगमनिपै: ॥२४५॥ main
via surya_layout
23 तद्वत् स्याद् रक्तगान्धारी पूर्वेरंशैश्च पञ्चभिः। main
via surya_layout
24 कैशिक्येका षडंशा स्यात् सगमपनिधैः स्मृता ॥२४६॥ main
via surya_layout
25 षड्जमध्या तु सप्तांशा त्रिषष्टिरिति तेंऽशका: । main
via surya_layout
26 न्मध्यमा annotation_inline
parent ligne 25
via heuristic_height
27 [७. जातीनां प्रयोगविधिः] section_header
via surya_layout
28 ८८अंशकैर्ग्रामरागांस्तु जनयन्तीति जातय: ॥२४७॥ main
via surya_layout
29 (ग्रा?र्ग्रा) annotation_inline
parent ligne 28
via heuristic_height
30 आसां प्रयोगकाले तु युग्मायुग्माश्रयो विधि:। main
via surya_layout
31 मार्गेस्त्रिभि: प्रयोक्तव्याश्चित्रवार्तिकदक्षिणै: ॥२४८॥ main
via surya_layout

vol_II_p161 RIGHT — 46 lignes

page vol_II_p161 RIGHT
L#Texte OCRRole autoCorriger si incorrect
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
via surya_layout
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
via surya_layout
18 gāndhāra and not antara. See note 91. list_item
via surya_layout
19 • annotation_inline
parent ligne 18
via heuristic_height
20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
via surya_layout
21 not easy to comprehend. It could only be surmised that the peculiar form list_item
via surya_layout
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
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24 having a special role in establishing the same. list_item
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25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
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26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
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27 being its double and dakṣiṇa again being its double. Our text describes two list_item
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28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
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29 being half of dhruva. (See Vol.I. Anu.113) list_item
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30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
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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
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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
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35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
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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
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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
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45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
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46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
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185 lignes a valider — change uniquement les roles incorrects.