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 21663). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p116 RIGHT — 23 lignes

page vol_II_p116 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 215 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [15. Hayalīlā] section_header
via surya_layout
4 Where the (first) half is sung with svaras, in turagalīla (tāla), (and the main
via surya_layout
5 latter) half is sung with birudas, that is known as hayalīlā. main
via surya_layout
6 (397) main
via surya_layout
7 [16. <i>Gajalīlā</i>] section_header
via surya_layout
8 That which is completely composed according to gajalīlā but where the tāla main
via surya_layout
9 is gajalīla, that should be known by the name gajalīlā. main
via surya_layout
10 (398) main
via surya_layout
11 [17. Simhalīlā] section_header
via surya_layout
12 Composed in simhalilā metre, combined with svara and tena, that which is main
via surya_layout
13 sung with birudas is sinihalīlaka. main
via surya_layout
14 (399) main
via surya_layout
15 [18. Śarabhalila] section_header
via surya_layout
16 Where eight feet are composed with svaras and pāṭas, that is held to be main
via surya_layout
17 śarabhalīla, having eight rāgas and tālas. main
via surya_layout
18 (400) main
via surya_layout
19 [19. Śukacańcu] section_header
via surya_layout
20 In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with main
via surya_layout
21 <math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various main
via surya_layout
22 regions, is named śukacańcu, that is dear to the people. main
via surya_layout
23 (401) main
via surya_layout

vol_I_p035 LEFT — 29 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 52 page_number
via heuristic_pagenum
3 एतदुक्तं भवति— main
via surya_layout
4 "द्वौ ग्रामौ विश्रुतौ लोके षड्जमध्यमसंज्ञितौ।" main
via surya_layout
5 •जकी? annotation_inline
parent ligne 4
via heuristic_height
6 [ अनु. ३३ ] editorial_bracket
parent ligne 4
via heuristic_brackets
7 ननु कथं द्वावेव ग्रामौ ? उच्यते— इह हि द्विस्वरप्रयोगमूलप्रयोगवशाद् main
via surya_layout
8 द्वौ ग्रामावुपन्यस्तौ। main
via surya_layout
9 गण्णातिभः श्रुतिभिष्टचैव स्वरा ग्रामत्वमागताः”। main
via surya_layout
10 [ अनु. ३४ ] editorial_bracket
parent ligne 9
via heuristic_brackets
11 तत्र जातिभिः शुद्धाभिर्विकृताभिष्टच श्रुतिभिष्टच। तस्मात् शुद्धासु जातिषु main
via surya_layout
12 <b>ंभिः श्रुतिभिष्टच</b> नातिकाभिः main
via surya_layout
13 विकृतासु च ये स्वराः सन्ति तेषां स्वराणां श्रुतिवैकल्यात् किञ्च- main
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14 怀 annotation_inline
parent ligne 13
via heuristic_height
15 स्या annotation_inline
parent ligne 13
via heuristic_height
16 दुत्कर्षापकर्षाभ्यां संकीर्णत्वेन च स्वरा ग्रामत्वमागताः। तत्र शुद्धाभिः।। main
via surya_layout
17 षड्जो विकृताभिर्मध्यम इति द्वाभ्यां च संकीर्णा जाताः ताभ्यो रागसम्भव main
via surya_layout
18 इति। ग्रामान्यत्वाज्जातिरागान्यत्वम्। main
via surya_layout
19 [ इति ग्रामनिरूपणम् ] editorial_bracket
parent ligne 18
via heuristic_brackets
20 [ मूर्छना-निरूपणम् ] section_header
via surya_layout
21 [ अनु. ३५ ] editorial_bracket
parent ligne 20
via heuristic_brackets
22 इदानीमवसरप्राप्ता मूर्छनाः कथ्यन्ते। ननु मूर्छनाशब्दस्य व्युत्पत्ति [ : ] editorial_bracket
parent ligne 20
via heuristic_brackets
23 ंमिव स्वराः annotation_inline
parent ligne 20
via heuristic_height
24 कीदृशी ? लक्षणं च कीदृशं तस्य ? उच्यते — मूर्छनाव्युत्पत्तिः मूर्छ् main
via surya_layout
25 मूर्खा annotation_inline
parent ligne 24
via heuristic_short
26 मोहसमुच्छ्राययोः।12 main
via surya_layout
27 मूर्छ्यते येन रागो हि मूर्छनेत्यभिसंज्ञिता।।९०॥ main
via surya_layout
28 र्घ (?) annotation_inline
parent ligne 27
via heuristic_height
29 (vide) unknown
via fallback

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

vol_I_p026 LEFT — 21 lignes

page vol_I_p026 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 34 page_number
via heuristic_pagenum
2 <b>BRHADDES!</b> page_header
via surya_layout
3 स annotation_inline
parent ligne 8
via heuristic_height
4 नि annotation_inline
parent ligne 8
via heuristic_height
5 रि annotation_inline
parent ligne 8
via heuristic_height
6 . <b>u</b> annotation_inline
parent ligne 8
via heuristic_height
7 ग annotation_inline
parent ligne 8
via heuristic_height
8 [ इति षड्जग्रामे संवादिमण्डलम् ] section_header
via surya_layout
9 [ अनु. २२ ] section_header
via surya_layout
10 संवादिप्रयोगो यथा— section_header
via surya_layout
11 यस्मिन् गीते योऽशत्वेन परिकल्पितः षड्जस्तस्य स्थाने main
via surya_layout
12 मध्यमः क्रियमाणो रागहा न भवेत् । यस्मिन् स्थाने मूर्छनावशात् main
via surya_layout
13 मध्यमः प्रयुक्तः तस्मिन् स्थाने क्रियमाणः षड्जो जातिरागहा न भवेत्। main
via surya_layout
14 ग्र annotation_inline
parent ligne 13
via heuristic_height
15 षड्जपञ्चमयोः स्थाने पञ्चमषड्जौ प्रयुज्यमानौ जातिरागहानिकरौ न main
via surya_layout
16 भवतः । एवम् ऋषभधैवतयोः स्थाने धैवतर्षभी प्रयुज्यमानौ जातिराग- main
via surya_layout
17 विनाशकरौ न भवतः। एवं गान्धारनिषादयोः स्थाने निषादगान्धारौ main
via surya_layout
18 17[ प्रयुज्यमानौ जातिरागहानिं न कुरुतः । ] editorial_bracket
parent ligne 17
via heuristic_brackets
19 18ककुभस्य धैवतांशत्वेन 19रेवगुप्तस्य ऋषभांशत्वेन main
via surya_layout
20 तदुभयरागजनन्याश्चार्षभीजातेऋिषभांशपरिग्रहात् परस्परसम्बद्धौ च प्रयुज्यमानौ main
via surya_layout
21 जातिरागविनाशकरौ न भवतः । main
via surya_layout

vol_II_p111 LEFT — 30 lignes

page vol_II_p111 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 [ षष्ठोऽध्याय: ] section_header
via surya_layout
2 [प्रबन्धाः] section_header
via surya_layout
3 [तत्र प्रबन्धानामुद्देश:] section_header
via surya_layout
4 देशिकारप्रबन्धा ये हरवक्त्राभिनिर्गता: । main
via surya_layout
5 •प्रवन्धोऽयं(?) annotation_inline
parent ligne 4
via heuristic_height
6 असंख्यातास्तु कथिता न ज्ञायन्तेऽल्पबुद्धिभि: ॥ ३६०॥ main
via surya_layout
7 तेषां मध्यात् समुद्धृत्य युक्तलक्षणलक्षितान् । main
via surya_layout
8 श्रीमतङ्गमुनि: प्राह मुनीनुद्दिश्य तद्यथा ॥ ३६१॥ main
via surya_layout
9 ९आद्य: प्रबन्ध: कन्दाख्यो वृत्तो नाम द्वितीयक: । main
via surya_layout
10 क(जा?न्दा) वृत्ता annotation_inline
parent ligne 9
via heuristic_height
11 गद्यरूपस्तृतीय: स्याद् दण्डक: स्याच्चतुर्थक: ॥ ३६२॥ main
via surya_layout
12 पञ्चमो वर्णक: ख्यात: षष्ठ आर्याभिधानक:। main
via surya_layout
13 ॰पिधायक: annotation_inline
parent ligne 12
via heuristic_markers
14 सप्तमी कथिता गाथा ततो द्विपथकोऽष्टमः ॥ ३६३॥ main
via surya_layout
15 कर्शिता annotation_inline
parent ligne 14
via heuristic_height
16 <sup>२</sup>पद्धडीं नवमीं प्राहुरडिला दशमी भवेत् । main
via surya_layout
17 क्धंटीं annotation_inline
parent ligne 16
via heuristic_height
18 एकादशमिते स्थाने गदिता सा चतुष्पदी ॥ ३६४॥ main
via surya_layout
19 न्मये स्थाते annotation_inline
parent ligne 18
via heuristic_height
20 दोधको द्वादश: प्रोक्तस्तोटक: स्यात् त्रयोदश[:]। editorial_bracket
parent ligne 18
via heuristic_brackets
21 दोधको annotation_inline
parent ligne 18
via heuristic_height
22 ततश्चतुर्दशो ज्ञेयो वस्त्वाख्यस्तु प्रबन्धक: ॥ ३६५॥ main
via surya_layout
23 ॰र्द(शा?शो) annotation_inline
parent ligne 22
via heuristic_markers
24 ततः क्रौञ्चपदस्तूर्ध्वं हंसपात् षोडशः स्मृतः। main
via surya_layout
25 सप्तदश: प्रबन्धस्तु शुकसारिकसंज्ञक: ॥ ३६६॥ main
via surya_layout
26 अष्टादशश्चाश्वलील एकोनो गजलीलक:। main
via surya_layout
27 ॰श्मलीला annotation_inline
parent ligne 26
via heuristic_markers
28 दश ॰ annotation_inline
parent ligne 26
via heuristic_markers
29 विंशश्च स्यात् सिंहलील: शरभलील एकोत्तर: ॥ ३६७॥ main
via surya_layout
30 द्वाविंशतिम: annotation_inline
parent ligne 29
via heuristic_height
154 lignes a valider — change uniquement les roles incorrects.