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 20600). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p119 RIGHT — 27 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 221 page_number
via heuristic_pagenum
3 [33. Dvipadī] section_header
via surya_layout
4 That which is (performed) with karaṇa tāla and composed in the dvipadī main
via surya_layout
5 metre, that is said to be dvipadī by those adept in vastu.<sup>29</sup> main
via surya_layout
6 (414) main
via surya_layout
7 [34. Vartanī] section_header
via surya_layout
8 Where graha and nyāsa are used only according to ańiśa, where the name main
via surya_layout
9 of the object of (glorified) description (divine or human) and that of the main
via surya_layout
10 singer (composer) is put in (and) that which is sung with svaras in a tāla main
via surya_layout
11 other than kankāla, pratitāla, druta (fast) maņțha, (and) kudukkaka, is held main
via surya_layout
12 to be vartani. annotation_inline
parent ligne 11
via heuristic_short
13 (415-416) main
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14 [35. <i>Elā</i>] section_header
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15 Where the first two feet are 'coloured' (embellished) with anuprāsa main
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16 (alliteration), there is anuprāsa 30 in the third or fourth foot or there is no main
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17 anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four main
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18 gītis find place in each foot, (and) after having sung one-half of its foot, main
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19 anuprāsa is arranged; where there is the description of renunciation, well- main
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20 being or prosperity, beauty, valour, steadfastness etc., that is called <i>clā</i> by the main
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21 experts in music. annotation_inline
parent ligne 20
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22 <math>(417-419)</math> main
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23 It is always to be sung within the <i>gīta-vastus</i>, in combination with <i>tālas</i> like main
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24 maṇṭha, dvitīya, kaṅkāla and similarly elā should be combined with pratitāla main
via surya_layout
25 by the wise. That (clā) is marked with the name of the object of description main
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26 and the singer (composer). main
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27 <math>(420-421)</math> main
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vol_I_p024 RIGHT — 35 lignes

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1 31 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the main
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4 undifferentiated state there is one svara; in the form of sadja and the like svara is main
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5 many. annotation_inline
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6 Similarly also said Kohala - annotation_inline
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7 "Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā main
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8 etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and main
via surya_layout
9 is to be combined with alankāra10 and (used in) rasas." 11 main
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10 (It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained main
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11 in or permeating everything). annotation_inline
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12 Similarly said Kohala - annotation_inline
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13 "By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all main
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14 'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka main
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15 (pervasive) (and) para (beyond).15 main
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16 (Anu. 17) annotation_inline
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17 But how is the svaratva 16 of (svara-names) şadja and the like, on account of main
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18 their being consonants? If the svaratva of consonants is spoken of, then there main
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19 should be the svaratva of (consonants) beginning with ka? main
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20 Here it is being said (answered) that there is the svaratva of only şadja and main
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21 the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of main
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22 (consonants) beginning with ka. main
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23 But why (or how) is the uncommon or special nature of sadja and the like? main
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24 (Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones) main
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25 the asadharanatva (uncommonness, special nature) of svaras is there. main
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26 So did say Maheśvara<sup>19</sup> in Kohala — main
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27 "The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks main
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28 gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time main
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29 (common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy main
via surya_layout
30 season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same main
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31 way, the elephant always speaks niṣāda." main
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32 Or, only sadja and the like have uncommonness or special nature because of main
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33 their movement in upward sound, or şadja and the like are not svaras, only main
via surya_layout
34 (vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the main
via surya_layout
35 pronunciation of (vowels) beginning with ākāra, so (it is said). main
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vol_I_p030 RIGHT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
via heuristic_height
2 43 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
parent ligne 4
via heuristic_height
6 pa annotation_inline
parent ligne 4
via heuristic_height
7 ga unknown
via surya_layout
8 ц unknown
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9 dha unknown
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10 ni annotation_inline
parent ligne 4
via heuristic_height
11 sa annotation_inline
parent ligne 4
via heuristic_height
12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
parent ligne 4
via heuristic_brackets
13 ārcika] editorial_bracket
parent ligne 4
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14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
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16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
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19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
via surya_layout
20 should be known as being comprised of two svaras, the (combination of) three main
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21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
parent ligne 24
via heuristic_height
26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
parent ligne 26
via heuristic_short
28 is born of six angas is called sadja.53 main
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vol_I_p102 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 187 page_number
via heuristic_pagenum
3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
via surya_layout
4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
via surya_layout
5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
via surya_layout
6 mātrās; there also each kalā of time will be related to each phrase. list_item
via surya_layout
7 76,77. Identical with note 52 above. list_item
via surya_layout
8 78. All the four sa belong to the tāra-sthāna. list_item
via surya_layout
9 79. See note 47 above. list_item
via surya_layout
10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
via surya_layout
11 probably it has been used because the units of phrases here are not equal, they list_item
via surya_layout
12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
via surya_layout
13 81. Here the traditional rule of having a shake only on svaras with three list_item
via surya_layout
14 <i>śrutis</i> seems to have been abandoned. list_item
via surya_layout
15 82. Kalā obviously means phrase-unit here. list_item
via surya_layout
16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
via surya_layout
17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
via surya_layout
18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
via surya_layout
20 perhaps, be taken as the first indication of the advent of desi talas. list_item
via surya_layout
21 84. It is notable that BrD has not classified alankāras into varņas. list_item
via surya_layout
22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
via surya_layout
23 but they have not been described. list_item
via surya_layout
24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
via surya_layout
25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
via surya_layout
29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
via surya_layout
30 outside the above seven, but are very important on account of special tala list_item
via surya_layout
31 patterns and association with dance. All these forms are prescribed in list_item
via surya_layout
32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
via surya_layout
33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
via surya_layout
34 hence the units of text of songs could be stretched by the melody through list_item
via surya_layout
35 alankāras, the comprehension of the meaning of the text of songs being not list_item
via surya_layout
36 important there. list_item
via surya_layout
37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
via surya_layout
38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
via surya_layout
39 listener is very important and hence stretching of the syllables of the text is not list_item
via surya_layout
40 desirable. list_item
via surya_layout
41 88. The implication of this statement is not clear, because alankaras of the list_item
via surya_layout
42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
parent ligne 46
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48 e le par Alle annotation_inline
parent ligne 46
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49 and the second annotation_inline
parent ligne 46
via heuristic_height

vol_II_p089 RIGHT — 31 lignes

page vol_II_p089 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 161 page_number
via heuristic_pagenum
3 Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā main
via surya_layout
4 sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa, ṣaḍja as the concluding note, being weak in main
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6 pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, main
via surya_layout
7 this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a main
via surya_layout
8 synonym of hindolaka). main
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9 (88) annotation_inline
parent ligne 8
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10 Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā main
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11 māpādhanisa annotation_inline
parent ligne 10
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12 nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari main
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13 sāsā. Madhurī [v] editorial_bracket
parent ligne 12
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14 Thus end the <i>bhāṣās</i> of <i>hindolaka</i>. main
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15 [5. Now the bhāṣās in pañcama] section_header
via surya_layout
16 Having pancama as amsa and the same as the concluding note, replete main
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17 with <i>niṣāda</i>, being complete, this <i>ābhīrī bhāṣā</i> is born of <i>deśa</i><sup>35</sup> (region), rises main
via surya_layout
18 out of pañcama (rāga) and should be known to be the first one arising out of main
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19 pañcama. Mutual concert between șadja-dhaivata is to be seen here. main
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20 <math>(89-90)</math> main
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21 Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā main
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22 sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā main
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23 saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. main
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24 Abhīrī [i] editorial_bracket
parent ligne 23
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25 Bhāvinī has pañcama as nyāsa, gāndhāra as amśa (and) is weak in dhaivata. main
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26 Where the mutual movement of madhyama-pañcama is seen to be dense, the main
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27 bhāṣā bhāvinī should be known to be complete by the knowledgeable ones main
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28 in gändharva.36 annotation_inline
parent ligne 27
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29 (91) main
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30 Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā editorial_bracket
parent ligne 29
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31 Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii] editorial_bracket
parent ligne 29
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170 lignes a valider — change uniquement les roles incorrects.