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 20678). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p052 LEFT — 33 lignes

page vol_II_p052 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 86 page_number
via heuristic_pagenum
2 BRHADDEŚĪ page_header
via surya_layout
3 षाडव: पञ्चमश्चैव तथा कैशिकमध्यम:। main
via surya_layout
4 चोक्षसाधारितश्चैव चोक्षकैशिक इत्यपि ॥ main
via surya_layout
5 एते चोक्षास्तु विज्ञेया, भिन्नकान् साम्प्रतं शृणु ॥२९३॥ main
via surya_layout
6 भित्रषड्जश्च तानश्च भित्रकैशिकमध्यम:। main
via surya_layout
7 भित्रपञ्चमसंज्ञश्च पञ्चमो भित्रकैशिक: ॥२९४॥ main
via surya_layout
8 भिन्नपञ्चम इत्युक्तस्त्रयो गौडा: annotation_inline
parent ligne 7
via heuristic_height
9 प्रकीर्तिताः annotation_inline
parent ligne 7
via heuristic_height
10 गौडपञ्चम इत्येको गौडकैशिक इत्यपि । main
via surya_layout
11 गौडकैशिकमध्यमस्त्रयो गौडा: प्रकीर्तिता: ॥२९५॥ main
via surya_layout
12 टकरागश्च सौवीरस्तथा मालवपञ्चम:। main
via surya_layout
13 टङ्क annotation_inline
parent ligne 12
via heuristic_height
14 षाडवो बोट्टरागश्च तथा हिन्दोलक: पर: ॥२९६॥ main
via surya_layout
15 ट[क]ककैशिक इत्युक्तस्तथा मालवकैशिक:। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एते रागाः समाख्याता नामतो मुनिपुङ्गवैः ॥२९७॥ main
via surya_layout
17 नर्तः शकाख्यः ककुभस्तथा भम्माणपञ्चमः । main
via surya_layout
18 (नर्तः) annotation_inline
parent ligne 17
via heuristic_height
19 हमीण annotation_inline
parent ligne 17
via heuristic_height
20 रूपसाधारितश्चैव तथा गान्धारपञ्चम: । main
via surya_layout
21 षड्जकैशिकसंज्ञश्च सप्त साधारणा: स्मृता: ॥२९८॥ main
via surya_layout
22 [॥ इति रागसङ्ख्या, उद्देशश्च ॥] editorial_bracket
parent ligne 21
via heuristic_brackets
23 [रागाणां विशेषलक्षणानि] section_header
via surya_layout
24 [क. तत्र शुद्धरागाः] section_header
via surya_layout
25 इदानीं शुद्धानां लक्षणमाह - main
via surya_layout
26 <sup>३५</sup>अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका: । main
via surya_layout
27 <sup>३६</sup>स्वजा(?) main
via surya_layout
28 निरपेक्षा॰ annotation_inline
parent ligne 27
via heuristic_markers
29 स्वजात्यन्यतमाश्चेव ते शुद्धाः परिकीर्तिताः ॥२९९॥ main
via surya_layout
30 [१.शुद्धषाडव:] section_header
via surya_layout
31 [अनु॰ १६४] section_header
via surya_layout
32 तत्र षाडव इति कस्मात्३७ ? किं षड्भि: स्वरैगीयत इति षाडव:, यद् वा षट्सु रागेषु main
via surya_layout
33 (vide) annotation_inline
parent ligne 32
via heuristic_height

vol_II_p067 RIGHT — 34 lignes

page vol_II_p067 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 117 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [Anu. 200] editorial_bracket
parent ligne 4
via heuristic_brackets
4 This means - Mālavakaišika is related to madhyamagrāma on account of main
via surya_layout
5 being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the main
via surya_layout
6 sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is main
via surya_layout
7 complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the main
via surya_layout
8 with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra. main
via surya_layout
9 The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) main
via surya_layout
10 and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in main
via surya_layout
11 songs comprised of svara and pada. main
via surya_layout
12 [The assignment of gramas to vesararagas] section_header
via surya_layout
13 Now the particular grāma of each one of the vesara (rāgas) is being shown - main
via surya_layout
14 Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the main
via surya_layout
15 one (grāma) called sadja. annotation_inline
parent ligne 14
via heuristic_height
16 (329) annotation_inline
parent ligne 14
via heuristic_height
17 Hindolaka, mālavapancama and mālavakaišika should be known to be born main
via surya_layout
18 of madhyamagrāma. annotation_inline
parent ligne 17
via heuristic_height
19 (330) annotation_inline
parent ligne 17
via heuristic_height
20 Thus have all the vesara(rāgas) been spoken of with their definitive main
via surya_layout
21 descriptions. They are known as vega-svaras 75 because the speed of svaras is main
via surya_layout
22 seen in them. annotation_inline
parent ligne 21
via heuristic_height
23 (331) annotation_inline
parent ligne 21
via heuristic_height
24 [ E. Sādhāraņa rāgas] section_header
via surya_layout
25 The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken main
via surya_layout
26 of. Now I will speak of the seven sādhāraņa ones. main
via surya_layout
27 (332) annotation_inline
parent ligne 26
via heuristic_height
28 [Anu. 201] editorial_bracket
parent ligne 26
via heuristic_brackets
29 (Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas) main
via surya_layout
30 come about? It is being answered. On account of being born of the gitis main
via surya_layout
31 pertaining to all the ragas that have been spoken of heretofore, there is their main
via surya_layout
32 sādhāraņatva (commonness); this comes about on account of their being sung in main
via surya_layout
33 the sādhāraṇa-giti. Similarly has said Kasyapa- main
via surya_layout
34 "Seven sādhāraņa (rāgas) have been said to be based in all the gitis." main
via surya_layout

vol_I_p104 RIGHT — 66 lignes

page vol_I_p104 RIGHT
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
via surya_layout
12 note 20 above ). (The prose passage of NS referred to above does use the word main
via surya_layout
13 graha). main
via surya_layout
14 Vytti table
via surya_layout
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
via surya_layout
53 36. See note 34 above. list_item
via surya_layout
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_I_p057 RIGHT — 36 lignes

page vol_I_p057 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 97 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
via surya_layout
4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
via surya_layout
5 (16) annotation_inline
parent ligne 4
via heuristic_height
6 is (ends) prasāda. annotation_inline
parent ligne 4
via heuristic_height
7 (Anu. 86) annotation_inline
parent ligne 4
via heuristic_height
8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
via surya_layout
9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
via surya_layout
10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
via surya_layout
11 (17) annotation_inline
parent ligne 10
via heuristic_height
12 risa. Thus is (ends) udvāhita. annotation_inline
parent ligne 10
via heuristic_height
13 (Anu. 87) annotation_inline
parent ligne 10
via heuristic_height
14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
via surya_layout
15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
via surya_layout
16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
via surya_layout
17 (18) annotation_inline
parent ligne 16
via heuristic_height
18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
via surya_layout
19 (Anu. 88) annotation_inline
parent ligne 18
via heuristic_height
20 There, krama is that, where having reached the sthayin55 (steady) svara after main
via surya_layout
21 ascending in the svaras in successive order beginning with one, without any gap, main
via surya_layout
22 svaras are pronounced in the order of prastara, increasing one by one (in main
via surya_layout
23 successive phrases). This is not different from prastara, being identical in form.56 main
via surya_layout
24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
via surya_layout
25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
via surya_layout
26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
via surya_layout
27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
via surya_layout
28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
via surya_layout
29 (19) annotation_inline
parent ligne 28
via heuristic_height
30 (ends) krama. annotation_inline
parent ligne 28
via heuristic_height
31 (Anu. 89) annotation_inline
parent ligne 28
via heuristic_height
32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
via surya_layout
33 second-fourth and others also in the same order. In the opinion of Kohala main
via surya_layout
34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
via surya_layout
35 (20) annotation_inline
parent ligne 34
via heuristic_height
36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
via surya_layout

vol_I_p034 RIGHT — 35 lignes

page vol_I_p034 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 51 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 V (the Section on Grāma-mūrchanā) section_header
via surya_layout
4 [The treatment of grama] section_header
via surya_layout
5 (Anu. 30) annotation_inline
parent ligne 4
via heuristic_height
6 Then, what is spoken of by the word grāma? How many grāmas are there? main
via surya_layout
7 From where is grāma born? And what is its objective? main
via surya_layout
8 (84) annotation_inline
parent ligne 7
via heuristic_height
9 It is being answered. annotation_inline
parent ligne 7
via heuristic_height
10 The two grāmas stand for a group! composed of svara, śruti and the like. main
via surya_layout
11 (85) annotation_inline
parent ligne 10
via heuristic_height
12 Just as all members of families live together, (similarly) grāma? is known as main
via surya_layout
13 (86) annotation_inline
parent ligne 12
via heuristic_height
14 that by all the people where there is an abiding settlement. main
via surya_layout
15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
via surya_layout
16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
via surya_layout
17 (87) annotation_inline
parent ligne 16
via heuristic_height
18 ٠ page_number
via heuristic_pagenum
19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
via surya_layout
20 known to be two5 characterised by (the names) şadja and madhyama. main
via surya_layout
21 (88) annotation_inline
parent ligne 20
via heuristic_height
22 (Anu. 31) annotation_inline
parent ligne 20
via heuristic_height
23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
via surya_layout
24 (and) rāga is indeed the objective. main
via surya_layout
25 (Anu. 32) annotation_inline
parent ligne 24
via heuristic_height
26 But why are the gramas named after the svaras sadja and madhyama? It is main
via surya_layout
27 being answered. Because of (their) uncommonness the grāmas are named after main
via surya_layout
28 them. And the uncommonness is on account of their being born of devakula? main
via surya_layout
29 (the community of gods). main
via surya_layout
30 The same has been said by Nārada - main
via surya_layout
31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
via surya_layout
32 Maheśvara should be known as their presiding deities." main
via surya_layout
33 Out of the two grāmas which one is known to be prominent? From the main
via surya_layout
34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
via surya_layout
35 (89) annotation_inline
parent ligne 34
via heuristic_height
204 lignes a valider — change uniquement les roles incorrects.