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 20703). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p089 RIGHT — 48 lignes

page vol_I_p089 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 161 page_number
via heuristic_pagenum
2 VIMARŚA page_header
via surya_layout
3 commenting on NS XXVIII, 1. He says there that even if an untrained person main
via surya_layout
4 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) main
via surya_layout
5 i.e. svara will be attained. Since the tuning has to take effect only in one of the main
via surya_layout
6 mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has main
via surya_layout
7 used the word murchana in the same sense when he says for the Yakşi that again main
via surya_layout
8 and again she forgets the mūrchanā made by herself. main
via surya_layout
9 30. This prescription of establishing the two viņās in sadjagrāma immediately main
via surya_layout
10 after the mention of murchana appears to be rather queer, but the apparent main
via surya_layout
11 repetition could be justified if the mention of 'mūrchanā' is taken to refer to main
via surya_layout
12 equality in tuning, pure and simple and the later mention of sadjagrāma is main
via surya_layout
13 accepted as the specification of tuning. The construction of the sentence main
via surya_layout
14 implying that equal tuning is to be done first and then the viņās have to be main
via surya_layout
15 established in sadjagrāma which itself is a tuning, will have to be ignored as the main
via surya_layout
16 initial reference to tuning is a part of the general prescription about perfect main
via surya_layout
17 equality between the two viņās and the second reference relates to special main
via surya_layout
18 tuning. annotation_inline
parent ligne 17
via heuristic_height
19 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could main
via surya_layout
20 be interpreted in two ways, viz.- main
via surya_layout
21 (a) 'Sruti' could be taken here as standing for sound in general; accordingly, main
via surya_layout
22 the total tuning of each grāma could be referred to as śruti in singular number. main
via surya_layout
23 (b) The interval of sruti perceived through apakarşa (lowering) of pañcama main
via surya_layout
24 is madhyamagrāmikī śruti and the same interval being perceived through the main
via surya_layout
25 utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that main
via surya_layout
26 the utkarşa of pañcama is not actual but only 'resultant' because it comes into main
via surya_layout
27 . annotation_inline
parent ligne 26
via heuristic_height
28 being when all the other svaras are lowered in accordance with the lowering of main
via surya_layout
29 pañcama so that the samvada of şadja-pañcama that was disturbed on account of main
via surya_layout
30 the lowering of pañcama is restored. main
via surya_layout
31 33. In the mention of the restoration of sadjagrāma, the process i.e. the main
via surya_layout
32 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is main
via surya_layout
33 made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the main
via surya_layout
34 augmentation of pañcama. annotation_inline
parent ligne 33
via heuristic_height
35 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by main
via surya_layout
36 one śruti, but this process does not prove the interval of any svaras in terms of main
via surya_layout
37 śruti since there is no svara in this system, that manifests on consecutive śrutis; main
via surya_layout
38 the gap or interval of one śruti is indispensable. main
via surya_layout
39 35. The word 'tadvat' has raised a big controversy among modern scholars. list_item
via surya_layout
40 It has been generally interpreted to mean "in the same manner" literally, giving list_item
via surya_layout
41 the sense that the second step of this process of demonstration of śrutis has to list_item
via surya_layout
42 begin again with the lowering of pañcama. Three opinions are notable in this list_item
via surya_layout
43 context. list_item
via surya_layout
44 (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, list_item
via surya_layout
45 Vol. IV, p. 37). He has inferred that since all the four steps start with the list_item
via surya_layout
46 lowering of pañcama, the value (in pitch) of all the four lowerings is identical list_item
via surya_layout
47 and hence all śrutis are identical according to Bharata. list_item
via surya_layout
48 (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all main
via surya_layout

vol_II_p066 RIGHT — 39 lignes

page vol_II_p066 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1.50 4 1 annotation_inline
parent ligne 5
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 115 page_number
via heuristic_pagenum
4 [Anu. 198] editorial_bracket
parent ligne 5
via heuristic_brackets
5 Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with main
via surya_layout
6 the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- main
via surya_layout
7 śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā main
via surya_layout
8 beginning with sadja obtains. Ārohin is the varņa. Prasannādi 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 [7. Ţakkakaiśika] section_header
via surya_layout
13 Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa main
via surya_layout
14 and concluding note and is weak in the svaras comprised of two śrutis each main
via surya_layout
15 (gāndhāra and niṣāda). main
via surya_layout
16 (326) annotation_inline
parent ligne 15
via heuristic_short
17 [Anu. 199] editorial_bracket
parent ligne 15
via heuristic_brackets
18 Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of main
via surya_layout
19 jātis related to both the grāmas, how is it proper to say that it is related to main
via surya_layout
20 șadjagrāma? [Answer] În its performance pañcama related to four śrutis is editorial_bracket
parent ligne 19
via heuristic_brackets
21 obtained. Pañcama and dhaivata are the two that bring about a distinction main
via surya_layout
22 between the two grāmas. Hence, this rāga is related to sadjagrāma alone on main
via surya_layout
23 account of pañcama being comprised of four śrutis. Dhaivata is the graha, main
via surya_layout
24 amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga) main
via surya_layout
25 is complete in svaras. In the opinion of Kasyapa it becomes auduvita main
via surya_layout
26 (pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is main
via surya_layout
27 prescribed in passionate acting (or dance) and in the entry of a love-lorn one main
via surya_layout
28 and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the main
via surya_layout
29 like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is main
via surya_layout
30 the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
via surya_layout
31 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
via surya_layout
32 obtains in songs comprised of svara and pada. main
via surya_layout
33 [8. Mālavakaisika] section_header
via surya_layout
34 The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša main
via surya_layout
35 and nyāsa and is weak in dhaivata. main
via surya_layout
36 (327) annotation_inline
parent ligne 35
via heuristic_short
37 Some prefer pancama for the function of nyāsa in it and others prefer main
via surya_layout
38 găndhāra, but that is not seen in practice. main
via surya_layout
39 (328) 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_II_p126 RIGHT — 29 lignes

page vol_II_p126 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 235 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [7. Mohini] section_header
via surya_layout
4 Comprised of five padas, endowed with mūrchanā gamaka 74 (?) the main
via surya_layout
5 seventh varņailā should be known as mohinī, the auspicious one. main
via surya_layout
6 (466) annotation_inline
parent ligne 5
via heuristic_short
7 [Thus end the seven varņailās described in a different manner.] editorial_bracket
parent ligne 5
via heuristic_brackets
8 [ E. The Varieties of <i>Deśailā</i>] section_header
via surya_layout
9 The charming and systematic elās become distinct with the respective main
via surya_layout
10 languages of (regions like) Lāṭa, 75 Karnāṭa, 6 Gauda, 77 Āndhra 78 (and) Dravida. 79 main
via surya_layout
11 (467) main
via surya_layout
12 [1, Lāţailā] section_header
via surya_layout
13 Lāṭailā is said to have rhyme (antyaprāsa)80 and is devoid of middle main
via surya_layout
14 alliteration,81 being combined with rasas and bhāvas. main
via surya_layout
15 (468) main
via surya_layout
16 [2. Karņāţailā] section_header
via surya_layout
17 Karņāţikā elā is said to be comprised of charming sounds with beautiful main
via surya_layout
18 alliteration in the beginning, middle and end.82 main
via surya_layout
19 (469) main
via surya_layout
20 [3. Gauḍailā] section_header
via surya_layout
21 Having alliteration everywhere, devoid of gamakas and endowed with main
via surya_layout
22 nāda, bindu<sup>83</sup> and rasa, that is the elā born of gauḍadeśa. main
via surya_layout
23 (470) main
via surya_layout
24 [4. Āndhrailā] section_header
via surya_layout
25 The wise have known andhri to be brimming with many gamakas, mixed main
via surya_layout
26 with many sounds and blended with many rāgas.84 main
via surya_layout
27 (471) main
via surya_layout
28 And the second of the second of the second of the second of the second of the second of the second of the second of the annotation_inline
parent ligne 27
via heuristic_height
29 . . . annotation_inline
parent ligne 27
via heuristic_height

vol_I_p070 RIGHT — 34 lignes

page vol_I_p070 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 1 page_number
via heuristic_pagenum
2 123 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
via surya_layout
4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
via surya_layout
5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
via surya_layout
6 performer), and vartini is moved downwards, visarjitā is moved outwards main
via surya_layout
7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
via surya_layout
8 (179, 180) annotation_inline
parent ligne 7
via heuristic_height
9 upwards, (and) patită reaches (touches) the ground. main
via surya_layout
10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
via surya_layout
11 two viz. kṛṣṇā and padmini27 are also (used). main
via surya_layout
12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
via surya_layout
13 (181) annotation_inline
parent ligne 12
via heuristic_height
14 (Anu. 108) annotation_inline
parent ligne 12
via heuristic_height
15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
via surya_layout
16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
via surya_layout
17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
via surya_layout
18 having the predominance of both is vitti vitti, (and) having the predominance main
via surya_layout
19 of instrument is citrā vṛtti. main
via surya_layout
20 (Anu. 109) annotation_inline
parent ligne 19
via heuristic_height
21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
via surya_layout
22 temporal components in vittis) brought about by pāņi.51 It has been said — main
via surya_layout
23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
via surya_layout
24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
via surya_layout
25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
via surya_layout
26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
via surya_layout
27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
via surya_layout
28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
via surya_layout
29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
via surya_layout
30 (Anu. 110) annotation_inline
parent ligne 29
via heuristic_height
31 The vādya (presentation on instruments) should be done with sama, atīta main
via surya_layout
32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
via surya_layout
33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
via surya_layout
34 110 page_number
via heuristic_pagenum
216 lignes a valider — change uniquement les roles incorrects.