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 20788). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p092 RIGHT — 42 lignes

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1 VIMARŚA annotation_inline
parent ligne 3
via heuristic_height
2 167 page_number
via heuristic_pagenum
3 be completed at niṣāda and there would be no place for kākalī niṣāda directly. main
via surya_layout
4 The word antara in the compound 'antara-mūrchanā' covers both antara main
via surya_layout
5 gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the main
via surya_layout
6 cycle only if the cycle ends with sadja so that the interval between nisāda and main
via surya_layout
7 şadja is covered; if the cycle begins with şadja then its interval from nişāda will main
via surya_layout
8 not be directly covered. The mandala (cycle) beginning with reabha in main
via surya_layout
9 sadjagrāma will cover both the grāmas in the following manner- main
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10 Madhyama-grama annotation_inline
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11 pa annotation_inline
parent ligne 9
via heuristic_height
12 ma annotation_inline
parent ligne 9
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13 Sadja-grama annotation_inline
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14 ga annotation_inline
parent ligne 9
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15 п annotation_inline
parent ligne 9
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16 sa annotation_inline
parent ligne 9
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17 an ga dha unknown
via surya_layout
18 an ga kā ni unknown
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19 ma ni annotation_inline
parent ligne 9
via heuristic_height
20 ga ni unknown
via surya_layout
21 kā ni unknown
via surya_layout
22 dha annotation_inline
parent ligne 9
via heuristic_height
23 pa annotation_inline
parent ligne 9
via heuristic_height
24 пі annotation_inline
parent ligne 9
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25 sa annotation_inline
parent ligne 9
via heuristic_height
26 67, 68. Matanga has used the word grāmaņī ( leader of the village ) only main
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27 once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja- main
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28 grāma and madhyama-grāma respectively. Other svaras are said to be their ( of main
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29 şadja and madhyama) agre-sara; this term could be explained in two ways main
via surya_layout
30 according to the association of agre with time and space. In the context of time main
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31 agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In main
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32 the context of space it stands for 'in front' i.e. before. Other svaras come 'later' main
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33 than şadja and madhyama, because primarily şadja and madhyama have to be main
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34 established or accepted on an arbitrary sound and then the interval of rsabha- main
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35 pañcama could be shown. Thus the other svaras beginning with rşabha and main
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36 pañcama in the two grāmas come 'later'. In the context of space, the other svaras main
via surya_layout
37 come first, agre meaning in front. Monier Williams translates agre-sara as moving main
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38 in front or preceding; here preceding will have to be construed in terms of main
via surya_layout
39 space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa' main
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40 and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are main
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41 'behind' in the sense that they have been accepted or supposed first. The 'first' main
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42 in time comes last in space; e.g. if some beeds are filled up in a bottle, those main
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vol_II_p105 LEFT — 30 lignes

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1 BRHADDESĪ page_header
via surya_layout
2 192 page_number
via heuristic_pagenum
3 उदाहरणम् - मामपामा पापानिधाधा निपापानिपमा रिसानिधापामा सामाधानि धापापापा main
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4 सः annotation_inline
parent ligne 3
via heuristic_height
5 सापानिगारिसा निनीसानिसानिधामा मानिधापापा । आन्ध्री । [५] editorial_bracket
parent ligne 3
via heuristic_brackets
6 गान्धारांशा तु गान्धारी सम्पूर्णा पञ्चमान्तिमा । main
via surya_layout
7 विभाषा र॰सानुरो[हे च] गीयते मालपञ्चमे ॥ १९॥ editorial_bracket
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via heuristic_brackets
8 (?) मालवपञ्चमे annotation_inline
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9 सानुना annotation_inline
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10 उदाहरणम् - गागानिनिधा धाधानिरिरिगा पमागरि रिसनीसासा । धाधासाधानी । सागासा main
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11 निधापापा । गान्धारी । [६] editorial_bracket
parent ligne 10
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12 ॥ इति शार्दुलमते[मालव] पञ्चमभाषा: समाप्ता: ॥ editorial_bracket
parent ligne 10
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13 [४. अथ भित्रपड्जे] section_header
via surya_layout
14 त्रावणी षड्जभाषा च मालवी गुर्जरी तथा । main
via surya_layout
15 बाह्यषाडवकौसल्यौ गान्धारी स्वरविक्रता ॥ २०॥ main
via surya_layout
16 ॰(पौढकौसन्थ्ये ? पाडवकौसल्यौ) परवन्दिता annotation_inline
parent ligne 15
via heuristic_markers
17 लिलता निषादवती तुम्बुरुगिन्धारलिलता । main
via surya_layout
18 निषादवत्या च स्वरगान्धारवर्जिता annotation_inline
parent ligne 17
via heuristic_height
19 [कलिङ्गा चैव शुद्धा च मध्यमा पार्वती तथा] ॥ २१॥ editorial_bracket
parent ligne 17
via heuristic_brackets
20 देशाख्या त्रावणी चैव धैवतान्ताऽल्पषड्जिकारा॥ २२॥ main
via surya_layout
21 नीपोम्प च (?) गीयते annotation_inline
parent ligne 20
via heuristic_short
22 उदाहरणम् - रिरिधाधाधनी नीधाधा । मधानिरिधा धानिनिसानिनि धाधानिधामाधा । निरिधा main
via surya_layout
23 धामधा धानि रिरिनिगामागाधा मारीसानिधानिधा निधामामधा निनिरिधाधा । त्रावणी । [१] editorial_bracket
parent ligne 22
via heuristic_brackets
24 त्रीवणी annotation_inline
parent ligne 22
via heuristic_height
25 धैवताद्यन्तसंयुक्ता मूलभाषा सदुर्बला<sup>२२</sup>। main
via surya_layout
26 तु दुर्बलम् annotation_inline
parent ligne 25
via heuristic_height
27 देवताराधने गीता षड्जभाषा तु षट्स्वरा<sup>२३</sup> ॥ २३॥ main
via surya_layout
28 उदाहरणम् - धानिधाधा । सानिधाधा । समानिधा । मागागामा । निधाधा । गामागामा । main
via surya_layout
29 पा annotation_inline
parent ligne 28
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30 गमाधाधा । गरिसानिधा । पमामा । पामाधानी । धाधा । षड्जभाषा । [२] editorial_bracket
parent ligne 28
via heuristic_brackets

vol_II_p162 RIGHT — 41 lignes

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1 <b>VIMARŚA</b> annotation_inline
parent ligne 3
via heuristic_height
2 307 page_number
via heuristic_pagenum
3 52. The word gamaka seems to stand for shake here. list_item
via surya_layout
4 53. Dānavīra is one of the four varieties of vīra, the other three being list_item
via surya_layout
5 dharmavīra, yuddhavīra and dayāvīra. list_item
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6 54. The import seems to be that śuddha-bhinna has an independent list_item
via surya_layout
7 form and that it is not the modified form of a suddharaga. list_item
via surya_layout
8 55. Here the distinction of a bhinna raga is established only on the list_item
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9 basis of giti or distinctive tonal rendering. list_item
via surya_layout
10 56. Syasthāna is a word used in SR III.140 and III.191-192 in the list_item
via surya_layout
11 context of sthāya and ālapti respectively; it stands for the sections of rāgālapti list_item
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12 formed on the basis of the units of tonal range within an octave, the first unit list_item
via surya_layout
13 being formed in the range from the tonic and from below it upto the svara list_item
via surya_layout
14 preceding the fourth, the second unit touching the fourth, the third list_item
via surya_layout
15 reaching below the octave and the fourth touching the octave. list_item
via surya_layout
16 57. 'Leaving the svasthana' seems to imply that the lower register will list_item
via surya_layout
17 be used in this rāga, as distinct from śuddhakaiśika which is performed with list_item
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18 tāra svaras. Here svasthāna does not seem to signify the units of tonal range list_item
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19 described in note 56 above, rather it appears to mean ' the own sthana or list_item
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20 register' of a raga. list_item
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21 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie list_item
via surya_layout
22 fallacious statement because pañcama is not adjacent to niṣāda. But there list_item
via surya_layout
23 could be a hidden meaning, taking the two grāmas together, as follows - list_item
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24 Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. main
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25 Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. main
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26 Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The main
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27 above statement could be valid in terms of the two grāmas taken together. main
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28 59. The 'omission' of pancama comprised of three śrutis in list_item
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29 ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. list_item
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30 60. 'Mature' karuṇa rasa is a notable expression. list_item
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31 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) list_item
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32 also mentions it while describing the gaudi gita and defines it as the list_item
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33 "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." list_item
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34 62. There is a striking contradiction between the viniyoga or list_item
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35 application in terms of śringāra and the rasas mentioned separately, viz. list_item
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36 bībhatsa and bhayānaka that are incompatible to śṛṅgāra. list_item
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37 63. Here again the viniyoga is given in terms of karuņa and the rasa list_item
via surya_layout
38 is mentioned as vīra in accordance with the amśa that is ṣaḍja. list_item
via surya_layout
39 64. 'Rāga' is another name for vesarā gīti; this alternative name is also list_item
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40 mentioned in later texts like SR II.1.6. The basis of this alternative name as list_item
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41 cited in the name of Kasyapa seems to be that the ragas that are not list_item
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vol_II_p093 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
via surya_layout
2 168 page_number
via heuristic_pagenum
3 उदाहरणम् - धाधासासागधरिगारिसागनिरीसासाधासानीनीनी धाधाधानिधापापामाधासाधा main
via surya_layout
4 निनिधाधापागागाधारिधामामाधा निनिधाधा । दाक्षिणात्या । [२] editorial_bracket
parent ligne 3
via heuristic_brackets
5 धैवताद्यन्तसंयुक्ता गान्धारस्वरभूषिता । main
via surya_layout
6 गन्धारधैवतस्यात्र गमनं दृश्यते घनम् ॥ main
via surya_layout
7 गान्धारो annotation_inline
parent ligne 6
via heuristic_height
8 •क्षेति annotation_inline
parent ligne 6
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9 भाषा ह्येषा तु सङ्कीर्णा गान्धारी समुदाहता ॥ १०७॥ main
via surya_layout
10 हा + annotation_inline
parent ligne 9
via heuristic_height
11 उदाहरणम् – धाधागागागिरिगमगामाधा रिरिरिरगामापामा मापामापामापासगारिरिगागागाधापाधागागा main
via surya_layout
12 रीसासासानिसासानिगामापासासानीगारीमागमागामा मामामानिनिनिन। मधाधाधाधा। गान्धारी । [३] editorial_bracket
parent ligne 11
via heuristic_brackets
13 धैवताद्यन्तसंयुक्ता षाडवा पञ्चमोज्झिता । main
via surya_layout
14 ॰माहिता annotation_inline
parent ligne 13
via heuristic_markers
15 मध्यमर्षभसंवादो द्विश्रुतीनां च गीयते ॥ main
via surya_layout
16 १८विभाषा चैव श्रीकण्ठी प्रयोगे ललितास्तुते ॥ १०८॥ main
via surya_layout
17 ॰कण्ठे annotation_inline
parent ligne 16
via heuristic_markers
18 उदाहरणम् -धानिमागागाधा रिमागागाधा रिमागरिगारिरिगारिरिगामागारिगाधा रिरिरीनिसा- main
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19 निनिधाधा। श्रीकण्ठी । [४] editorial_bracket
parent ligne 18
via heuristic_brackets
20 ९९मध्यमांशा धैवतान्ता ऋषभेण तु दुर्बला । main
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21 (तु) annotation_inline
parent ligne 20
via heuristic_height
22 मध्यमर्षभपञ्चमानां गमनं दृश्यते घनम् ॥१०९॥ main
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23 दुश्यतेन्धनम् annotation_inline
parent ligne 22
via heuristic_height
24 •पञ्चमगमनं annotation_inline
parent ligne 22
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25 एषा विभाषा पौराली रम्या चातिमनोहरा । main
via surya_layout
26 चा(नि?ति) annotation_inline
parent ligne 25
via heuristic_height
27 गीयते नागलोकेन गमकैर्मधुरस्वरा ॥ ११०॥ main
via surya_layout
28 गधकै annotation_inline
parent ligne 27
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29 उदाहरणम् - [मा]पापाधा निनिसासामानिधा पाधाधाधाधा निसारिरिमागारिसारिमागासारिसारि- editorial_bracket
parent ligne 27
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30 मामारिगारिमा सासासासानिनिनिनीधाधा मापामापापापानिनिरिरिसानिधा पाधाधानिनिधा निनिरि- main
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31 <b>₹</b> annotation_inline
parent ligne 30
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32 रिनिरि रिमागारिसा निरिसानिसासानिनिधाधा गमापाधानिनिसानिसानिधाधा। पौराली । [५] editorial_bracket
parent ligne 30
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vol_II_p069 RIGHT — 40 lignes

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1 TRANSLATION page_header
via surya_layout
2 121 page_number
via heuristic_pagenum
3 and hāsya (rasas) and nirvahaṇa (sandhi). Vīra<sup>80</sup> and the like is the rasa. The main
via surya_layout
4 mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa. Prasannamadhya main
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5 is the <i>alankāra. The kalā</i> is formed in the <i>dakṣiṇa (mārga</i>), the <i>kalā</i> obtains main
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6 in the <i>vārtika (mārga</i>) and the <i>kalā</i> prevails in the <i>citra (mārga</i>). A <i>tāla</i> like main
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7 caccatputa obtains in the songs comprised of svara and pada. main
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8 [3. Kakubha] section_header
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9 Kakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama main
via surya_layout
10 as its nyāsa and is formed with dhaivata as the amśa. main
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11 (335) main
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12 [Anu. 206] section_header
via surya_layout
13 Its meaning is thus – Kakubha is related to şadjagrāma. How is it related main
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14 to şadjagrāma alone in spite of being born of madhyamā, pañcamī and main
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15 dhaivatī? On account of pañcama being comprised of four śrutis and main
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16 dhaivata of three śrutis. Dhaivata is its amśa and graha. Pañcama is the nyāsa main
via surya_layout
17 and this (rāga) is complete in svaras. Its application is prescribed in the medium state of karuṇa (rasa). Karuṇa is its main
via surya_layout
18 with dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. main
via surya_layout
19 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika main
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20 (mārga) and the kalā prevails in the citra(mārga). A tāla like caccatupṭa main
via surya_layout
21 obtains in the songs comprised of svara and pada. main
via surya_layout
22 [4. Bhammāṇapañcama] section_header
via surya_layout
23 Bhammāṇapañcama comes of ṣaḍjamadhyamā jāti, has ṣaḍja as its aṅiśa, main
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24 madhyama as nyāsa and treats as sparse the svaras comprised of two śrutis each. main
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25 (336) main
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26 [Anu. 207] section_header
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27 Its meaning is thus – Bhammāṇapañcama is related to madhyamagrāma on main
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28 account of being born of sadja-madhyamā jāti. Şadja is the graha and anisa, main
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29 madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda main
via surya_layout
30 is kākalī here and this (rāga) is complete in svaras. Its application is prescribed main
via surya_layout
31 in (the situation of ) travel on a path in summer, (by those) full of fatigue and main
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32 in (the depiction of) forests. Vīra and the like is the rasa<sup>83</sup>. The mūrchanā main
via surya_layout
33 beginning with ṣadjaobtains. Ārohinisthe varṇa. Prasannamadhya isthe alankāra. main
via surya_layout
34 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) main
via surya_layout
35 and the kalāprevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
via surya_layout
36 comprised of svara and pada. main
via surya_layout
37 [5. Rūpasādhārita] section_header
via surya_layout
38 Rūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis). It has ṣadja as main
via surya_layout
39 its <i>amśa, madhyama</i> as <i>nyāsa</i> and is with sparse <i>pañcama</i> and <i>ṛṣabha.</i> main
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40 (337) main
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185 lignes a valider — change uniquement les roles incorrects.