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 20988). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p029 LEFT — 36 lignes

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1 BRHADDEŠĪ page_header
via surya_layout
2 40 page_number
via heuristic_pagenum
3 ‘‘षट्स्वरा सप्तमे त्वंशे नेष्यते षड्जमध्यमा । main
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4 ९७-र्य annotation_inline
parent ligne 3
via heuristic_short
5 ९९हांशे main
via surya_layout
6 ९८०राः १०००मांशा त unknown
via fallback
7 संवाद्यलोपाद् गान्धारे १०१तद्वदेव हि नेष्यते ॥ main
via surya_layout
8 <sup>९०२</sup>संवादिलोपाद् गान्धारस्तत्रैव न भविष्यति main
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9 गान्धारी-रक्तगान्धारी-कैशिकीनां च पञ्चमम्। main
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10 १०३त व्मः annotation_inline
parent ligne 9
via heuristic_short
11 षड्जायाश्चेव गान्धारमंशकं विद्ध्यषाडवम् ॥ main
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12 १०४वां चैव unknown
via fallback
13 <sup>१०५</sup>विद्धि षाडवम् main
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14 षाडवं धैवते नास्ति षड्जोदीच्य[ां]शके द्विजा:। editorial_bracket
parent ligne 13
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15 <sup>१०६</sup>षाडवे धैवतो १०७पड्जोदीच्यवियोगता main
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16 <sup>१०८</sup>दीच्यामधांशके main
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17 <sup>१०९</sup>[संवाद्यलोपात् सप्तैता: षाट्स्वर्येण विवर्जिता: ॥] editorial_bracket
parent ligne 16
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18 गान्धारी-रक्तगान्धार्यो: षड्जमध्यमपञ्चमा:। main
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19 व्यौ<sup>११०</sup> annotation_inline
parent ligne 18
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20 सप्तमश्चैव विज्ञेया १११ यैस्त्वनौडुवितं भवेत् ॥ main
via surya_layout
21 <sup>११२</sup>सनिपादाश्च विज्ञेया येषु नौडुविते इमे unknown
via fallback
22 <sup>११३</sup>येषु नौडुवितं भवेत् main
via surya_layout
23 द्वौ षड्जमध्यमांशा तु गान्धार: सनिषादवान् । main
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24 न्त्रोपुरेश्४ न्तोऽधरेर५ main
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25 ऋषभश्चेव पञ्चम्यां कैशिक्यां धैवतस्तथा ॥ main
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26 चैव धैवत: annotation_inline
parent ligne 25
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27 <sup>११६</sup>॰क्याक्षैव annotation_inline
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via heuristic_markers
28 एवं च द्वादशैवैते वर्ज्या:११९ पञ्चस्वरे सदा । main
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29 तु११७ व्वेह११८ (र्गा:? ज्यां:) न्या:१२० main
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30 [तास्त्वनौडुविता नित्यं कर्तव्या हि स्वराश्रया: ॥] १२१ editorial_bracket
parent ligne 29
via heuristic_brackets
31 सर्वस्वराणां नाशोऽत्र विहितः सर्वजातिषु । main
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32 <sup>१२२</sup>नाशस्तु विहितस्त्वथ जातिषु main
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33 <sup>१२३</sup>विहितो विनाशस्त्वथ जातिषु main
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34 न मध्यमस्य लोपो हि कर्तव्यस्तु कदाचन ॥ main
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35 १२४नाशस्तु कर्तव्यो हि main
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36 <sup>१२५</sup>मध्यमस्य विनाशस्तु कर्तव्यो न main
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vol_I_p093 RIGHT — 44 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA main
via surya_layout
2 169 page_number
via heuristic_pagenum
3 6, 7. The author seems to be speaking of svara at the same level at which list_item
via surya_layout
4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
parent ligne 28
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
via surya_layout
32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
via surya_layout
33 are primary units of pada. Hence the combination of svara with pada is spoken main
via surya_layout
34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
via surya_layout
36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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vol_II_p110 LEFT — 25 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 202 page_number
via heuristic_pagenum
3 [२. माङ्गाली] section_header
via surya_layout
4 गान्धारग्रहन्यासा च षड्जांशा तारवर्जिता । main
via surya_layout
5 समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥ editorial_bracket
parent ligne 4
via heuristic_brackets
6 सिका annotation_inline
parent ligne 4
via heuristic_height
7 षड्जांशा धग्रहन्यासा धमन्द्रा तारतत्परा । main
via surya_layout
8 समस्वरा च सम्पूर्णा माङ्गाली गीयते जनै:८॥ ३५५॥ main
via surya_layout
9 (पी?गी)॰ annotation_inline
parent ligne 8
via heuristic_markers
10 [३. भम्माणिका] section_header
via surya_layout
11 पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका । main
via surya_layout
12 रिहीना च धगस्वल्पा ज्ञेया भम्माणिका बुधै: १॥ ३५६॥ main
via surya_layout
13 [४. पुलिन्दिका] section_header
via surya_layout
14 षड्जांशा धैवतन्यासा गपहीना पुलिन्दिका । main
via surya_layout
15 +ग्रहन्यासा annotation_inline
parent ligne 14
via heuristic_height
16 षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥ main
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17 ॰संघादा annotation_inline
parent ligne 16
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18 [५. गान्धारसिन्धुः ] section_header
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19 १९गान्धारसिन्धुः .....॥ ३५८॥ main
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20 [६. कार्णाटी] section_header
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21 १२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा । main
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22 समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥ main
via surya_layout
23 नामत(द्भ?भ)वेत् annotation_inline
parent ligne 22
via heuristic_short
24 ॥ इति मतङ्गमुनिविरचितबृहद्देश्यां देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥ editorial_bracket
parent ligne 22
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25 भाषालक्ष(णो?णा) main
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vol_II_p124 RIGHT — 29 lignes

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1 TRANSLATION page_header
via surya_layout
2 231 page_number
via heuristic_pagenum
3 [4. Mālatī] section_header
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4 The elā composed with long and short (syllables), 64 adorned with sweet main
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5 sounds, similarly straight, having profuse gamakas and alankāras (and) beautiful, main
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6 is mālatī. annotation_inline
parent ligne 5
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7 (452) main
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8 [5. Lalitā] section_header
via surya_layout
9 This <i>lalitā</i> (<i>elā</i>) should be sung by the <i>gandharvas</i> with graceful regulation main
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10 of syllables. (Its) two feet are like the first one, combined with gamakas and main
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11 hindu-mūrchanā.65 annotation_inline
parent ligne 10
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12 (453) main
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13 [6. Hemavatī] section_header
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14 (It) is with graceful pada, ends in biruda and similarly there is gamaka main
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15 placed on the yati. 66 This is the order of the (first) two feet, then there is the main
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16 name of the object of description. main
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17 (454) main
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18 [7. Kusumavatī?] section_header
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19 Where that (third foot) composed with textual units comprised of short main
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20 syllables, is sung again after having sung the name of the singer (composer) main
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21 'preceded' (accompanied) by the description of the play of valour and the like, main
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22 that has been said to be <i>varṇailā</i> by Matanga<sup>67</sup> according to the accepted order. main
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23 Where the respectability brought about by the description of glory, enthusiasm, main
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24 steadfastness and the like is seen in a definite order, that is said to be varyailā. It main
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25 is sung in tālas like maņļha, dvitīya, kankāla (and) įmatitāla. main
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26 <math>(455-457)</math> main
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27 This is one manner in which (varnaila) has been described clearly, now the main
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28 seven varnailās are being described in a way similar (samarasa) to the same. main
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29 (458) main
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vol_I_p092 RIGHT — 42 lignes

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L#Texte OCRRole autoCorriger si incorrect
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
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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
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8 not be directly covered. The mandala (cycle) beginning with reabha in main
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9 sadjagrāma will cover both the grāmas in the following manner- main
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10 Madhyama-grama annotation_inline
parent ligne 9
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11 pa annotation_inline
parent ligne 9
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12 ma annotation_inline
parent ligne 9
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13 Sadja-grama annotation_inline
parent ligne 9
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14 ga annotation_inline
parent ligne 9
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15 п annotation_inline
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16 sa annotation_inline
parent ligne 9
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17 an ga dha unknown
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18 an ga kā ni unknown
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19 ma ni annotation_inline
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20 ga ni unknown
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21 kā ni unknown
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22 dha annotation_inline
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23 pa annotation_inline
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24 пі annotation_inline
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25 sa annotation_inline
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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
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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
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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
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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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176 lignes a valider — change uniquement les roles incorrects.