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 21162). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_II_p122 RIGHT — 28 lignes

page vol_II_p122 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 227 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [General Prescription] section_header
via surya_layout
4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
via surya_layout
5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
via surya_layout
6 (439) annotation_inline
parent ligne 5
via heuristic_short
7 Then one should properly put in the name of the one being described. It main
via surya_layout
8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
via surya_layout
9 comes after this. annotation_inline
parent ligne 8
via heuristic_short
10 (440) main
via surya_layout
11 Thus ends the fourfold ganaila. main
via surya_layout
12 [5. Saṅkarailā] section_header
via surya_layout
13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
via surya_layout
14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
via surya_layout
15 said to be named sankara. main
via surya_layout
16 (441) annotation_inline
parent ligne 15
via heuristic_short
17 [Thus ends gaņailā.] editorial_bracket
parent ligne 15
via heuristic_brackets
18 [B. The varieties of Mātrailā] section_header
via surya_layout
19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
via surya_layout
20 of) mātrailā spoken of by Vallabha.54 main
via surya_layout
21 (442) main
via surya_layout
22 [1. Raulekhā] section_header
via surya_layout
23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
via surya_layout
24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
via surya_layout
25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
via surya_layout
26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
via surya_layout
27 ratilekhā by the experts in the science of music (gītaśāstra). main
via surya_layout
28 <math>(443-444)</math> main
via surya_layout

vol_II_p052 RIGHT — 34 lignes

page vol_II_p052 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 87 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly, main
via surya_layout
4 also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about main
via surya_layout
5 the bhinnaones. annotation_inline
parent ligne 4
via heuristic_height
6 (293) annotation_inline
parent ligne 4
via heuristic_height
7 Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named main
via surya_layout
8 bhinnapañcama, and the fifth is bhinnakaiśika. main
via surya_layout
9 (294) annotation_inline
parent ligne 8
via heuristic_height
10 One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are main
via surya_layout
11 said to be the three gaudas. main
via surya_layout
12 (295) annotation_inline
parent ligne 11
via heuristic_height
13 Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly main
via surya_layout
14 the other one is hindolaka, ţakkakaiśika has thus been said, similarly main
via surya_layout
15 mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of main
via surya_layout
16 by their names, by the excellent munis. main
via surya_layout
17 <math>(296-297)</math> annotation_inline
parent ligne 16
via heuristic_height
18 Narta, the one named śaka, kakubha, similarly harmāṇapañcama and main
via surya_layout
19 itself, similarly gändhärapañcama and the one named main
via surya_layout
20 rūpasādhārita annotation_inline
parent ligne 19
via heuristic_height
21 ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas). main
via surya_layout
22 (298) annotation_inline
parent ligne 21
via heuristic_height
23 [Thus is the number and nomenclature of rāgas] editorial_bracket
parent ligne 21
via heuristic_brackets
24 [The specific description of ragas] section_header
via surya_layout
25 [A. Out of them śuddharagas] section_header
via surya_layout
26 Now he (the author) has spoken about the description of suddha (rāgas)- main
via surya_layout
27 Those that are in accordance with their 'own' jāti 31 (from which they are main
via surya_layout
28 born), without any reference to other jātis and those that are one out of the main
via surya_layout
29 many (individual forms) of their own jāti, they are called śuddha (rāgas). main
via surya_layout
30 (299) annotation_inline
parent ligne 29
via heuristic_height
31 [1. Suddhaşādava] section_header
via surya_layout
32 [Anu. 164] editorial_bracket
parent ligne 31
via heuristic_brackets
33 Why is sadava so called? Is it because it is sung with six svaras and is hence main
via surya_layout
34 ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas? main
via surya_layout

vol_I_p103 RIGHT — 49 lignes

page vol_I_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that list_item
via surya_layout
4 whatever pattern is established in an alankāra it should be followed all-through. list_item
via surya_layout
5 If varna is taken to stand for syllabic unit, then the conflict and its prohibition list_item
via surya_layout
6 become clear. list_item
via surya_layout
7 118. Using an alankāra without a varņa ( melodic movement ) is a list_item
via surya_layout
8 contradiction in itself; here also, as above (note 117) the idea seems to be that list_item
via surya_layout
9 an alankāra should not be used without establishing a definite pattern. Here list_item
via surya_layout
10 varna as a syllabic unit does not seem to be relevant. list_item
via surya_layout
11 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in list_item
via surya_layout
12 relation to varna (the syllabic unit) have been figuratively spoken of as—(i) list_item
via surya_layout
13 the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it list_item
via surya_layout
14 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom list_item
via surya_layout
15 (like a flower on a creeper) and (iv) it makes the varna colourful or delightful list_item
via surya_layout
16 (like an ornament on a woman). list_item
via surya_layout
17 120. It is notable that all illustrations begin with sadja and do not extend list_item
via surya_layout
18 beyond the tāra şadja. list_item
via surya_layout
19 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. list_item
via surya_layout
20 Section VII ( Pada-giti ) section_header
via surya_layout
21 1,2,3. Giti literally means song or the act of singing, but here it stands for list_item
via surya_layout
22 specific pattern of singing with reference to the text of the song as manifest in list_item
via surya_layout
23 its syllabic units (akşara) and metre (chandas). NŠ mentions only these four list_item
via surya_layout
24 gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to list_item
via surya_layout
25 distinguish between these two types of gitis, the first type being related to the list_item
via surya_layout
26 rendering of text and the second type being related to the rendering of raga, we list_item
via surya_layout
27 have qualified the gitis under reference with pada, and the gitis of raga list_item
via surya_layout
28 classification will be qualified with svara or raga. list_item
via surya_layout
29 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means list_item
via surya_layout
30 descent (of svaras); here it means repetition. list_item
via surya_layout
31 5. Nivitta lit. means receded or held back as opposed to pravitta meaning list_item
via surya_layout
32 proceeded or set forth. Here it means accomplished or completed. list_item
via surya_layout
33 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system list_item
via surya_layout
34 which represent three 'degrees' of length of a given tāla-cycle, depending on list_item
via surya_layout
35 the duration of kalā or standard time-unit, as follows - list_item
via surya_layout
36 Duration of kalā section_header
via surya_layout
37 Name of marga section_header
via surya_layout
38 2 mātrās annotation_inline
parent ligne 37
via heuristic_height
39 1. Citra main
via surya_layout
40 4 mātrās annotation_inline
parent ligne 39
via heuristic_short
41 2. Vārtika or vṛtti main
via surya_layout
42 8 mātrās annotation_inline
parent ligne 41
via heuristic_height
43 3. Daksina unknown
via fallback
44 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika main
via surya_layout
45 and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 main
via surya_layout
46 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three main
via surya_layout
47 (vide) annotation_inline
parent ligne 46
via heuristic_height
48 T 1 annotation_inline
parent ligne 46
via heuristic_height
49 (vide) annotation_inline
parent ligne 46
via heuristic_height

vol_II_p103 RIGHT — 32 lignes

page vol_II_p103 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 189 page_number
via heuristic_pagenum
3 panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. main
via surya_layout
4 Ravicandrā [ii] editorial_bracket
parent ligne 3
via heuristic_brackets
5 Having madhyama as amśa and ṣaḍja as the concluding note, (that which) main
via surya_layout
6 is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is main
via surya_layout
7 bhinnapaurālī bhāṣā, always sung with proper svaras. main
via surya_layout
8 (10) annotation_inline
parent ligne 7
via heuristic_short
9 Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā main
via surya_layout
10 maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] editorial_bracket
parent ligne 9
via heuristic_brackets
11 Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā) main
via surya_layout
12 born of drāvida region is always sung in the (context of the ) search on the main
via surya_layout
13 part of one who has lost his way.8 main
via surya_layout
14 (11) annotation_inline
parent ligne 13
via heuristic_short
15 Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā main
via surya_layout
16 nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] editorial_bracket
parent ligne 15
via heuristic_brackets
17 Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā main
via surya_layout
18 pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by main
via surya_layout
19 Umādevī.9 annotation_inline
parent ligne 18
via heuristic_short
20 (12) main
via surya_layout
21 Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā. main
via surya_layout
22 <math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā. main
via surya_layout
23 Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] editorial_bracket
parent ligne 22
via heuristic_brackets
24 Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous main
via surya_layout
25 region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) main
via surya_layout
26 women excelling in bashfulness or men excelling in fame.<sup>10</sup> main
via surya_layout
27 (13) annotation_inline
parent ligne 26
via heuristic_short
28 Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani main
via surya_layout
29 sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. main
via surya_layout
30 Risāmāgāri sānīsāsāsā. Pārvatī [vi] editorial_bracket
parent ligne 29
via heuristic_brackets
31 Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to main
via surya_layout
32 the opinion of Śārdūla. main
via surya_layout
177 lignes a valider — change uniquement les roles incorrects.