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 21197). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p052 RIGHT — 41 lignes

page vol_I_p052 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 87 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 When in the gita (melodic rendering) the svaras move (to and fro) in main
via surya_layout
4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
via surya_layout
5 the beginning of the succeeding phrase), or two by two, that is known as the main
via surya_layout
6 (119) annotation_inline
parent ligne 5
via heuristic_height
7 sañcārin9 (circulatory) varņa. annotation_inline
parent ligne 5
via heuristic_height
8 (Anu. 65) section_header
via surya_layout
9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
via surya_layout
10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
via surya_layout
11 is formed). annotation_inline
parent ligne 10
via heuristic_height
12 (Anu. 66) section_header
via surya_layout
13 Where the svaras of the gita ascend one by one or with intervening gaps, main
via surya_layout
14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
via surya_layout
15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
via surya_layout
16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
via surya_layout
17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
via surya_layout
18 (ascending) varņa (comes into being). main
via surya_layout
19 Where the svaras descend in one order alone, that is called avarohin with main
via surya_layout
20 (120) annotation_inline
parent ligne 19
via heuristic_height
21 'equal' (gapless) svaras (or) with gaps. annotation_inline
parent ligne 19
via heuristic_height
22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
via surya_layout
23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
via surya_layout
24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
via surya_layout
25 Hence it has been said - annotation_inline
parent ligne 24
via heuristic_height
26 "These varnas ought to be known for the sake of the structuring" of main
via surya_layout
27 alankāras and the like, as being born of svaras produced by the human body 12 main
via surya_layout
28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
via surya_layout
29 (Anu. 67) section_header
via surya_layout
30 How is varna brought about? It is being answered. When the svaras stretch main
via surya_layout
31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
via surya_layout
32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
via surya_layout
33 melodic movement) is effected. annotation_inline
parent ligne 32
via heuristic_height
34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
via surya_layout
35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
via surya_layout
36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
via surya_layout
37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
via surya_layout
38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
via surya_layout
39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
via surya_layout
40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
via surya_layout
41 These varņas obtain also in the wooden20 (viņā), just as they are main
via surya_layout

vol_I_p068 LEFT — 34 lignes

page vol_I_p068 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESI page_header
via surya_layout
2 118 page_number
via heuristic_pagenum
3 सरिमपपमरिस । रिगपधधपगरि । गमधनिनिधमग । main
via surya_layout
4 मपनिससनिपम। सनिपममपनिस। निधमगगमधनि। main
via surya_layout
5 धपगरिरिगपध। पमरिससरिमप। उद्घट्टितः [ २५ ] editorial_bracket
parent ligne 4
via heuristic_brackets
6 सिरिग्। रिग्म। गमप्। मप्ध। पधनि। धनिस। सनिध। निधप। धपम। main
via surya_layout
7 पमग्। मगरि। गरिस। आक्षिप्तकः [ २६ ] editorial_bracket
parent ligne 6
via heuristic_brackets
8 सगमा मरिसा। रिमपा पगरी। गपधा धमगा। main
via surya_layout
9 मधनी निपमा। पनिसा सधपा। धनिसा। सधपा पनिसा। main
via surya_layout
10 निपमा मधनी। धमगा गपधा। पगरी रिमपा। main
via surya_layout
11 मरिसा सगमा। गरिसा। सम्प्रदानमः [ २७ ] editorial_bracket
parent ligne 10
via heuristic_brackets
12 。नम् annotation_inline
parent ligne 10
via heuristic_height
13 सगम मरिस। रिमप पगरि-- - - - - - - unknown
via fallback
14 VII [ पदगीतिप्रकरणम् ] section_header
via surya_layout
15 अलङ्कारा मया प्रोक्ता यथावन्मुनिसत्तम main
via surya_layout
16 1अथ गीतिं प्रवक्ष्यामि छन्दोऽक्षर- [ समन्विताम् ] ॥१७०॥ editorial_bracket
parent ligne 15
via heuristic_brackets
17 प्रथमा मागधी जेया द्वितीया चार्धमागधी । main
via surya_layout
18 सम्भाविता तृतीया च चतुर्थी पृथुला स्मृता ॥१७१॥ main
via surya_layout
19 थित्रिर्निवृत्ता च या गीतिः सा गीतिर्मागधी स्मृता । main
via surya_layout
20 अर्धकालनिवृत्ता च विज्ञेया त्वर्धमागधी ॥१७२॥ main
via surya_layout
21 सम्भाविता च विज्ञेया गुर्वक्षरसमन्विता । main
via surya_layout
22 पृथुलास्या च विज्ञेया लघ्वक्षरसमन्विता ॥१७३॥ main
via surya_layout
23 [ अनु₀ १०४ ] editorial_bracket
parent ligne 22
via heuristic_brackets
24 दक्षिणे मार्गे पृथुला गीति [:], वार्तिक मार्गे सम्भाविता, चित्रे मार्गे editorial_bracket
parent ligne 22
via heuristic_brackets
25 र्मा. annotation_inline
parent ligne 22
via heuristic_height
26 <b>,</b>† annotation_inline
parent ligne 22
via heuristic_height
27 र्गा annotation_inline
parent ligne 22
via heuristic_height
28 मागधी । अष्टौ ३ मात्रा [ दक्षिणमार्गे, चतस्रो मात्रा editorial_bracket
parent ligne 22
via heuristic_brackets
29 .धिः annotation_inline
parent ligne 22
via heuristic_height
30 वार्तिकमार्गे, द्वे मात्रे चित्रमार्गे ] कलाप्रयोगक्रमेण । editorial_bracket
parent ligne 22
via heuristic_brackets
31 ⁴ताल. annotation_inline
parent ligne 22
via heuristic_height
32 चित्रे चैककले ताले विज्ञेया गीतिर्मागधी । main
via surya_layout
33 वार्तिक द्विकले ज्ञेया गीतिः सम्भाविता बुधैः ॥१७४॥ unknown
via fallback
34 .ला annotation_inline
parent ligne 32
via heuristic_height

vol_II_p027 RIGHT — 38 lignes

page vol_II_p027 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 37 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [ Anu. 136] editorial_bracket
parent ligne 4
via heuristic_brackets
4 This means that kaiśikī, raktagāndhārī and gāndhārī, these three jātis do main
via surya_layout
5 not become ṣāḍava on account of (the omission of) ṛṣabha, on pañcama main
via surya_layout
6 being the amśa, because of the negation of the omission of the samvādī of main
via surya_layout
7 the amśa. Similarly, ṣāḍjī does not become ṣāḍava through (the omission main
via surya_layout
8 of) niṣāda, on gāndhāra being the aniśa (and) ṣadjodīcyavā should be known main
via surya_layout
9 as not being ṣāḍava through (the omission of) ṛṣabha, on dhaivata being the main
via surya_layout
10 ainsa. Now the giving up of the formation of auduvita that is obtained (due main
via surya_layout
11 to presription) is being prohibited (lit. its giving up is being prescribed). main
via surya_layout
12 In gāndhārī and raktagāndhārī, ṣaḍja, madhyama (and) pañcama alongwith main
via surya_layout
13 niṣāda are known as the amśas in which the formation of auduvita does not main
via surya_layout
14 operate. annotation_inline
parent ligne 13
via heuristic_height
15 (254) annotation_inline
parent ligne 13
via heuristic_height
16 [ Anu. 137 ] editorial_bracket
parent ligne 13
via heuristic_brackets
17 (Contention) annotation_inline
parent ligne 13
via heuristic_height
18 And this is incongruous because the formation of auduvita is not main
via surya_layout
19 obtained (through prescription). Truly has this been said. By the main
via surya_layout
20 statement negating the formation of auduvita, the auduvita obtained on main
via surya_layout
21 account of precription alone is prohibited. main
via surya_layout
22 In ṣadjamadhyamā jāti, gāndhāra and then niṣāda and then in kaiśikī and main
via surya_layout
23 dhaivatī, dhaivata and ṛṣabha respectively (are the svaras that are not main
via surya_layout
24 omitted for making auduva forms of the respective jātis when the above are main
via surya_layout
25 aniśas). annotation_inline
parent ligne 24
via heuristic_height
26 (255) annotation_inline
parent ligne 24
via heuristic_height
27 [ Anu. 138 ] editorial_bracket
parent ligne 24
via heuristic_brackets
28 This means that in ṣadjamadhyamā, gāndhāra and then niṣāda are not main
via surya_layout
29 entitled to form auduvita. Dhaivatain kaiśikī and ṛṣabhain pañcamī are not main
via surya_layout
30 entitled to form auduvita. The prohibition applies only to the auduvita that main
via surya_layout
31 is obtained through prescription. And the state of being anisa is being main
via surya_layout
32 hypothetically considered without its being obtained (?) main
via surya_layout
33 Now, he (the author) draws out the svaras that do not become exceptions main
via surya_layout
34 in the formation of ṣāḍava and auḍuvita. main
via surya_layout
35 Forty-seven (svaras) are to be applied in the formation of ṣāḍava. main
via surya_layout
36 (256) annotation_inline
parent ligne 35
via heuristic_height
37 [ Anu. 139] editorial_bracket
parent ligne 35
via heuristic_brackets
38 This means that in the formation of ṣāḍava, forty-seven ainśas are to be main
via surya_layout

vol_II_p065 RIGHT — 37 lignes

page vol_II_p065 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 113 page_number
via heuristic_pagenum
3 [5. Boţţa-rāga] section_header
via surya_layout
4 Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī, main
via surya_layout
5 has pañcama as its amsa and madhyama as the concluding note. main
via surya_layout
6 (324) annotation_inline
parent ligne 5
via heuristic_height
7 [Anu. 196] section_header
via surya_layout
8 This means-bottarāga is related to ṣaḍjagrāma on account of being born of main
via surya_layout
9 şadjamadhyamā and pancamī jātis. Although it is born of two jātis arising out main
via surya_layout
10 of the two grāmas, yet it is related to sadjagrāma because of pañcama being main
via surya_layout
11 comprised of four śrutis. Pañcama is the graha and aniśa, madhyama the nyāsa. main
via surya_layout
12 There is sparseness of niṣāda and gāndhāra. Niṣāda is kākalī here and this main
via surya_layout
13 (rāga) is complete in svaras. Its application is prescribed in festivities. main
via surya_layout
14 Śānta<sup>69</sup> and the like is the rasa. The mūrchanā beginning with paūcama main
via surya_layout
15 obtains. Ārohin is the varņa. Prasannānta is the alankāra. The kalā is formed main
via surya_layout
16 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), and the kalā main
via surya_layout
17 prevails in the citra (mārga). A tāla like caccatpuţa obtains in songs comprised main
via surya_layout
18 of svara and pada. annotation_inline
parent ligne 17
via heuristic_height
19 [6. Hindola] section_header
via surya_layout
20 Hindolais combined with ṣaḍja as amśa and nyāsa, is devoid of dhaivata and main
via surya_layout
21 ṛṣabha and is formed with jātis excepting dhaivatī and ārṣabhī, in drama. main
via surya_layout
22 (325) annotation_inline
parent ligne 21
via heuristic_height
23 [Anu. 197] section_header
via surya_layout
24 This means -hindolaka is related to madhyamagrāma. (Contention) Its main
via surya_layout
25 relation with the two grāmas alone is proper on account of its being born of main
via surya_layout
26 all the jātis (of both the grāmas) bearing the names of svaras excluding main
via surya_layout
27 dhaivatī and ārṣabhī and carrying the residue of relationship with ṣaḍjagrāma. main
via surya_layout
28 Why is it said to be based on madhyamagrāma? (Answer) On account of its main
via surya_layout
29 being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone main
via surya_layout
30 is justified because authorities like Bharata and Kohala have treated the main
via surya_layout
31 omission of dhaivata and ṛṣabha in ṣadjagrāma as undesirable.70 main
via surya_layout
32 Some hold that it is based in sadjagrāma alone because pañcama comprised main
via surya_layout
33 of four śrutis is obtained here. The inomissibility of dhaivata should be main
via surya_layout
34 viewed only with respect to tāna and does not hold good everywhere. This main
via surya_layout
35 is improper. If this be so, then there would be no distinction between grāma main
via surya_layout
36 and mürchanā<sup>71</sup> annotation_inline
parent ligne 35
via heuristic_height
37 , annotation_inline
parent ligne 35
via heuristic_height

vol_I_p093 RIGHT — 44 lignes

page vol_I_p093 RIGHT
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
via surya_layout
5 of philosophy, e.g. grammar, mimāmsā. list_item
via surya_layout
6 8. The infinity of svara, as propounded here, could be understood in two list_item
via surya_layout
7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
via surya_layout
8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
via surya_layout
9 various relationships between svaras established on account of variety of list_item
via surya_layout
10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
via surya_layout
11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
via surya_layout
12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
via surya_layout
13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
via surya_layout
14 could be inferred on the basis of its derivative bhāṣā. list_item
via surya_layout
15 9. The statement that svaras are combined with padas means that syllabic list_item
via surya_layout
16 units are combined with svaras when the latter are rendered. These (units) list_item
via surya_layout
17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
via surya_layout
18 is concerned. Pada has been thus defined by Bharata - list_item
via surya_layout
19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
via surya_layout
20 ( NŚ XXXII, 28 ab ) annotation_inline
parent ligne 19
via heuristic_short
21 "Whatever is formulated with syllables, all that is called pada". main
via surya_layout
22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
via surya_layout
23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
via surya_layout
24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
via surya_layout
25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
via surya_layout
26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
via surya_layout
27 wind instruments, accompanied by voice )- main
via surya_layout
28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
via surya_layout
29 ( NŚ XXXI, 104 ) annotation_inline
parent ligne 28
via heuristic_short
30 It will be seen that these are formulated units of four-matras (time-units) main
via surya_layout
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
via surya_layout
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
via surya_layout
37 the respective section. list_item
via surya_layout
38 11. The prescription of the use of specific svaras in the context of different list_item
via surya_layout
39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
via surya_layout
40 prescription in our text later in this section. list_item
via surya_layout
41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
via surya_layout
42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
via surya_layout
43 a limited time and space and not for all times or everywhere, it could not be list_item
via surya_layout
44 said to be indestructible or all-pervading. list_item
via surya_layout
194 lignes a valider — change uniquement les roles incorrects.