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 21252). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p116 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESĪ page_header
via surya_layout
2 214 page_number
via heuristic_pagenum
3 [१५. हयलीला] section_header
via surya_layout
4 अर्धं यत्र स्वरैगींत्वा यस्यास्तुरगलीलया । main
via surya_layout
5 अ(र्थ ?र्ध) annotation_inline
parent ligne 4
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6 (নু) annotation_inline
parent ligne 4
via heuristic_height
7 गीयते बिरुदैरर्धं हयलीलेति सा स्मृता<sup>र७</sup> ॥३९७॥ main
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8 नीर (थं ?धं) main
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9 [१६. गजलीला] section_header
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10 हयलीलाकृतं सर्वं तालस्तु गजलीलक:। main
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11 तालोऽपि annotation_inline
parent ligne 10
via heuristic_height
12 गज्ञ annotation_inline
parent ligne 10
via heuristic_height
13 क्रियते यत्र सा ज्ञेया गजलीलेति नामतः १८॥३९८॥ main
via surya_layout
14 [१७. सिंहलील:] section_header
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15 छन्दसा सिंहलीलेन स्वरतेनकसंयुत:। main
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16 ॰लीलेत स्थ(र?रा)न्तेनतसंयुत: annotation_inline
parent ligne 15
via heuristic_markers
17 गीयते यस्तु बिरुदै: स भवेत् सिंहलीलक: १९॥३९९॥ main
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18 न्तै: annotation_inline
parent ligne 17
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19 [१८. शरभलील:] section_header
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20 स्वरपाटैर्निबद्धं च भवेद्यत्र पदाष्टकम् । main
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21 मतः शरभलीलोऽसौ रागतालाष्ट्रकान्वितः २०॥४००॥ main
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22 [१९. शुकचञ्चु:] section_header
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23 आदौ राग: सगमकस्तालेन तु समन्वित:। main
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24 स(ग)मक annotation_inline
parent ligne 23
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25 स्वरपाटै: प्रगीतस्तु नानादेशादिभाषया ॥ main
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26 गीयते यः स उद्दिष्टः शुकचञ्जूर्जनप्रियः ॥ ४०१॥ main
via surya_layout

vol_II_p022 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 26 page_number
via heuristic_pagenum
3 गान्धार्या द्वावनंशौ च हेयावृषभधैवतौ । main
via surya_layout
4 <sup>६८</sup>षु (गेआ?हेपा) main
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5 क्रमात्रित्यं त्वपन्यासौ विज्ञेयौ षड्जपञ्चमौ ॥२२२॥ main
via surya_layout
6 ६९ल्यमफ annotation_inline
parent ligne 5
via heuristic_short
7 धैवतादृषभं गच्छेदेवं भ स्यात् सर्वमेव तत् । main
via surya_layout
8 तुष्ध unknown
via fallback
9 (व?वं) main
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10 प्रायशो रक्तगान्धार्यामपन्यासस्तु मध्यम: ॥२२३॥ main
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11 ७२०यां अ annotation_inline
parent ligne 10
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12 (मा/प:) main
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13 बहुप्रयोग: कर्तव्यो धैवतोऽथ निषादवान् । main
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14 षड्जगान्धारसञ्चार: कार्यश्चास्यां प्रयोक्तभि: ॥२२४॥ main
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15 (जं?ज) annotation_inline
parent ligne 14
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16 (₹?₹:) main
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17 श्स्याः annotation_inline
parent ligne 16
via heuristic_height
18 गान्धारोदीच्यवा प्राय: षड्जोदीच्यवतीसमा । main
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19 (य?य:) annotation_inline
parent ligne 18
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20 षड्जश्च मध्यमश्चांशौ न चौडुवितमिष्यते ॥२२५॥ main
via surya_layout
21 0130 page_number
via heuristic_pagenum
22 पञ्चांशा मध्यमायास्तु ज्ञेया द्विश्रुतिवर्जिता:। main
via surya_layout
23 क्रमात् ताभ्यां च हीनत्वं बहुलौ षड्जमध्यमौ ॥२२६॥ main
via surya_layout
24 (मी) annotation_inline
parent ligne 23
via heuristic_short
25 गान्धारोदीच्यवावतु मध्यमोदीच्यवा भवेत्। main
via surya_layout
26 (तुल्या मध्यमोदीच्यवा) main
via surya_layout
27 साप्तस्वर्यं तु नित्यं स्यादस्यामंशस्तु पञ्चम: ॥२२७॥ main
via surya_layout
28 पञ्चम्यां गुरुभि: प्रोक्तावंशावृषभपञ्चमौ । main
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29 •धेवती<sup>७३</sup> annotation_inline
parent ligne 28
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30 <sup>७४</sup>सनिषादावपन्यासौ मध्यमर्षभसंगति: ॥२२८॥ main
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31 समध्यमाः annotation_inline
parent ligne 30
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32 षड्जमध्यमगान्धारा अल्पाश्च परिकोर्तिता: । main
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33 <b>ल्लु<sup>७५</sup>,</b> main
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34 स्यात्रिषादाच्च गान्धारो मध्यमावच्च हीनता ॥२२९॥ main
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35 अल्पस्य परिकोर्तिता annotation_inline
parent ligne 34
via heuristic_short
36 स्यात्रिपादाच्य + + + मध्यमा चच्च होनता(?) । main
via surya_layout

vol_I_p055 RIGHT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 93 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 (Anu. 75) annotation_inline
parent ligne 4
via heuristic_height
4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
via surya_layout
5 șadja and the like, having touched the octave36 (tara) of that like fire and main
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6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
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7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
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8 <b>(6)</b> annotation_inline
parent ligne 7
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9 (Anu. 76) annotation_inline
parent ligne 7
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10 Having touched (a svara) for the interval of one kalā (time-unit), on main
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11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
via surya_layout
12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
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13 <b>(7)</b> annotation_inline
parent ligne 12
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14 nivṛttapravṛtta. annotation_inline
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15 (Anu. 77) annotation_inline
parent ligne 12
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16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
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17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
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18 (8) annotation_inline
parent ligne 17
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19 (Anu 78) annotation_inline
parent ligne 17
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20 On account of the shake of (svara having) three srutis in the lower heptad, main
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21 kampita (is formed), that is composed of three kalās (time-units). As - main
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22 <b>(9)</b> annotation_inline
parent ligne 21
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23 sarigamapadhanisa,42 thus is (ends) kampita. main
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24 (Anu. 79) annotation_inline
parent ligne 23
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25 On account of the shake of (svara having) three śrutis 43 in the middle main
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26 heptad kuharita (is formed), that is composed of three kalās. As - main
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27 (10) annotation_inline
parent ligne 26
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28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
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29 (Anu. 80) annotation_inline
parent ligne 28
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30 On account of the shake of (svara having) three śrutis in the higher main
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31 heptad, recita (is formed), that is composed of three kalās. As - main
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32 (11) annotation_inline
parent ligne 31
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33 sarigamapadhanisa 45 Thus is (ends) recita. main
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34 (Anu. 81) annotation_inline
parent ligne 33
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35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
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36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
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vol_II_p055 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 93 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 [Anu. 169] editorial_bracket
parent ligne 4
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4 It means - the rāga called śuddhakaiśika is related to madhyamagrāma on main
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5 account of being born of kaišikī and kārmāravī jātis. Tāra (high) şadja is its main
via surya_layout
6 graha and amśa, pańcama is the nyāsa, nisāda is kākalī here and this (rāga) is main
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7 with complete svaras. Its application is prescribed in the nirvahana main
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8 (conclusion) of citra (pūrvaranga?) 42 comprised of eighteen angas main
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9 (components).43 Rasas like vīra and raudra are there. The mūrchanā main
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10 beginning with sadja obtains. Arohin (ascending) is the varṇa. Prasannādi is main
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11 the alankāra. The kalā (time-unit) is formed in the dakṣiṇa (mārga), the kalā main
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12 obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). A tāla like main
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13 caccatputa obtains in the songs composed of svara and pada. main
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14 [The assignment of grāmas to śuddha rāgas] section_header
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15 [Anu. 170] editorial_bracket
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16 (Contention) These (rāgas) are related to particular grāmas. From where main
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17 is this particularity obtained? It is being answered - this particularity is main
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18 obtained from the statement of Bharata himself. Thus has said Bharata main
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19 Muni- annotation_inline
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20 "On account of grāma-rāgas being born of jātis"; "whatever is sung in the main
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21 world, all of that is contained in the jātis"44 on account of this statement. main
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22 And it has also been said by Kasyapa - main
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23 "Şādava, pañcama and kaiśika obtain in madhyamagrāma. Sādhārita and main
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24 kaišikamadhyama, similarly, obtain in sadja (grāma)." main
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25 [The application of suddha ragas] section_header
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26 [Anu. 171] editorial_bracket
parent ligne 25
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27 (Contention) From where are these specific applications obtained? They main
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28 are obtained from the statement of the Muni. And thus has said Bharata - main
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29 "Madhyamagrāma (rāga) should be in the mukha (sandhi), şadja (grāma) main
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30 rāgain the pratimukha (sandhi), and sādhārita alone in the garbha (sandhi), main
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31 pañcama in the avamarśa (sandhi). In samhāra (conclusion), kaiśika has been main
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vol_II_p159 RIGHT — 41 lignes

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1 301 page_number
via heuristic_pagenum
2 VIMARŚA page_header
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3 52. The word 'yatah' in this verse seems to imply that because the main
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4 svaras have to match the angahāras performed in the order of āsārita, the main
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5 formation or variation of amsas should be done in the text of the main
via surya_layout
6 vardhamāna. Āsārita and vardhamāna have identical temporal dimensions main
via surya_layout
7 with slight variation in splitting (shown below). These are the two gītakas main
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8 alongwith which the performance of dance is prescribed in NS XXXI - main
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9 <math>16 + 17 + 32 = 65 \text{ Kalās}</math> annotation_inline
parent ligne 8
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10 Asārita annotation_inline
parent ligne 8
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11 <math>9 + 8 + 16 + 32 = 65 \text{ Kalās}</math> annotation_inline
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12 Vardhamāna annotation_inline
parent ligne 8
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13 53. 'Not exceptional' means those svaras, the operation of which main
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14 in the formation of pentatonic varieties is not hindered by the rule of main
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15 samvāda. annotation_inline
parent ligne 14
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16 54. The strict prohibition of the omission of madhyama seems to main
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17 be based on the fact that this svara is the link between gandharva and main
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18 sāman, it being the tonic in sāman and the connecting point between the main
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19 two triads of the heptad. main
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20 55,56.The words utsarga and apavada are borrowed from main
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21 Pūrvamimāmsā. The former stands for the general rule and the latter for main
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22 the exception to the same. main
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23 57. The import is not clear from here to the end of the Anu. main
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24 58. 'Sangati' stands for to and fro movement between two svaras in a main
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25 jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- main
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26 paragamana '(mutual movement i.e. each of the two given svaras reaching main
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27 out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The main
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28 word sangati is used even to-day in the oral tradition in the same meaning. main
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29 It is notable that this relationship between any two svaras is purely melodic main
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30 phenomenon; it does not depend on the acoustic relationship of samvāda. main
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31 It is interesting to note that the word samvada has been used in our text in main
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32 the place of sangati several times in the section on ragas. main
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33 59. Omission, in ancient thought, is not something absolute, rather main
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34 it is the extreme state of sparseness. The svara that is omissible in a jāti is main
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35 sparse in its complete state. main
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36 60. NŚ does not mention the mūrchanās of jātis. Matanga does this main
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37 the first time. This innovation seems to be necessitated by the main
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38 for annotation_inline
parent ligne 37
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39 introduction of fretted viņās (see Glossary). main
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40 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the main
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41 third name being uttara. main
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170 lignes a valider — change uniquement les roles incorrects.