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 21254). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p156 RIGHT — 41 lignes

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1 VIMARŚA page_header
via surya_layout
2 295 page_number
via heuristic_pagenum
3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
via surya_layout
4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
via surya_layout
5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
via surya_layout
6 has been used in isolation, the compound utsarga-vidhi being implicit. main
via surya_layout
7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
via surya_layout
8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
via surya_layout
9 anuvādin svaras. annotation_inline
parent ligne 8
via heuristic_height
10 14. This phrase or piece of notation does not occur in SR in the list_item
via surya_layout
11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
via surya_layout
12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
via surya_layout
13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
via surya_layout
14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
via surya_layout
15 this word in a different meaning, which could, perhaps, be graha. list_item
via surya_layout
16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
via surya_layout
17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
via surya_layout
18 in intervallic and melodic organisation. list_item
via surya_layout
19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
via surya_layout
20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
via surya_layout
21 rendering with or without text and 'pada' could stand for self-contained list_item
via surya_layout
22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
via surya_layout
23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
via surya_layout
24 pause between one vidārī and another. list_item
via surya_layout
25 19. 'Pāda', literally meaning foot is used both in the context of list_item
via surya_layout
26 textual metre and musical composition. list_item
via surya_layout
27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
via surya_layout
28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
via surya_layout
29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
via surya_layout
30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
via surya_layout
31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
via surya_layout
32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
via surya_layout
33 much earlier than our text. list_item
via surya_layout
34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
via surya_layout
35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
via surya_layout
36 of Bharata does not occur in the introduction to the citation. list_item
via surya_layout
37 22. The octave of the amsa is implied here; that is the beginning of list_item
via surya_layout
38 tāra (high). list_item
via surya_layout
39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
via surya_layout
40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
via surya_layout
41 indicating their tara position. list_item
via surya_layout

vol_I_p023 RIGHT — 27 lignes

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1 29 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
via surya_layout
4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
via surya_layout
5 become their agre-sara 68 (movers in front). main
via surya_layout
6 (52) annotation_inline
parent ligne 5
via heuristic_height
7 Thus I have spoken of the śrutis that are seated in grāma.69 main
via surya_layout
8 Here ends the section on srutis. annotation_inline
parent ligne 7
via heuristic_height
9 IV [The Section on Svaras] section_header
via surya_layout
10 [The laksana of svaras] section_header
via surya_layout
11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
via surya_layout
12 (53) annotation_inline
parent ligne 11
via heuristic_height
13 etymology of the word 'svara' is being spoken about. main
via surya_layout
14 From the root raje, meaning brilliance, to which is prefixed the word sva main
via surya_layout
15 (the word 'svara' is derived); because (the meaning is) that which shines by main
via surya_layout
16 (54) annotation_inline
parent ligne 15
via heuristic_height
17 itself, hence it is known as svara. main
via surya_layout
18 [ Anu. 15 ] editorial_bracket
parent ligne 17
via heuristic_brackets
19 But what is meant by svara? It is being answered - the dhvani (sound) which main
via surya_layout
20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
via surya_layout
21 Kohala. annotation_inline
parent ligne 20
via heuristic_height
22 "By the will of the atman, the vayu (that is) moving upward from the base of main
via surya_layout
23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
via surya_layout
24 space, is known as svara, the delightful<sup>5</sup> sound." main
via surya_layout
25 (Anu. 16) annotation_inline
parent ligne 24
via heuristic_height
26 But svara in this way is one or many, pervasive or non-pervasive or is it main
via surya_layout
27 eternal or non-eternal? annotation_inline
parent ligne 26
via heuristic_height

vol_I_p053 RIGHT — 42 lignes

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1 89 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 (manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these main
via surya_layout
4 (varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into main
via surya_layout
5 effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math> main
via surya_layout
6 (bodily) svaras (in the verse of NS quoted above). main
via surya_layout
7 So has been said - annotation_inline
parent ligne 6
via heuristic_height
8 These four varnas should be known as the constructors23 of melodic main
via surya_layout
9 (NŚ XXIX, 19ab) annotation_inline
parent ligne 8
via heuristic_height
10 rendering. annotation_inline
parent ligne 8
via heuristic_height
11 [Thus end the varnas] editorial_bracket
parent ligne 8
via heuristic_brackets
12 [The Alankaras] section_header
via surya_layout
13 (Anu. 68) annotation_inline
parent ligne 12
via heuristic_height
14 Now the well-known thirty-three 24 alankāras are being described by name main
via surya_layout
15 and application. What is spoken of through the word alankara and what is its main
via surya_layout
16 etymology? It is being answered. Ornament25 is being spoken of by the word main
via surya_layout
17 alankāra. Just as a man or woman adorned with a bracelet on the forearm, main
via surya_layout
18 middle-arm and the like, bears beauty (becomes beautiful), similarly the singing main
via surya_layout
19 that subsists in varņas (and is) adorned by these alankāras (known as) main
via surya_layout
20 prasannādi and the like, becomes delightful to the performers and listeners. main
via surya_layout
21 And the etymology is like this—the root 'du krñ' in the meaning of doing or main
via surya_layout
22 making bears the prefix alam (sufficient or adequate) and (the word) alankāra main
via surya_layout
23 (derived thereby) means that which makes something sufficient or adequate. main
via surya_layout
24 This word alankara has the end-suffix ghan. main
via surya_layout
25 (Anu. 69) annotation_inline
parent ligne 24
via heuristic_height
26 The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or main
via surya_layout
27 mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower main
via surya_layout
28 svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning main
via surya_layout
29 and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama main
via surya_layout
30 (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the main
via surya_layout
31 line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu main
via surya_layout
32 (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity main
via surya_layout
33 or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) main
via surya_layout
34 (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and main
via surya_layout
35 low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) main
via surya_layout
36 Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or main
via surya_layout
37 graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka main
via surya_layout
38 (constantly moving or restless) (19) Krama (a specific order or sequence), (20) main
via surya_layout
39 i annotation_inline
parent ligne 38
via heuristic_height
40 Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or main
via surya_layout
41 sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka main
via surya_layout
42 (the rotating one), (24) Parivartaka (moving to and fro, changing), (25) main
via surya_layout

vol_II_p094 LEFT — 33 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 170 page_number
via heuristic_pagenum
3 धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका । main
via surya_layout
4 धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥ main
via surya_layout
5 बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी । main
via surya_layout
6 यङ्गाली annotation_inline
parent ligne 5
via heuristic_height
7 एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥ main
via surya_layout
8 एषा भाषा रसा च + थैवतः annotation_inline
parent ligne 7
via heuristic_height
9 प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥ main
via surya_layout
10 ॰सूक्ष्मध annotation_inline
parent ligne 9
via heuristic_markers
11 उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि main
via surya_layout
12 धाधा। बाङ्गाली । [६] editorial_bracket
parent ligne 11
via heuristic_brackets
13 वङ्गाली annotation_inline
parent ligne 11
via heuristic_height
14 <sup>१००</sup>मध्यमांशा धैवतान्ता <sup>१०१</sup>पञ्चमर्षभदुर्बला । main
via surya_layout
15 षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥ main
via surya_layout
16 सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥ main
via surya_layout
17 गासानिसानिधा unknown
via fallback
18 उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा unknown
via fallback
19 मापामामासामाधा annotation_inline
parent ligne 16
via heuristic_height
20 नी annotation_inline
parent ligne 16
via heuristic_height
21 मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी<sup>१०२</sup>।[७] editorial_bracket
parent ligne 16
via heuristic_brackets
22 गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा। main
via surya_layout
23 कालिन्दी annotation_inline
parent ligne 22
via heuristic_height
24 पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥ main
via surya_layout
25 एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते । main
via surya_layout
26 कालिङ्गे annotation_inline
parent ligne 25
via heuristic_height
27 हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥ main
via surya_layout
28 उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा- main
via surya_layout
29 साधानीगाधा । कालिङ्गी । [८] editorial_bracket
parent ligne 28
via heuristic_brackets
30 कालिन्दो annotation_inline
parent ligne 28
via heuristic_height
31 षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ । main
via surya_layout
32 धैवताऱ्यासा annotation_inline
parent ligne 31
via heuristic_height
33 <sup>९०६</sup>षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥ editorial_bracket
parent ligne 31
via heuristic_brackets

vol_II_p153 LEFT — 47 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 288 page_number
via heuristic_pagenum
3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
via surya_layout
4 17. cf.(i) annotation_inline
parent ligne 3
via heuristic_short
5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
via surya_layout
6 Mānaso IV.16.332. annotation_inline
parent ligne 5
via heuristic_short
7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
via surya_layout
8 (ii) annotation_inline
parent ligne 7
via heuristic_short
9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
via surya_layout
10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
via surya_layout
11 S Rāj II.4.3.111. annotation_inline
parent ligne 10
via heuristic_short
12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
via surya_layout
13 (iii) annotation_inline
parent ligne 12
via heuristic_short
14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
via surya_layout
15 Ra Kau III.117. annotation_inline
parent ligne 14
via heuristic_short
16 18. Reconstruction in the first and second foot based on SR IV. main
via surya_layout
17 212c, 213b. annotation_inline
parent ligne 16
via heuristic_short
18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
via surya_layout
19 <b>cf.(i)</b> annotation_inline
parent ligne 18
via heuristic_short
20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
via surya_layout
21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
via surya_layout
22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
via surya_layout
23 Mānaso IV.16,333,335. main
via surya_layout
24 आर्यैव यदि गीयेत तालेन गजलीलया । main
via surya_layout
25 (ii) annotation_inline
parent ligne 24
via heuristic_short
26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
via surya_layout
27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
via surya_layout
28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
via surya_layout
29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
parent ligne 28
via heuristic_brackets
30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
via surya_layout
31 S Rāj 11.4.3.108-110. main
via surya_layout
32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
via surya_layout
33 19. cf. annotation_inline
parent ligne 32
via heuristic_short
34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
via surya_layout
35 SR IV.279,280. annotation_inline
parent ligne 34
via heuristic_short
36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
via surya_layout
37 20. cf. annotation_inline
parent ligne 36
via heuristic_short
38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
via surya_layout
39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
via surya_layout
40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
via surya_layout
41 Mānaso IV.16.336 -338. main
via surya_layout
42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
via surya_layout
43 21. cf. annotation_inline
parent ligne 42
via heuristic_short
44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
via surya_layout
45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
via surya_layout
46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
via surya_layout
47 SR IV.283,284. main
via surya_layout
190 lignes a valider — change uniquement les roles incorrects.