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 21484). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p104 LEFT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 (vide) annotation_inline
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2 後継続(国際)できます。 annotation_inline
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3 190 page_number
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4 BRHADDEŠĪ page_header
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5 [३. अथ मालवपञ्चमे] section_header
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6 विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी । main
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7 पो पा पा annotation_inline
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8 आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥ main
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9 37 page_number
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10 पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी । main
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11 + देशं भा (?) annotation_inline
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12 गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥ main
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13 ॰िमति॰(?) annotation_inline
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14 <sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा । editorial_bracket
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15 υo annotation_inline
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16 विभाविनी।[१] editorial_bracket
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17 ..पौराली । [२] editorial_bracket
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18 पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] । editorial_bracket
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19 विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥ main
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20 + भाषाकरणे annotation_inline
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21 चैवमुद्धारे annotation_inline
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22 उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा main
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23 नीसासारीगारी । सनिधापापा । वेगवती । [३] editorial_bracket
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24 पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी । main
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25 पञ्चमार्ध तु annotation_inline
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26 प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥ main
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27 उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा main
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28 गामागारी सासानिसानि धापापा । पञ्चमी । [४] editorial_bracket
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29 ॰मा annotation_inline
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30 मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा । main
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31 भावनास्था घ्रुवेशजा annotation_inline
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32 आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥ main
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33 370 page_number
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34 व्याधाः (?) annotation_inline
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vol_I_p088 RIGHT — 76 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA annotation_inline
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2 159 page_number
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3 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. main
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4 They are used singly and also in a pair in NS. Our text uses them in a pair in the main
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5 present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 main
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6 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective main
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7 for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present main
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8 passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 main
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9 ( while annotation_inline
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10 explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the main
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11 string). main
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12 Word table
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13 Reference table
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14 Context table
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15 Apakṛṣṭa (Pañcama) table
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16 NS XXVIII table
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17 Madhyamagrāma table
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18 p. 20 table
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19 Utkarşa-apakarşa table
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20 Measure of śruti table
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21 p. 20 table
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22 . table
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23 Apakṛṣṭa (Vīṇā) table
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24 p. 20 table
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25 Sāraņā table
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26 M table
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27 Utkarşa ( of gandhara ) table
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28 Mūrchanā-grāma table
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29 p. 26 table
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30 Mărdava (of dhaivata) table
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31 p. 26 table
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32 Utkṛṣṭa ( niṣāda ) table
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33 p. 32 table
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34 Svara-sādhāraņa table
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35 (gāndhāra) table
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36 p. 32 table
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37 99 page_number
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38 Mārdava-āyatatva table
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39 p. 20 table
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40 Measure of sruti table
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41 × table
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42 Ayatatva table
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43 XXVIX table
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44 p. 37 table
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45 Sruti-jāti table
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46 Mṛdutva table
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47 p. 37 table
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48 p. 27 table
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49 Viprakarşa-mārdava table
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50 XXVIII table
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51 Tāna-kriyā table
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52 Viprakarşa-pidana table
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53 Abhi. Bhā. table
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54 ( stretching of the table
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55 on above table
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56 string) table
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57 Mārdava = table
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58 śithilikarana table
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59 (loosening of the string). table
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60 It is an acoustic fact that stretching or tightening of the string results in main
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61 higher pitch and loosening of the string results in the reverse viz. lower pitch. main
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62 The words utkarşa and apakarşa stand for these two resultant changes in pitch main
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63 respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of main
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64 tightening and loosening of the string respectively. Both these pairs are closely main
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65 related since they represent the effect and cause. Both the pairs are mentioned main
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66 together in BrD and NS in the context of sāraņā (the process of verification of main
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67 śruti). It is notable that although utkarşa and āyatatva and apakarşa and main
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68 mārdava are pairs of mutually related terms, their order is reversed both in NŠ main
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69 and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; main
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70 the proper order would have been apakarşa-utkarşa. Abhinavagupta main
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71 commenting on this passage of NS explains the mutual relativity of the main
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72 constituents of both the pairs. When there are two viņās, if one string on one main
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73 viņā is tightened, this action has two effects viz. higher pitch on that viņā and main
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74 relatively lower pitch on the corresponding string of the other viņā without any main
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75 change of tension in that string. Hence ayatatva produces both utkarşa and main
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76 apakarşa. Similarly, if one string is loosened on one viņā, this action has two main
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vol_I_p034 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 51 page_number
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2 <b>TRANSLATION</b> page_header
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3 V (the Section on Grāma-mūrchanā) section_header
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4 [The treatment of grama] section_header
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5 (Anu. 30) annotation_inline
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6 Then, what is spoken of by the word grāma? How many grāmas are there? main
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7 From where is grāma born? And what is its objective? main
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8 (84) annotation_inline
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9 It is being answered. annotation_inline
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10 The two grāmas stand for a group! composed of svara, śruti and the like. main
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11 (85) annotation_inline
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12 Just as all members of families live together, (similarly) grāma? is known as main
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13 (86) annotation_inline
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14 that by all the people where there is an abiding settlement. main
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15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
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16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
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17 (87) annotation_inline
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18 ٠ page_number
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19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
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20 known to be two5 characterised by (the names) şadja and madhyama. main
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21 (88) annotation_inline
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22 (Anu. 31) annotation_inline
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23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
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24 (and) rāga is indeed the objective. main
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25 (Anu. 32) annotation_inline
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26 But why are the gramas named after the svaras sadja and madhyama? It is main
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27 being answered. Because of (their) uncommonness the grāmas are named after main
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28 them. And the uncommonness is on account of their being born of devakula? main
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29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
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33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
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vol_II_p065 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 113 page_number
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3 [5. Boţţa-rāga] section_header
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4 Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī, main
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5 has pañcama as its amsa and madhyama as the concluding note. main
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6 (324) annotation_inline
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7 [Anu. 196] section_header
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8 This means-bottarāga is related to ṣaḍjagrāma on account of being born of main
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9 şadjamadhyamā and pancamī jātis. Although it is born of two jātis arising out main
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10 of the two grāmas, yet it is related to sadjagrāma because of pañcama being main
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11 comprised of four śrutis. Pañcama is the graha and aniśa, madhyama the nyāsa. main
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12 There is sparseness of niṣāda and gāndhāra. Niṣāda is kākalī here and this main
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13 (rāga) is complete in svaras. Its application is prescribed in festivities. main
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14 Śānta<sup>69</sup> and the like is the rasa. The mūrchanā beginning with paūcama main
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15 obtains. Ārohin is the varņa. Prasannānta is the alankāra. The kalā is formed main
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16 in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), and the kalā main
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17 prevails in the citra (mārga). A tāla like caccatpuţa obtains in songs comprised main
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18 of svara and pada. annotation_inline
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19 [6. Hindola] section_header
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20 Hindolais combined with ṣaḍja as amśa and nyāsa, is devoid of dhaivata and main
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21 ṛṣabha and is formed with jātis excepting dhaivatī and ārṣabhī, in drama. main
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22 (325) annotation_inline
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23 [Anu. 197] section_header
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24 This means -hindolaka is related to madhyamagrāma. (Contention) Its main
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25 relation with the two grāmas alone is proper on account of its being born of main
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26 all the jātis (of both the grāmas) bearing the names of svaras excluding main
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27 dhaivatī and ārṣabhī and carrying the residue of relationship with ṣaḍjagrāma. main
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28 Why is it said to be based on madhyamagrāma? (Answer) On account of its main
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29 being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone main
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30 is justified because authorities like Bharata and Kohala have treated the main
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31 omission of dhaivata and ṛṣabha in ṣadjagrāma as undesirable.70 main
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32 Some hold that it is based in sadjagrāma alone because pañcama comprised main
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33 of four śrutis is obtained here. The inomissibility of dhaivata should be main
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34 viewed only with respect to tāna and does not hold good everywhere. This main
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35 is improper. If this be so, then there would be no distinction between grāma main
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36 and mürchanā<sup>71</sup> annotation_inline
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37 , annotation_inline
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vol_II_p110 RIGHT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 203 page_number
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2 TRANSLATION page_header
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3 [2. Māngālī] section_header
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4 Having gāndhāra as graha and nyāsa, şadja as amśa, devoid of tāra, sa (şadja) main
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5 being mandra (low), it is always devoid of pa-ri (pañcama-ṛṣabha). main
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6 (354) annotation_inline
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7 Having şadja as amsa, dha (dhaivata) as graha (and) nyāsa, having dha main
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8 (dhaivata) as low (mandra), leaning towards high (tāra), formed with even main
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9 svaras and being complete, <math>m\bar{a}ng\bar{a}\bar{u}^{12}</math> is sung by the people. main
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10 (355) annotation_inline
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11 [3. Bhammānikā] section_header
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12 Bhammānikā 13 should be known by the wise to have pañcama as amsa, graha main
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13 and nyāsa, low ga (gāndhāra) (and) high şadja, being devoid of ri (ṛṣabha) and main
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14 with sparse dha-ga (dhaivata- gāndhāra). main
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15 (356) annotation_inline
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16 [4. Pulindikā] section_header
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17 Pulindikā14 has dhaivata as nyāsa, is devoid of ga-pa (gāndhāra-pañcama) main
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18 (and) there is concert between sadja-dhaivata and similarly between dhaivata- main
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19 rşabha. annotation_inline
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20 (357) main
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21 [5. Gāndhārasindhu] section_header
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22 Gāndhārasindhu<sup>15</sup> ..... table
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23 (358) main
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24 [6. Kārņāţī] section_header
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25 Having sadja as nyāsa and graha, dha (dhaivata) as amsa, high ga main
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26 (gāndhāra) and low madhyama, with even svaras and complete, is (the bhāṣā) main
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27 karnāļi<sup>16</sup> by name. main
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28 (359) main
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29 ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, annotation_inline
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30 Thus ends the fifth chapter entitled desi-rāgādhyāya in main
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31 Bṛhaddesī composed by Matanga Muni. main
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213 lignes a valider — change uniquement les roles incorrects.