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 21602). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p063 LEFT — 39 lignes

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1 <b>BRHADDESI</b> page_header
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2 108 page_number
via heuristic_pagenum
3 क्रमशो दीप्यते यस्तु प्रसन्नादिः स कथ्यते। main
via surya_layout
4 व्यस्तोच्चारित एवैष प्रसन्नान्तोऽभिधीयते ॥ १३८ ॥ main
via surya_layout
5 (मे?ए) annotation_inline
parent ligne 4
via heuristic_short
6 आद्यन्तयोः प्रसन्नत्वात् प्रसन्नाद्यन्त इष्यते। main
via surya_layout
7 (मि?इ) annotation_inline
parent ligne 6
via heuristic_short
8 प्रसन्नमध्यो मध्ये तु प्रसन्नत्वादुदाहृतः॥१३९॥ main
via surya_layout
9 सर्वसाम्यात् समो ज्ञेयः स्थितश्चैकस्वरेऽपि हि। main
via surya_layout
10 ,₀मा ७या annotation_inline
parent ligne 9
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11 oमाo annotation_inline
parent ligne 9
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12 बिन्दुरेककलं तारं स्पृष्ट्वा तु पुनरागतः॥१४०॥ main
via surya_layout
13 स्याद्रिवृत्तप्रवृत्तश्च मन्द्रं गत्वा समागतः। main
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14 ৽ন্ম annotation_inline
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15 ₀त्तः annotation_inline
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16 आक्रीडितलयो यस्तु स च वेणुः प्रकीर्तितः॥१४१॥ main
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17 <b>.इनी.</b> (?) annotation_inline
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18 उरोगतः कम्पितः स्यात् कम्पनाच्च कलात्रयम्। main
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19 ₀यः annotation_inline
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20 कण्ठे निरुद्धपवनः कुहरो नाम जायते॥१४२॥ main
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21 ्दः ₀नो रु annotation_inline
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22 त्रिकला [त्] कम्पना [त्] तद्वद्रेचिताख्यः शिरोगतः। editorial_bracket
parent ligne 20
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23 ( ? ) হৈ ৹বা৹ main
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24 गतागतप्रवृत्तो यः स प्रेङ्क्षोलित उच्यते॥१४३॥ main
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25 ( मु?उ ) annotation_inline
parent ligne 24
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26 48 यस्तु कण्ठस्वरोऽधस्तात् स तु तारः प्रकीर्तितः। main
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27 उरोगतस्तथा मन्द्रो मूर्ध्नि तारतरः स्मृतः॥१४४॥] editorial_bracket
parent ligne 26
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28 क्रमागतस्तु यस्तारश्चतुर्थः पञ्चमोऽपि वा। main
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29 श्चेत् ततः पञ्चतु₀ annotation_inline
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30 तारमन्द्रप्रसन्नस्तु ज्ञेयो मन्द्रगतो बुधैः ॥१४५॥ main
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31 ৹রা৯ annotation_inline
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32 लङ्घयित्वा परान् मन्द्रात् क्रमात् तारगति गतः। main
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33 ॳ (द?द)) annotation_inline
parent ligne 32
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34 मन्द्रतारप्रसन्नस्तु ज्ञेयो ह्यारोहणाद् बुधैः ॥१४६॥ main
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35 विज्ञेयारोहणा annotation_inline
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36 एकस्वराधिरूढः क्रमशः प्रस्तारसंज्ञको ज्ञेयः। main
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37 ( जि? ज ) annotation_inline
parent ligne 36
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38 49[ प्रस्तारस्तु निवृत्तः शनैः प्रसन्नः प्रसादः स्यात्।।१४७॥] editorial_bracket
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39 <b>०स्वा</b>७ annotation_inline
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vol_II_p144 LEFT — 51 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 2"-WH - - * annotation_inline
parent ligne 4
via heuristic_height
2 270 page_number
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3 BRHADDEŚĪ page_header
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4 54. Reconstruction based on Kalā (appendix) on SR II, p. 139, list_item
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5 reading sa-ri-sangatā. list_item
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6 55. Both S Rāj II.2.1.999 c and Kalā (appendix) on SR, p.119 read list_item
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7 khañjanī. list_item
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8 56. S Rāj II.2.1.999b reads 'gāndhāreņa vivarjitā', thus describing it list_item
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9 as being devoid of 'gāndhāra'. list_item
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10 57. Gūrjarī is described as complete in S Rāj II.2.1.1001f and Kalā list_item
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11 (appendix) on SR II, p. 138, hence our reconstruction. list_item
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12 ककुभे मध्यमग्रामभाषा धैवतविश्रमा। main
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13 58. cf. annotation_inline
parent ligne 12
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14 मध्यमांशग्रहा पूर्णा सङ्कीर्णा रिधसङ्गता ॥ main
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15 S. Rāj II. 2. 1. 683. main
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16 59. Bha Bhā Vol. II,VII, 47 c reads śalavāhinī, enumerating it under the list_item
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17 five antarabhāṣās of ṣadjagrāma. S. Rāj II.2.1.123a reads sālavāhanī under the list_item
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18 uddeśa(enumeration) of the bhāṣās of kakubha and ibid 686 f reads śātavāhanī list_item
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19 while giving its lakṣaṇa (description). It also reads śālavāhanī while enumerating list_item
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20 it in verse 79 d as an <i>antarabhāṣā</i> of <i>kakubha</i>. Kalā (appendix) on SR II, p. 134 list_item
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21 reads śālavāhanī while describing it as an antarabhāṣā of kakubha. list_item
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22 60. Kalā (appendix) on SR II, p.134 reads ri-ga-sangatā, describing a list_item
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23 concert between rṣabha and gāndhāra. list_item
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24 विभाषा ककुभे भोगवर्धनी तारमन्द्रगा ॥ list_item
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25 61. cf. (i) list_item
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26 धैवतांशग्रहन्यासा मापन्यासा रिवर्जिता । list_item
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27 धनिभ्यां गमपैभृंरिवैराग्ये विनियुज्यते ॥ list_item
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28 SR II. 2. 112 c-113. main
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29 (ii) annotation_inline
parent ligne 28
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30 निषादांशग्रहा भाषा ककुभे भोगवर्धनी । main
via surya_layout
31 स्वल्पर्पभसमायुक्ता धैवतन्यासभूपिता ॥ main
via surya_layout
32 निगयोर्गपयोर्युक्ता सङ्गत्या गानमाश्रिता । main
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33 षड्जग्रामे .....॥ annotation_inline
parent ligne 32
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34 S Rāj II.2.1.690,691.c. main
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35 तथैव याष्टिकेनोक्ता विभाषा भोगवर्धनी । main
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36 (iii) annotation_inline
parent ligne 35
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37 पङ्जग्रामेण सम्बद्धा ककुभे तारमन्द्रगा ॥ main
via surya_layout
38 धैवतांशग्रहन्यासा ऋषभेण विवर्जिता । main
via surya_layout
39 षड्जान्यस्वरभूयिष्ठा गापन्यासा, नियोजिता ॥ main
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40 वैराग्येऽप्यथवा संन्यासे .....ं। main
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41 Ibid. 707, 708.c. annotation_inline
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42 मधुरी ककुभोद्भूता सांशा धान्ताखिल स्वरा। main
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43 62. cf. (i) annotation_inline
parent ligne 42
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44 गपयोर्निपयोर्युका सङ्कीर्णा याष्ट्रिकोदिता ॥ main
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45 Kalā (appendix) on SR II,p.133. main
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46 Carl man Carlo man a March and unknown
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47 · 西西州市，1920年11日，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年，1920年 annotation_inline
parent ligne 45
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48 2012/09/09 8:44 annotation_inline
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49 (vide) annotation_inline
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50 -0.0 annotation_inline
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51 . . . . . . . . . . . . . . . . . . . . annotation_inline
parent ligne 45
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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
parent ligne 21
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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_p116 LEFT — 26 lignes

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1 BRHADDESĪ page_header
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2 214 page_number
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3 [१५. हयलीला] section_header
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4 अर्धं यत्र स्वरैगींत्वा यस्यास्तुरगलीलया । main
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5 अ(र्थ ?र्ध) annotation_inline
parent ligne 4
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6 (নু) annotation_inline
parent ligne 4
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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
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12 गज्ञ annotation_inline
parent ligne 10
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13 क्रियते यत्र सा ज्ञेया गजलीलेति नामतः १८॥३९८॥ main
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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
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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
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25 स्वरपाटै: प्रगीतस्तु नानादेशादिभाषया ॥ main
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26 गीयते यः स उद्दिष्टः शुकचञ्जूर्जनप्रियः ॥ ४०१॥ main
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vol_I_p093 RIGHT — 44 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA main
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2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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197 lignes a valider — change uniquement les roles incorrects.