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 21611). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p034 RIGHT — 35 lignes

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1 TRANSLATION page_header
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2 51 page_number
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3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
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4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
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5 of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness main
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6 of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is main
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7 upto the nyāsa or upto the svara next to it. main
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8 [Anu. 153] section_header
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9 The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. main
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10 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), main
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11 eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one). main
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12 There are three vikṛtās in the complete state, three in the ṣāḍava state and main
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13 three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is main
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14 prescribed in the singing of dhruvās in the first scene (or act). main
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15 [5. Şadjakaisiki] section_header
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16 [Anu. 154] section_header
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17 Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The main
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18 tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara main
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19 next to it. It is always complete. There is the sparseness of dhaivata, niṣāda main
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20 and madhyama. Rṣabha is even more sparse, there is abundance of the main
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21 remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are main
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22 apanyāsas. main
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23 [Anu. 155] section_header
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24 It has no śuddhā state, there are three amśas in the complete state. main
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25 Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī main
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26 gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In main
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27 catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is main
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28 karuṇa. Its application (viniyoga) is (prescribed) in the first song associated main
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29 with entry in the second scene (or act). main
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30 [6. Şadjodicyava] section_header
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31 [Apu. 156] section_header
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32 Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. main
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33 The tara extends up to five svaras. The mandra is upto the nyasa or the svara main
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34 next to it. The şādava formation is devoid of rṣabha, the auduvita formation main
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35 is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of main
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vol_I_p088 RIGHT — 76 lignes

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1 VIMARŚA annotation_inline
parent ligne 3
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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_II_p024 LEFT — 33 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 30 page_number
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3 [अनु॰ १३२] editorial_bracket
parent ligne 4
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4 ८१ अस्मद्गुरुमते ऋषभस्तावदपन्यासो भवति । अनंशत्वात् कैश्चित् पुनः अंशवद् main
via surya_layout
5 ऋषभोऽप्यपन्यासः स्वीकृतः। main
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6 (वृ?म्र) annotation_inline
parent ligne 5
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7 पञ्चमो बलवानस्यां स्यात्रिषादस्तथैव च ४२ main
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8 न स्यात् annotation_inline
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9 अंशवच्च ग्रहा ज्ञेया[:] सर्वासामेव नित्यश: ॥२३८॥ editorial_bracket
parent ligne 7
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10 ८३∞स्तासां main
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11 [६. जातीनां गणनिर्देश:] section_header
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12 सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः । main
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13 (षष्टि? जाति) annotation_inline
parent ligne 12
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14 लक्षणात् स च विज्ञेयो वर्धमानस्वरो बुधै: ॥२३९॥ main
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15 <sup>८४</sup>ते च सप्त गणा ज्ञेया annotation_inline
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16 नः गा annotation_inline
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17 एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः। main
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18 पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥ main
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19 स्यादेकधा<sup>८५</sup> · main
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20 न्सः annotation_inline
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21 [अनु॰ १३३] editorial_bracket
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22 अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: - main
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23 (गु?ग) annotation_inline
parent ligne 22
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24 ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प । main
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25 द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि । main
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26 त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप । main
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27 (प:?पा:) annotation_inline
parent ligne 26
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28 सास annotation_inline
parent ligne 26
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29 चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि main
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30 (त्य?त्या) annotation_inline
parent ligne 29
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31 पञ्चस्वरांशाश्चतस्तः - षाड्जी, गान्धारी, रक्तगान्धारी, मध्यमा चेति । सगमपंध, सगमपनि, main
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32 पड् (ज? जा) main
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33 Sec. 15. unknown
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vol_II_p082 RIGHT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 147 page_number
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3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
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4 in music. annotation_inline
parent ligne 3
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5 <math>(56-57)</math> main
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6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
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7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
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8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
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9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
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10 always complete, has madhyama as amśa and sadja as the concluding note, main
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11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
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12 (mixed) and is placed in takkarāga. main
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13 (58) annotation_inline
parent ligne 12
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14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
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15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
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16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
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17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
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18 concluding note, is embellished with the svara gandhara, has the combination main
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19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
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20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
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21 (59) annotation_inline
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22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
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23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
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24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
parent ligne 23
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25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
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26 (60) page_footer
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vol_I_p055 RIGHT — 36 lignes

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1 93 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 75) annotation_inline
parent ligne 4
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4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
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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
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9 (Anu. 76) annotation_inline
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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
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12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
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13 <b>(7)</b> annotation_inline
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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
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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
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23 sarigamapadhanisa,42 thus is (ends) kampita. main
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24 (Anu. 79) annotation_inline
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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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206 lignes a valider — change uniquement les roles incorrects.