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 21638). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p031 RIGHT — 38 lignes

page vol_I_p031 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 45 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 (That which) reaches the heart quickly from the other (svara) is known as main
via surya_layout
4 rṣabha. Just as the big bull seated (or standing) among the female gos (cows) main
via surya_layout
5 looks splendid, similar is this svara ṛṣabha 54 born in the svara-grāma (gamut). main
via surya_layout
6 (56, 57 ab) annotation_inline
parent ligne 5
via heuristic_height
7 That which holds the ganatmika vak (musical vak) is named as gandhara.55 main
via surya_layout
8 <math>(57 \text{ cd})</math> annotation_inline
parent ligne 7
via heuristic_height
9 Madhyama svara is known to be so because of being the middle one among main
via surya_layout
10 svaras.56 Pañcama is that which measures the elaboration of svaras.57 (58) main
via surya_layout
11 Or, it is pañcama (fifth) in number in the order of pāṭha (lit. reading aloud main
via surya_layout
12 or recitation, here enumeration). Dhīvān is one who has got dhī (buddhi, main
via surya_layout
13 intellect), the one related to him (dhivan) is dhaivata.58 main
via surya_layout
14 (59) annotation_inline
parent ligne 13
via heuristic_height
15 Or annotation_inline
parent ligne 13
via heuristic_height
16 It is known as dhaivata because it is held on the sixth sthana (location). main
via surya_layout
17 (60 ab) annotation_inline
parent ligne 16
via heuristic_height
18 The place of dhaivata is in the lalāţa (forehead), this is the meaning.59 main
via surya_layout
19 Niṣāda is known as such because all the svaras rest upon it.60 main
via surya_layout
20 <math>(60 \text{ cd})</math> annotation_inline
parent ligne 19
via heuristic_height
21 (Anu. 29) annotation_inline
parent ligne 19
via heuristic_height
22 But why is the rule that there are (only) seven svaras? It is being said main
via surya_layout
23 (answered) - (This rule is there) in the same way as (in the human body) seven main
via surya_layout
24 dhātus alone beginning with rasa61 are to be accepted in accordance with their main
via surya_layout
25 being dependent on seven dhātus62 (minerals). Similarly said Suśruta - main
via surya_layout
26 Tvak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen, main
via surya_layout
27 these are dhātus. Similarly, svaras are only seven on account of being dependent main
via surya_layout
28 on or dwelling in seven cakras 63 or seven dvipas 64 (lit. islands). main
via surya_layout
29 [ The castes of sveres ] section_header
via surya_layout
30 The svaras (comprised of) four śrutis are brāhmaņas,65 the ones (comprised main
via surya_layout
31 of) three śrutis are kṣatriyas,66 the ones with two śrutis should be known as main
via surya_layout
32 (61) annotation_inline
parent ligne 31
via heuristic_height
33 vaisyas 67 and the antara-svaras are śūdras.68 main
via surya_layout
34 [ The drawing out of svara signs as contained in agama ] editorial_bracket
parent ligne 33
via heuristic_brackets
35 Having acquired the eight groups beginning with akara and ending with main
via surya_layout
36 ya-śa, one should draw out70 the heptad of svaras (their abbreviated names i.e. main
via surya_layout
37 solfa-syllables) combined with letters and mātrās (vowel-endings). main
via surya_layout
38 (62) annotation_inline
parent ligne 37
via heuristic_height

vol_II_p021 RIGHT — 40 lignes

page vol_II_p021 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 ٠. annotation_inline
parent ligne 4
via heuristic_height
2 25 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita main
via surya_layout
5 (forms) come into being by the omission of sadja and (sadja) pañcama main
via surya_layout
6 respectively. annotation_inline
parent ligne 5
via heuristic_short
7 (213) main
via surya_layout
8 In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. main
via surya_layout
9 These two alongwith madhyama are apanyāsas and the two(ṣāḍava and main
via surya_layout
10 auduvita) are, as spoken of before, (in ārṣabhī) through the respective main
via surya_layout
11 omission of (ṣadja and ṣadja-pañcama). main
via surya_layout
12 (214) annotation_inline
parent ligne 11
via heuristic_short
13 In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, main
via surya_layout
14 niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa main
via surya_layout
15 is the svara (niṣāda) from which this jāti derives its name. main
via surya_layout
16 (215) annotation_inline
parent ligne 15
via heuristic_short
17 In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves main
via surya_layout
18 are the apanyāsas, adding niṣāda and omitting gāndhāra. main
via surya_layout
19 (216) annotation_inline
parent ligne 18
via heuristic_short
20 Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this main
via surya_layout
21 (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. main
via surya_layout
22 there is no omission). main
via surya_layout
23 (217) annotation_inline
parent ligne 22
via heuristic_short
24 Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as main
via surya_layout
25 amśas, sadja and dhaivata should be known as two apanyāsas. main
via surya_layout
26 (218) annotation_inline
parent ligne 25
via heuristic_short
27 It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid main
via surya_layout
28 also of pañcama. There is the abundance of mandra gandhara and madhyama main
via surya_layout
29 is the <i>nyāsa</i>. main
via surya_layout
30 (219) annotation_inline
parent ligne 29
via heuristic_short
31 Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras main
via surya_layout
32 from which it derives its name (viz. şadja and madhyama). Nişāda and main
via surya_layout
33 gāndhāra are the two svaras that bring about hīnatva (the state of being bereft main
via surya_layout
34 i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, main
via surya_layout
35 gāndhāra, its audava form). main
via surya_layout
36 (220) annotation_inline
parent ligne 35
via heuristic_short
37 The sañcara (to and fro movement of svaras) is left to one's will, it has to main
via surya_layout
38 be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the main
via surya_layout
39 remaining (eleven) are the jātis of madhyama (grāma). main
via surya_layout
40 (221) main
via surya_layout

vol_II_p045 LEFT — 51 lignes

page vol_II_p045 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
via surya_layout
2 72 page_number
via heuristic_pagenum
3 नी नी नी नी री री री री table
via surya_layout
4 (११) table
via surya_layout
5 री री मा नी सा सा नी नी table
via surya_layout
6 (१२) table
via surya_layout
7 पा पा मा गरि गा गा गा गा table
via surya_layout
8 (१३) table
via surya_layout
9 री री गा सम मा मा पा पा table
via surya_layout
10 (१४) table
via surya_layout
11 मा मा नी नी सा री गा पा table
via surya_layout
12 (१५) table
via surya_layout
13 (१६) table
via surya_layout
14 रिग मा मा मा मा मा मा मा table
via surya_layout
15 [॥ इत्यान्ध्री॥] section_header
via surya_layout
16 अन्ध्री । म॥ section_header
via surya_layout
17 [९. नन्दयन्ती] section_header
via surya_layout
18 नन्दयन्त्यां पञ्चमोंऽशो गान्धारस्तु ग्रह: स्मृत: । main
via surya_layout
19 कैश्चितु पञ्चम: प्रोक्तो ग्रहोऽस्यां गीतवेदिभि: ॥ २३॥ main
via surya_layout
20 मन्द्रर्षभस्य बाहुल्यं षाडवं षड्जलोपत:। main
via surya_layout
21 (मन्द्र) annotation_inline
parent ligne 20
via heuristic_height
22 हृष्यका मूर्छना ताल: पूर्ववद् द्विगुणा: कला: ॥ २४॥ main
via surya_layout
23 <sup>१८८</sup>पूर्वावद् main
via surya_layout
24 <b>॰</b>ना annotation_inline
parent ligne 23
via heuristic_markers
25 विनियोगो ध्रुवागाने प्रथमप्रेक्षणे भवेत् ॥ २५॥ main
via surya_layout
26 <sup>१८९</sup>अस्यां गान्धारो न्यास: । मध्यमपञ्चमावपन्यासौ । <sup>१९०</sup>प्रस्तार: - main
via surya_layout
27 गा गा गा पा पा धप मा main
via surya_layout
28 <b>(१)</b> unknown
via fallback
29 धा धा धा धा नी सनि धा table
via surya_layout
30 (२) table
via surya_layout
31 पा पा पा पा पा पा पा table
via surya_layout
32 (3) table
via surya_layout
33 धा नी मा पा गां गां गां गां table
via surya_layout
34 (8) table
via surya_layout
35 मारी गा गा गा गा गा गा table
via surya_layout
36 (4) table
via surya_layout
37 मा पा मा पा धा धनि पा पा table
via surya_layout
38 <b>(६)</b> table
via surya_layout
39 धा नी मा पा गा गा गा गा table
via surya_layout
40 (৩) table
via surya_layout
41 (८) table
via surya_layout
42 गम पा पा पा मा मा गा गा table
via surya_layout
43 धा नी मा पा गा गा गा गा table
via surya_layout
44 (9) table
via surya_layout
45 (१०) table
via surya_layout
46 मा मा मा मा मा मा मा table
via surya_layout
47 री गा मा पा पम पा पा नी table
via surya_layout
48 (११) table
via surya_layout
49 री री री री पा पा मा मा table
via surya_layout
50 (१२) table
via surya_layout
51 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
parent ligne 27
via heuristic_height

vol_II_p082 RIGHT — 26 lignes

page vol_II_p082 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 147 page_number
via heuristic_pagenum
3 of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones main
via surya_layout
4 in music. annotation_inline
parent ligne 3
via heuristic_short
5 <math>(56-57)</math> main
via surya_layout
6 Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā. main
via surya_layout
7 Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī main
via surya_layout
8 dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv] editorial_bracket
parent ligne 7
via heuristic_brackets
9 The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be main
via surya_layout
10 always complete, has madhyama as amśa and sadja as the concluding note, main
via surya_layout
11 bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i> main
via surya_layout
12 (mixed) and is placed in takkarāga. main
via surya_layout
13 (58) annotation_inline
parent ligne 12
via heuristic_short
14 Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā main
via surya_layout
15 nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā. main
via surya_layout
16 Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv) main
via surya_layout
17 Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the main
via surya_layout
18 concluding note, is embellished with the svara gandhara, has the combination main
via surya_layout
19 between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by main
via surya_layout
20 the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup> main
via surya_layout
21 (59) annotation_inline
parent ligne 20
via heuristic_short
22 Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā. main
via surya_layout
23 Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā main
via surya_layout
24 māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi] editorial_bracket
parent ligne 23
via heuristic_brackets
25 These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika. main
via surya_layout
26 (60) page_footer
via surya_layout

vol_I_p095 RIGHT — 48 lignes

page vol_I_p095 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 <b>VIMARSA</b> page_header
via surya_layout
2 173 page_number
via heuristic_pagenum
3 Madhyama table
via surya_layout
4 Pañcama table
via surya_layout
5 Niṣāda-gāndhāra table
via surya_layout
6 Dhaivata table
via surya_layout
7 Gändhära table
via surya_layout
8 Nişāda table
via surya_layout
9 Şadja-rşabha table
via surya_layout
10 Şadja table
via surya_layout
11 Gāndhāra table
via surya_layout
12 This list does not seem to follow the general statement that all those which main
via surya_layout
13 are neither samvādins nor vivādins are anuvādins, because all such intervals are main
via surya_layout
14 not included here, as are neither samvadins nor vivadins. The passage listing the main
via surya_layout
15 anuvādins has not been commented upon by Abhinavagupta; perhaps it is an main
via surya_layout
16 interpolation. It has been put within square brackets by the editor. main
via surya_layout
17 Our author's statement that nişāda and gāndhāra are established as main
via surya_layout
18 anuvadins as they are less by one sruti obviously with reference to the svaras main
via surya_layout
19 having an interval of three srutis each viz. rşabha-dhaivata cannot hold good main
via surya_layout
20 because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata main
via surya_layout
21 respectively and are hence vivadins. main
via surya_layout
22 44. Here again, the application of the concept of vivada in melodic structuring main
via surya_layout
23 is being illustrated. ( see glossary ) main
via surya_layout
24 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs main
via surya_layout
25 one svara; gāthika pertains to gāthā ( that stanza which neither belongs to main
via surya_layout
26 Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or main
via surya_layout
27 narratives) which is associated with the use of two svaras; sāmika pertains to main
via surya_layout
28 sāman implying that the music of Sāmaveda employs three svaras; svarāntara main
via surya_layout
29 literally means the interval of a svara, the implication seems to be that a group main
via surya_layout
30 of four svaras is the first step towards the formation of a heptad from a triad; main
via surya_layout
31 auduva stands for a group of five svaras ( the etymology of this word is given in main
via surya_layout
32 Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, main
via surya_layout
33 literally meaning complete, stands for a group of all the seven svaras. main
via surya_layout
34 Really speaking, it is not possible to limit the recitation of Rgveda to one main
via surya_layout
35 svara, because in current practice, generally three tones are employed in main
via surya_layout
36 reciting the pk. The practice of the recitation of gatha is not generally known main
via surya_layout
37 today. But for sāman, it is not possible to limit its musical range to three tones. It main
via surya_layout
38 is, however, notable that the number three is associated with sāman in NS in main
via surya_layout
39 another context and that is the trisama spoken of in the beginning of main
via surya_layout
40 pūrvaranga, the preliminaries of dramatic performance. The semi-musical main
via surya_layout
41 rendering of three sāmans is prescribed there. These sāmans are composed of main
via surya_layout
42 non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). main
via surya_layout
43 52. Gita stands for a tonal structure that may be rendered by the voice or on main
via surya_layout
44 instruments, it is not just 'song'. main
via surya_layout
45 53. Şadja as the progenitor of six svaras can be understood as the one who regulates main
via surya_layout
46 or determines the pitch of all the six subsequent svaras. In this context şadja will have to main
via surya_layout
47 be construed as the standard tonic. Although in the grāma-mūrchanā system each one of main
via surya_layout
48 the seven svaras could assume the role of tonic, yet şadja is the initial tonic in main
via surya_layout
203 lignes a valider — change uniquement les roles incorrects.