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 21659). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p099 RIGHT — 45 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 181 page_number
via heuristic_pagenum
2 VIMARŚA page_header
via surya_layout
3 is also used. This is how the distinction brought about by mandra and tara could be main
via surya_layout
4 understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. main
via surya_layout
5 48. 'Sukha' has been translated here as convenience or it could be rendered main
via surya_layout
6 as facility. The facility of the performer and listener is said here to be the main
via surya_layout
7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
via surya_layout
8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
via surya_layout
9 author has tried to distinguish between murchana and tana, we have accepted main
via surya_layout
10 the reading anyatvam which means distinction (see note 78 under textual notes main
via surya_layout
11 on the section ). In NS mūrchanā-tāna is also a compound name for the 84 main
via surya_layout
12 tānas. BṛD does not use this compound and emphasises the distinction between main
via surya_layout
13 the two; viz. mūrchanā and tāna. main
via surya_layout
14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
via surya_layout
15 said that the variety of murchana and tana accords facility to the performer by main
via surya_layout
16 making possible the use of three sthanas (registers) and also the omission of main
via surya_layout
17 svaras (according to a specific system as embodied in the 84 tanas). The main
via surya_layout
18 distinction between murchana and tana brought out in the reading accepted by main
via surya_layout
19 us could be construed to mean that mūrchanā as a complete scale in ascending main
via surya_layout
20 and descending establishes the three sthanas and tana (involving omission) main
via surya_layout
21 establishes a specific pattern in ascent. It is interesting to note that even today main
via surya_layout
22 omission of one or two svaras is very effective in the ascent in all those ragas main
via surya_layout
23 that involve omission in ascent and use the omitted svaras in descent. ( see main
via surya_layout
24 glossary) main
via surya_layout
25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
via surya_layout
26 of this specific omission could be said to be the distinguishing feature between list_item
via surya_layout
27 the jātis and rāgas of one grāma and the other. list_item
via surya_layout
28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
via surya_layout
29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
via surya_layout
30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
via surya_layout
31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
via surya_layout
32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
via surya_layout
33 the first instance the number of tanas (permutation of a given number of list_item
via surya_layout
34 svaras ) is implied and in the second instance the number of svaras constituting list_item
via surya_layout
35 the specific tāna (combination of svaras) is implied. list_item
via surya_layout
36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
via surya_layout
37 remains intact and uthrama is a permutation where the original order is list_item
via surya_layout
38 changed. The method of obtaining the number of kramas and utkramas of a list_item
via surya_layout
39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
via surya_layout
40 number, without leaving any number in-between. For example if the number of list_item
via surya_layout
41 svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and list_item
via surya_layout
42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
via surya_layout
43 kramas and the remainder viz. 714 is the number of utkramas. list_item
via surya_layout
44 57. 'Māna' could stand here for the measure (length, breadth and the like) of the list_item
via surya_layout
45 viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI, list_item
via surya_layout

vol_I_p020 LEFT — 36 lignes

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1 BRHADDESI page_header
via surya_layout
2 22 page_number
via heuristic_pagenum
3 तदुक्तम्— main
via surya_layout
4 "कथं प्रतीतिश्च भवेदमुष्या main
via surya_layout
5 नादौ नभो व्याकुलितश्रुति स्यात् । main
via surya_layout
6 ुत्वा, । annotation_inline
parent ligne 5
via heuristic_height
7 रा annotation_inline
parent ligne 5
via heuristic_height
8 भवेदलक्ष्यावयवा श्रुतिस्तु main
via surya_layout
9 [ तेनैव ] नैवावयवा प्रतीता ।। editorial_bracket
parent ligne 8
via heuristic_brackets
10 ॰वी annotation_inline
parent ligne 8
via heuristic_markers
11 ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति । main
via surya_layout
12 तासा भवतीताः annotation_inline
parent ligne 11
via heuristic_height
13 ती २ annotation_inline
parent ligne 11
via heuristic_height
14 यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥ main
via surya_layout
15 श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते। editorial_bracket
parent ligne 14
via heuristic_brackets
16 एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥ main
via surya_layout
17 तस्या annotation_inline
parent ligne 16
via heuristic_height
18 ুস্ annotation_inline
parent ligne 16
via heuristic_height
19 मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥ main
via surya_layout
20 ٥٣, annotation_inline
parent ligne 19
via heuristic_height
21 सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः। main
via surya_layout
22 [ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।। editorial_bracket
parent ligne 21
via heuristic_brackets
23 ₀णः ₀न्तोऽप्या₃ annotation_inline
parent ligne 21
via heuristic_markers
24 ++++ main
via surya_layout
25 सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा । main
via surya_layout
26 ०णी तु annotation_inline
parent ligne 25
via heuristic_short
27 स annotation_inline
parent ligne 25
via heuristic_height
28 विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥ main
via surya_layout
29 भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥ main
via surya_layout
30 किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः । main
via surya_layout
31 निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥" main
via surya_layout
32 अत्रोच्यते- annotation_inline
parent ligne 31
via heuristic_short
33 अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा। main
via surya_layout
34 ₀প্লাপ্রউন<sup>87</sup> annotation_inline
parent ligne 33
via heuristic_markers
35 गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः main
via surya_layout
36 118311 main
via surya_layout

vol_I_p052 RIGHT — 41 lignes

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1 87 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 When in the gita (melodic rendering) the svaras move (to and fro) in main
via surya_layout
4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
via surya_layout
5 the beginning of the succeeding phrase), or two by two, that is known as the main
via surya_layout
6 (119) annotation_inline
parent ligne 5
via heuristic_height
7 sañcārin9 (circulatory) varņa. annotation_inline
parent ligne 5
via heuristic_height
8 (Anu. 65) section_header
via surya_layout
9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
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10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
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11 is formed). annotation_inline
parent ligne 10
via heuristic_height
12 (Anu. 66) section_header
via surya_layout
13 Where the svaras of the gita ascend one by one or with intervening gaps, main
via surya_layout
14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
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15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
via surya_layout
16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
via surya_layout
17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
via surya_layout
18 (ascending) varņa (comes into being). main
via surya_layout
19 Where the svaras descend in one order alone, that is called avarohin with main
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20 (120) annotation_inline
parent ligne 19
via heuristic_height
21 'equal' (gapless) svaras (or) with gaps. annotation_inline
parent ligne 19
via heuristic_height
22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
via surya_layout
23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
via surya_layout
24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
via surya_layout
25 Hence it has been said - annotation_inline
parent ligne 24
via heuristic_height
26 "These varnas ought to be known for the sake of the structuring" of main
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27 alankāras and the like, as being born of svaras produced by the human body 12 main
via surya_layout
28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
via surya_layout
29 (Anu. 67) section_header
via surya_layout
30 How is varna brought about? It is being answered. When the svaras stretch main
via surya_layout
31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
via surya_layout
32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
via surya_layout
33 melodic movement) is effected. annotation_inline
parent ligne 32
via heuristic_height
34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
via surya_layout
35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
via surya_layout
36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
via surya_layout
37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
via surya_layout
38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
via surya_layout
39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
via surya_layout
40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
via surya_layout
41 These varņas obtain also in the wooden20 (viņā), just as they are main
via surya_layout

vol_I_p034 LEFT — 31 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚI page_header
via surya_layout
2 50 page_number
via heuristic_pagenum
3 V [ ग्राममूर्छनाप्रकरणम् ] section_header
via surya_layout
4 [ अनु. ३० ] editorial_bracket
parent ligne 3
via heuristic_brackets
5 अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ? main
via surya_layout
6 कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥ main
via surya_layout
7 अश्रोच्यते— unknown
via fallback
8 म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥ main
via surya_layout
9 यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि। main
via surya_layout
10 ₀ता² annotation_inline
parent ligne 9
via heuristic_markers
11 सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥ main
via surya_layout
12 ₄तः annotation_inline
parent ligne 11
via heuristic_height
13 षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल। main
via surya_layout
14 गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥ main
via surya_layout
15 सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः। main
via surya_layout
16 द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥ main
via surya_layout
17 [ अनु. ३१ ] editorial_bracket
parent ligne 16
via heuristic_brackets
18 प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं main
via surya_layout
19 o404 annotation_inline
parent ligne 18
via heuristic_height
20 नाम प्रयोजनम्। main
via surya_layout
21 [ अनु. ३२ ] editorial_bracket
parent ligne 20
via heuristic_brackets
22 ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां main
via surya_layout
23 ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन। main
via surya_layout
24 ₀लोत्पन्न,<sup>5</sup> annotation_inline
parent ligne 23
via heuristic_markers
25 तथा चाह नारदः – main
via surya_layout
26 "देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः। main
via surya_layout
27 एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6 main
via surya_layout
28 उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते। main
via surya_layout
29 ुण्युः annotation_inline
parent ligne 28
via heuristic_height
30 षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥ main
via surya_layout
31 __ु•वाह्रि च __ main
via surya_layout

vol_II_p054 LEFT — 28 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BŖHADDEŚĪ page_header
via surya_layout
2 90 page_number
via heuristic_pagenum
3 [अन्॰ १६७] editorial_bracket
parent ligne 4
via heuristic_brackets
4 अस्यार्थ: -शुद्धसाधारितो राग: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेरुत्पत्रत्वात्। तारषड्जो main
via surya_layout
5 ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको main
via surya_layout
6 रसः । षड्जादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला main
via surya_layout
7 (ति ? दि) annotation_inline
parent ligne 6
via heuristic_height
8 स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
9 [४. शुद्धकैशिकमध्यम:] section_header
via surya_layout
10 कैशिकीषड्जमध्याभ्यां शुद्धकैशिकमध्यमः। main
via surya_layout
11 ॰शुद्ध॰ annotation_inline
parent ligne 10
via heuristic_markers
12 षड्जांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ main
via surya_layout
13 ॰क (स्त्रि ? त्रि) त्रुतिपञ्चम: annotation_inline
parent ligne 12
via heuristic_markers
14 [अनु॰ १६८] editorial_bracket
parent ligne 12
via heuristic_brackets
15 अस्यार्थ: - शुद्धकैशिकमध्यमो राग: षड्जग्रामसम्बन्ध: कैशिकीषड्जमध्याजातिभ्यां<sup>४२</sup> main
via surya_layout
16 ॰ जात्यो: annotation_inline
parent ligne 15
via heuristic_markers
17 समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत main
via surya_layout
18 (ननु ?) annotation_inline
parent ligne 17
via heuristic_height
19 उभयग्रामता[ऽ]स्तीति भाव:।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे editorial_bracket
parent ligne 17
via heuristic_brackets
20 ऋषभपञ्चमयोर्लोपो नास्तीति भाव: ।]<sup>४३</sup> तारषड्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । editorial_bracket
parent ligne 17
via heuristic_brackets
21 निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोप: । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य main
via surya_layout
22 काकलिपाडवश annotation_inline
parent ligne 21
via heuristic_height
23 प्रयोग: । षड्जादिमूर्छना । रौद्रवीरादिको रस: । प्रसन्नान्तोऽलङ्कार: । ..... main
via surya_layout
24 [५. शुद्धकैशिक: ] section_header
via surya_layout
25 ४४षड्जांश: ४५पञ्चमन्यास: कैशिकीजातिसम्भव:। main
via surya_layout
26 पड्जांशै: annotation_inline
parent ligne 25
via heuristic_height
27 पञ्चमो annotation_inline
parent ligne 25
via heuristic_height
28 तथा कार्मारवीजाते: स्वरै: पूर्णेश्च कैशिक: ॥३०३॥ main
via surya_layout
181 lignes a valider — change uniquement les roles incorrects.