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 21675). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p116 LEFT — 26 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDESĪ page_header
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2 214 page_number
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3 [१५. हयलीला] section_header
via surya_layout
4 अर्धं यत्र स्वरैगींत्वा यस्यास्तुरगलीलया । main
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5 अ(र्थ ?र्ध) annotation_inline
parent ligne 4
via heuristic_height
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_p030 RIGHT — 28 lignes

page vol_I_p030 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 , annotation_inline
parent ligne 4
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2 43 page_number
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3 TRANSLATION page_header
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4 The vivādi-maṇḍala in madhyama-grāma is thus — main
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5 ma annotation_inline
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6 pa annotation_inline
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7 ga unknown
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8 ц unknown
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9 dha unknown
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10 ni annotation_inline
parent ligne 4
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11 sa annotation_inline
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12 [The sevenfold combination of svaras according to the types beginning with editorial_bracket
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13 ārcika] editorial_bracket
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14 (Anu. 28) main
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15 Now the names of the sevenfold combination of svaras are being spoken of - main
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16 ārcika,45 gāthika,46 sāmika,47 svarāntara,48 auduva,49 şādava50 and sampūrņa.51 main
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17 Nārada has said so - main
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18 "Ārcika, gāthika, sāmika, svarāntara, auduva, sādava and the seventh is main
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19 sampūrņa. That which (involves) the use of one svara is called ārcika. Gāthika main
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20 should be known as being comprised of two svaras, the (combination of) three main
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21 svaras itself is sāmika. The use of four svaras is spoken of as svarāntara. Auduva is main
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22 with five (svaras), şāḍava is with six svaras and sampūrņa is known with seven main
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23 (svaras) by the designers (yoktṛns) of gīta 52 (music)." main
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24 [The etymology of svara-names] section_header
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25 ŧ annotation_inline
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26 The producer of six svaras, or the one produced by six svaras, or that which main
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27 (55) annotation_inline
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28 is born of six angas is called sadja.53 main
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vol_I_p088 RIGHT — 76 lignes

page vol_I_p088 RIGHT
L#Texte OCRRole autoCorriger si incorrect
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
parent ligne 8
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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
via heuristic_pagenum
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_p125 LEFT — 28 lignes

page vol_II_p125 LEFT
L#Texte OCRRole autoCorriger si incorrect
1 L annotation_inline
parent ligne 5
via heuristic_height
2 · - 1 1 1 annotation_inline
parent ligne 5
via heuristic_height
3 232 page_number
via heuristic_pagenum
4 BRHADDESĪ page_header
via surya_layout
5 [घ. पुनर्वर्णेला-सप्तकम्] section_header
via surya_layout
6 रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा। main
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7 मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥ main
via surya_layout
8 [१. रमणी] section_header
via surya_layout
9 समा यत्र यति: पादे प्रथमे च द्वितीयके । main
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10 द्विगिद्वितीयके(?) annotation_inline
parent ligne 9
via heuristic_height
11 पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥ main
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12 ॰द्यो॰ annotation_inline
parent ligne 11
via heuristic_markers
13 [२.चन्द्रिका] section_header
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14 स्रोतोगता समा चैव यत्र पादद्वये भवेत्। main
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15 बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥ main
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16 [३.लक्ष्मी] section_header
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17 गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च । main
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18 मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥ main
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19 [४.पद्मिनी] section_header
via surya_layout
20 आद्ये पादे द्वितीये च तृतीये च चतुर्थके । main
via surya_layout
21 वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥ main
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22 [५.रञ्जिनी] section_header
via surya_layout
23 प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके । main
via surya_layout
24 स्रोता annotation_inline
parent ligne 23
via heuristic_height
25 गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥ main
via surya_layout
26 [६. मालती] section_header
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27 लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता । main
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28 यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥ main
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vol_II_p011 RIGHT — 38 lignes

page vol_II_p011 RIGHT
L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
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2 5 page_number
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3 and andhri and nandayanti and karmaravi and then kaisiki, thus should be main
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4 known the eleven (jātis) based on madhyamagrāma. main
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5 <math>(189 - 190)</math> main
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6 [Thus end the eleven jātis based on madhyamagrāma] editorial_bracket
parent ligne 5
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7 [ sādhāraņakṛtā jātis ] section_header
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8 Three jatis should be known by the wise to be sadharanakṛtā (those in main
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9 which the use of sādhāraṇa svaras is prescribed) viz., madhyamā, pañcamī and main
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10 similarly <i>şadjamadhyamā</i>. main
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11 (191) annotation_inline
parent ligne 10
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12 Thus ends the number and nomenclature of jātis. main
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13 [2. The śuddhā, vikṛtā and samsargajā vikṛtā jātis] section_header
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14 [Anu. 115] section_header
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15 Out of these eighteen jātis the seven bearing the names of (seven) svaras main
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16 are spoken of as being twofold - suddhās and vikṛtās. The suddhās are devoid main
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17 of the omission of notes and have their anisa, graha, nyāsa and apanyāsa on main
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18 their own svara, i.e. the svara from which each of them derives its respective main
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19 name. They assume the name vikṛtā on account of the alteration obtaining main
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20 in them through an alteration in respect of one, two or many lakṣaṇas main
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21 (characteristics) out of the above lakṣaṇas(characteristics of their śuddha main
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22 1002 472 7 unknown
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23 form), excepting nyāsa4 (which is not altered). main
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24 [Anu. 116] section_header
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25 Out of these (lakṣaṇas) he (the author) spoke (speaks) about the main
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26 日本が一次の後の日の行人の行うのできるというますが、まるは、大利の大利の人の自己となりから unknown
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27 prescription of nyāsa. There in the prescription of nyāsa, the nyāsa which is main
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28 the svara from which the respective jāti derives its name, is, as a rule, low main
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29 (mandra) in the jātis that are śuddhā (unaltered). In the vikṛtā (jātis) the main
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30 nyāsa on the note from which the respective jāti derives its name, is either main
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31 tāra (high) or mandra (low); thus there is no rule. main
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32 [Anu. 117] section_header
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33 Thus the śuddhā jātis have a twofold<sup>5</sup> form, viz., the original (unaltered) main
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34 and the altered state. The eleven jātis have only an altered state because they main
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35 are born of the vikṛtā varieties (of śuddhā jātis); they do not have an main
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36 unaltered state. Why is that so? They are born of mutual blending. main
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37 Similarly has said Bharata - main
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38 ر<br>د د د د د د د د د د د د د د د د د د د unknown
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196 lignes a valider — change uniquement les roles incorrects.