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 21699). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p083 RIGHT — 33 lignes

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1 4 - 1 annotation_inline
parent ligne 4
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2 149 page_number
via heuristic_pagenum
3 TRANSLATION page_header
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4 [ Vibhāṣā of ṭakkarāga] section_header
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5 Having pañcama as amsa and sadja as the concluding note, being main
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6 embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung main
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7 at the end of the bhāṣās. annotation_inline
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8 (61) annotation_inline
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9 Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. main
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10 Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. main
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11 Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. main
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12 [2. Bhāṣās in mālavakaiśika] section_header
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13 Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja main
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14 as the initial and concluding note, is complete in svaras (and) has profuse main
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15 șadja and madhyama. This bhāṣā should be known as the first one in main
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16 mālavakaišika (used as mālakaišika in the text due to exigency of metre) of main
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17 madhyama (grāma). annotation_inline
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18 (62) annotation_inline
parent ligne 16
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19 Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. main
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20 Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. main
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21 Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā, main
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22 complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. main
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23 (63) annotation_inline
parent ligne 22
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24 Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. main
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25 Sādhāmāgārigāsāsā. Suddhā [i] editorial_bracket
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26 Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is main
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27 complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā main
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28 should always be known as sankīrņā (mixed), by the knowledgeable ones in main
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29 gändharva. annotation_inline
parent ligne 28
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30 (64) annotation_inline
parent ligne 28
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31 Pāpāmāmā. annotation_inline
parent ligne 28
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32 Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. main
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33 Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā main
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vol_II_p043 LEFT — 50 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĪ page_header
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2 68 page_number
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3 रों रों गां सम मा मा पा पा table
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4 (८) table
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5 (8) table
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6 मा पा मा परि गा गा गा गा table
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7 (१०) table
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8 धानी पामा धानी सासा table
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9 (११) table
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10 नी नी नी नी नी नी नी table
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11 (१२) table
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12 मा मा धा नी नी धा पा पा table
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13 (१३) table
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14 मा पा मा परि गा गा गा गा table
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15 (88) table
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16 नी नी पा धनि गा गा गा गा table
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17 सारी गासानी नी नी नी table
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18 (१५) table
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19 (१६) table
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20 नी नी धा पा पा पा पा पा table
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21 ॥ [इति] कार्मारवी ॥ table
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22 1411 page_number
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23 [७. गान्धारपञ्चमी] section_header
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24 अंशो गान्धारपञ्चम्यां पञ्चमः, सङ्गतिः पुनः । main
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25 (育) annotation_inline
parent ligne 24
via heuristic_short
26 कर्तव्याऽत्रापि गान्धारीपञ्चम्योरिव सूरिभि: ॥१९॥ main
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27 १८००भूरिभि: annotation_inline
parent ligne 26
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28 चच्चत्पुट: षोडशात्र कला गादिश्च मूर्छना । main
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29 तुर्यप्रेक्षणसम्बन्धि-ध्रुवागाने नियोजनम् ॥२०॥ main
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30 <sup>१८१</sup>अस्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ । <sup>१८२</sup>प्रस्तारः - unknown
via fallback
31 (१) table
via surya_layout
32 मा मा पम धनि धप मा धा नी table
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33 (२) table
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34 सनि धा पा पा पा पा पा पा table
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35 (3) table
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36 धा नी सा सा मा मा पा पा table
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37 नी नी नी नी नी नी नी table
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38 (8) table
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39 (4) table
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40 नी नी धप मा निध निध पा पा table
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41 <b>(६)</b> table
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42 पा पा री री री री पा पा table
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43 (७) table
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44 मा रिग सा सध नी नी नी नी table
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45 (८) table
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46 नी री सा रिस री री री री table
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47 नी गा सा निग सा नी नी नी table
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48 (९) table
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49 (१०) table
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50 नी मां नी मां पा पा गां गां table
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vol_II_p065 RIGHT — 37 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 113 page_number
via heuristic_pagenum
3 [5. Boţţa-rāga] section_header
via surya_layout
4 Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī, main
via surya_layout
5 has pañcama as its amsa and madhyama as the concluding note. main
via surya_layout
6 (324) annotation_inline
parent ligne 5
via heuristic_height
7 [Anu. 196] section_header
via surya_layout
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
via surya_layout
18 of svara and pada. annotation_inline
parent ligne 17
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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
via surya_layout
29 being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone main
via surya_layout
30 is justified because authorities like Bharata and Kohala have treated the main
via surya_layout
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
via surya_layout
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
parent ligne 35
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37 , annotation_inline
parent ligne 35
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vol_I_p103 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARŚA page_header
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2 189 page_number
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3 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that list_item
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4 whatever pattern is established in an alankāra it should be followed all-through. list_item
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5 If varna is taken to stand for syllabic unit, then the conflict and its prohibition list_item
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6 become clear. list_item
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7 118. Using an alankāra without a varņa ( melodic movement ) is a list_item
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8 contradiction in itself; here also, as above (note 117) the idea seems to be that list_item
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9 an alankāra should not be used without establishing a definite pattern. Here list_item
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10 varna as a syllabic unit does not seem to be relevant. list_item
via surya_layout
11 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in list_item
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12 relation to varna (the syllabic unit) have been figuratively spoken of as—(i) list_item
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13 the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it list_item
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14 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom list_item
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15 (like a flower on a creeper) and (iv) it makes the varna colourful or delightful list_item
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16 (like an ornament on a woman). list_item
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17 120. It is notable that all illustrations begin with sadja and do not extend list_item
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18 beyond the tāra şadja. list_item
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19 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. list_item
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20 Section VII ( Pada-giti ) section_header
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21 1,2,3. Giti literally means song or the act of singing, but here it stands for list_item
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22 specific pattern of singing with reference to the text of the song as manifest in list_item
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23 its syllabic units (akşara) and metre (chandas). NŠ mentions only these four list_item
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24 gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to list_item
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25 distinguish between these two types of gitis, the first type being related to the list_item
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26 rendering of text and the second type being related to the rendering of raga, we list_item
via surya_layout
27 have qualified the gitis under reference with pada, and the gitis of raga list_item
via surya_layout
28 classification will be qualified with svara or raga. list_item
via surya_layout
29 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means list_item
via surya_layout
30 descent (of svaras); here it means repetition. list_item
via surya_layout
31 5. Nivitta lit. means receded or held back as opposed to pravitta meaning list_item
via surya_layout
32 proceeded or set forth. Here it means accomplished or completed. list_item
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33 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system list_item
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34 which represent three 'degrees' of length of a given tāla-cycle, depending on list_item
via surya_layout
35 the duration of kalā or standard time-unit, as follows - list_item
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36 Duration of kalā section_header
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37 Name of marga section_header
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38 2 mātrās annotation_inline
parent ligne 37
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39 1. Citra main
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40 4 mātrās annotation_inline
parent ligne 39
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41 2. Vārtika or vṛtti main
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42 8 mātrās annotation_inline
parent ligne 41
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43 3. Daksina unknown
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44 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika main
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45 and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 main
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46 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three main
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47 (vide) annotation_inline
parent ligne 46
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48 T 1 annotation_inline
parent ligne 46
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49 (vide) annotation_inline
parent ligne 46
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vol_I_p066 RIGHT — 49 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 115 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Giti (musical rendering) without alankāra is like a night without the moon, main
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4 a river without water, a creeper without flowers (and) a woman without main
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5 (168) annotation_inline
parent ligne 4
via heuristic_short
6 ornaments.119 main
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7 Thus have been described these thirty-three alankāras by me. Those that main
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8 have not been indicated here, they should also be understood. main
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9 (169) annotation_inline
parent ligne 8
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10 (Anu. 103) main
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11 Thus are the prastaras (notational representations) in (svaras) beginning main
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12 with şadja.120 main
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13 (1) table
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14 sarigamapadhanisa,121 prasannādi table
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15 (2) table
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16 sanidhapamagarisa, 122 prasannānta table
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17 (3) table
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18 sarigamapadhanisa 123 nidhapamagarisa, prasannādyanta table
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19 <b>(4)</b> table
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20 sanidhapamagarisa 124 sarigamapadhanisa, prasannamadhyama table
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21 <b>(5)</b> table
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22 sā rī gā mā pā dhā nī sā,125 sama table
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23 (6) table
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24 sā sā 126 sā, bindu table
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25 <b>(7)</b> table
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26 sā sā sā, 127 nivītta pravītta table
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27 (8) table
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28 sarigamapadhaninidhapamagarisa, veņu table
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29 (9) table
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30 sarigamapadhanisa.<sup>128</sup> kampita table
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31 (10) table
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32 sarigamapadhanisa,129 kuharita table
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33 (11) table
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34 sarigamapadhanisa,150 recita table
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35 sarīrisā rigagarī gamāmagā mapāpamā padhādhapā, dhanīnidhā 151 nisāsani, table
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36 (12) table
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37 prenkholita unknown
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38 mapadhanisama, main
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39 gamapadhaniga annotation_inline
parent ligne 38
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40 rigamapadhari main
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41 sarigamapasa annotation_inline
parent ligne 40
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42 (13) main
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43 tāramandraprasanna annotation_inline
parent ligne 42
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44 masanidhapama, 132 main
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45 ganidhapamaga annotation_inline
parent ligne 44
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46 ridhapamagari main
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47 sapamagarisa annotation_inline
parent ligne 46
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48 (14) main
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49 mandratāraprasanna main
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218 lignes a valider — change uniquement les roles incorrects.