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 21740). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p104 RIGHT — 66 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 VIMARSA page_header
via surya_layout
2 191 page_number
via heuristic_pagenum
3 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about main
via surya_layout
4 by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative main
via surya_layout
5 predominance of gita and vādya has been viewed here alongwith temporal main
via surya_layout
6 factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 main
via surya_layout
7 ( prose portion not commented upon by Abhinavagupta and put by the editor main
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8 within square brackets) and in S R VI, 168-170 as others' opinion. The main
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9 following correspondences have been indicated in the above passages in NS and main
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10 S R; BrD is in agreement with them here. main
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11 Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in main
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12 note 20 above ). (The prose passage of NS referred to above does use the word main
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13 graha). main
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14 Vytti table
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15 <b>Git</b>i table
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16 Mārga table
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17 Yati table
via surya_layout
18 Pāņi or table
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19 Avayava table
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20 Laya table
via surya_layout
21 Graha table
via surya_layout
22 Citrā table
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23 Māgadhi table
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24 Citrā table
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25 Druta table
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26 Samā table
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27 Uparipāņi table
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28 Ogha table
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29 Sambhāvitā Vārtika table
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30 Vytti table
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31 Madhya table
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32 Srotogatā Sama table
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33 Anugata table
via surya_layout
34 Daksiņā Pythulā table
via surya_layout
35 Vilambita table
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36 Daksina table
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37 Gopucchā Avapāņi table
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38 Tattva table
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39 32. Tāla is the structured cycle for time-measure in music and dance, here list_item
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40 this word seems to have been used in the general sense of the variable factors list_item
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41 that operate tāla, like mārga, yati, laya etc. list_item
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42 33. Laya lit. means merging; the rest or pause immediately following an list_item
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43 action is laya. The duration of a kriyā is determined by laya i.e. by the pause or list_item
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44 intervening time between one kriyā (action) and another. Druta (fast), list_item
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45 madhya (medium) and vilambita (slow) are the three layas that are list_item
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46 progressively double, each succeeding laya being double of the preceding one list_item
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47 i.e. the rest or pause is double and hence the tempo is slower. list_item
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48 34. Yati is the order of the use of laya in a given piece. Either the laya list_item
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49 remains constant all-through, that is samā yati, or it proceeds from fast to slow, list_item
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50 that is gopucchā yati or from slow to fast, that is srotogatā yati. list_item
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51 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor list_item
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52 or manifested. list_item
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53 36. See note 34 above. list_item
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54 37. See note 33 above. list_item
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55 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). list_item
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56 39. Ogha is one of the three types of gitanuga vadya (instrumental list_item
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57 rendering that follows 'song'). When the instrument uses profuse strokes for list_item
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58 each unit of 'song' or melody that is ogha. list_item
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59 40. See note 34 above. list_item
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60 41. See note 33 above. list_item
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61 42. Samapāņi is equated with sama graha. ( see note 20 above ) list_item
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62 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It list_item
via surya_layout
63 follows the song or melody, which means that it is not perfectly identical with list_item
via surya_layout
64 the latter. list_item
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65 44. See note 34 above. list_item
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66 45. See note 33 above. list_item
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vol_II_p019 LEFT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 化二溴磺基基 医动物 annotation_inline
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2 20 page_number
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3 BRHADDEŚĪ page_header
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4 [७. अल्पत्व-लक्षणम्] section_header
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5 [अनु॰ १२८] editorial_bracket
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via heuristic_brackets
6 इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् main
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7 (ते?त्वे) annotation_inline
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8 बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । main
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9 <sup>५५</sup>अन्तरमार्गस्य main
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10 संन्यासादिगतो भवेत् annotation_inline
parent ligne 9
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11 ৽হা৽ annotation_inline
parent ligne 9
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12 लक्षणं यथा जातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्यां गान्धारस्य सर्वस्वरसंगत्या main
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13 अनंशो annotation_inline
parent ligne 12
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14 विनास्प: annotation_inline
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15 बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- main
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16 ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति main
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17 [ना॰ शा॰ २८.१३६] editorial_bracket
parent ligne 16
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18 [८. बहुत्वलक्षणम्] section_header
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19 [अनु॰ १२९] editorial_bracket
parent ligne 18
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20 <sup>५६</sup>अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेष:। कथमित्याह editorial_bracket
parent ligne 18
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21 बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- main
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22 न्ते annotation_inline
parent ligne 21
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23 ५७ जातिस्वरैस्तु नित्यं [स्याज्] जात्यल्पत्वं द्विधा च तत्॥ editorial_bracket
parent ligne 21
via heuristic_brackets
24 (स्यात्) annotation_inline
parent ligne 21
via heuristic_height
25 जात्यस्प(स्व?त्वं)द्वि(विधं?धा) annotation_inline
parent ligne 21
via heuristic_height
26 सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। main
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27 संचा(रस्य/रोंऽश) annotation_inline
parent ligne 26
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28 न्यासश्चान्तरमार्गस्तु जातीनां व्यक्तिकारक:॥'' main
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29 द्विविधान्तर • annotation_inline
parent ligne 28
via heuristic_short
30 • कार(कम्?कः) main
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31 [तुल॰ ना॰ शा॰ २८.७४ गघ, ७५] editorial_bracket
parent ligne 30
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32 [९. न्यासलक्षणम्] section_header
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33 [अनु॰१३०] editorial_bracket
parent ligne 32
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34 इदानीं न्यासमाह - न्यस्यतें त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास main
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35 ॰ स: स annotation_inline
parent ligne 34
via heuristic_markers

vol_II_p034 RIGHT — 35 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 TRANSLATION page_header
via surya_layout
2 51 page_number
via heuristic_pagenum
3 pañcama and șadja. In the complete state there is the sparseness of șadja, main
via surya_layout
4 madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness main
via surya_layout
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
via surya_layout
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_II_p061 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 . 4 unknown
via fallback
2 2 a - annotation_inline
parent ligne 5
via heuristic_height
3 104 page_number
via heuristic_pagenum
4 BRHADDEŚĪ page_header
via surya_layout
5 [ग. गौडरागाः] section_header
via surya_layout
6 [अनु॰ १८६] editorial_bracket
parent ligne 5
via heuristic_brackets
7 नन् गौडाः कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात् । main
via surya_layout
8 किं लक्षणम् ? उच्यते । तद्यथा - main
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9 ओहाटी मन्द्रजोपात्ता प्रयोगे ध्वनिकम्पितै:। * main
via surya_layout
10 ओहाडी मन्त्रजा(?)+तु प्रयोगै (दूं?र्हू)तकम्पितै:। main
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11 अविश्रामेण त्रिस्थाने गौडी गीतिरुदाहृता ॥३१५॥ main
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12 गौह॰ annotation_inline
parent ligne 11
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13 [१.गौडपञ्चम:] section_header
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14 गौडपञ्चमस्य लक्षणम् - main
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15 गौडपञ्चमनिष्पत्तौ धैवतीषड्जमध्यमे । main
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16 धैवतांशो मध्यमान्तो रहित: पञ्चमेन तु ६३॥३१६॥ main
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17 (वि? र)हित: annotation_inline
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18 [अन्॰ १८७] editorial_bracket
parent ligne 16
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19 अस्यार्थ: -गौडपञ्चम: षड्जग्रामसम्बन्ध:,धैवतीषड्जमध्यमाजात्यो: समुत्पन्नत्वात्। main
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20 धैवतोंऽशो ग्रहश्च। मध्यमो न्यासः। निषादगान्धारौ काकल्यन्तरौ । पञ्चमरहितोऽयं षट्स्वरः । main
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21 प्र(ह)स annotation_inline
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22 उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोग:।बीभत्सभयानकरसौ।धैवतादिमूर्छना।आरोही main
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23 (क)रसो रसः annotation_inline
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24 प्रसन्नमध्योऽलङ्कार: । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते main
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25 वर्णः। annotation_inline
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26 चच्चत्पुटादिताल:। main
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27 चचत्पुटताल: annotation_inline
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28 [२.गौडकैशिक:] section_header
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29 उत्पन्नः कैशिकीषड्जमध्यमाजातितो मतः। main
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30 षड्जांशः पञ्चमन्यासः सम्प्रोक्तो गौडकैशिकः ॥३१७॥ main
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31 (स:) annotation_inline
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32 (vide) annotation_inline
parent ligne 30
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vol_II_p050 RIGHT — 34 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 83 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [3. Gaudī giti and its component ohāțī] section_header
via surya_layout
4 The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said main
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5 to consist of a combination of the sound 'ha' and 'o'. main
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6 (277) annotation_inline
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7 Ohāţī belongs to the low (register); (it is produced) by placing the chin on main
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8 the chest. It is to be made fast and faster, being pressed with the shake 15 of main
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9 svara. annotation_inline
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10 (278) annotation_inline
parent ligne 8
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11 And ohāţī is also beautiful with seen and unseen actions; it comprises of main
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12 actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements main
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13 in the three registers. annotation_inline
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14 (279) annotation_inline
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15 Similarly, ohāţī has to be used by the knowledgeable ones in vocal music main
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16 in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth), main
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17 in ascent and in descent. Ohāṭī is obtained in performance as being born in main
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18 the low (register) with shakes 19 of sound. main
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19 (280) annotation_inline
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20 Gaudī gīti is said to subsist without rest in the three registers. main
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21 (281) annotation_inline
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22 [4. Rāga giti] section_header
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23 Rāgagīti is said to be with attractive gamakas,20 with variegated low main
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24 (prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or main
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25 delightful arrangements of svaras. main
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26 (282) annotation_inline
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27 The rāgas (melodic configurations) are so called because the beautiful main
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28 rāga (colourfulness or delightfulness) that comes about in all the four varņas main
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29 is seen in them in its completeness. main
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30 (283) annotation_inline
parent ligne 29
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31 [5. Sādhāraṇī gīti] section_header
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32 (This gīti) should be made with straight, attractive, somewhat minute and main
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33 large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or main
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34 soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined main
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202 lignes a valider — change uniquement les roles incorrects.