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 20597). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p047 LEFT — 33 lignes

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1 <b>BRHADDEŚI</b> page_header
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2 76 page_number
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3 [ अनु. ५१ ] editorial_bracket
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4 ननु मध्यमसप्तकेन मूर्छनानिर्देशः क्रियते यदि तदा किमुक्तं मध्यमेन main
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5 स्वरेणेति ? सत्यमुक्तम्। स्वरजात्यपेक्षया एकवचनम्। १७ कण्ठ्ये स्वरे main
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6 ₀णर्ये annotation_inline
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7 मूर्छना कार्येति भावः। वैणग्रहणं च शरीर अप्रकीर्तितस्यापि स्थानस्य main
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8 ्रतितः तस्यापि annotation_inline
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9 लाभार्थम्। main
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10 अनु₀ ५२ editorial_bracket
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11 ननु षाडवौडुविते क्रियमाणे मूर्छनाप्रत्यभिज्ञानमस्ति वा न वा ? main
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12 अस्त्येव मूर्छनाप्रत्यभिज्ञानमिति। तथा चाह दत्तिलः — main
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13 "एवं कृतेऽपि तानत्वे गणयित्वा विनाशिनम्। main
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14 oWo annotation_inline
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15 <sup>७७</sup>विद्वानेतावतिथ्येषा मूर्छनेत्यवधारयेत्।।" main
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16 दत्तिलम् ३७ | annotation_inline
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17 च ते annotation_inline
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18 [ अनु₀ ५३ ] editorial_bracket
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19 ७४ननु प्रथमायां सप्तम्यां च मूर्छनायां षड्जे लुप्ते रिगमपधनीति main
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20 एकमेव रूप भवति, तत्र न ज्ञायते विशेषः। सत्यम्, भेदो नास्ति । main
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21 वस्तुगणने पुनरस्त्येव भेदः, मन्द्रतारकृतो भेदः। main
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22 [ अनु₀ ५४ ] editorial_bracket
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23 ७१इद तु प्रयोक्तृश्रोतृसुखार्थमेव मूर्छना-तानान्यत्वमुक्तम्। main
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24 तानप्रयोजनमपि त्रिस्थानप्राप्त्यर्थीमेत्युक्तम्। main
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25 माना, annotation_inline
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26 [ अनु₀ ५५ ] editorial_bracket
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27 ननु मूर्छनास्तावज्जातिरागेषूपयोगिन्य इति युक्तं तासां कथनम्, main
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28 <sup>80</sup>ंगभाषादिषुपः annotation_inline
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29 तानास्तु 📭 कुत्रोपयुज्यन्ते ? उच्यते- main
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30 द्वयोग्रामयोजीतिरागान्यत्वप्रतिपादनार्थं प्रयोगस्तानानाम्। main
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31 यद्वा ६४नष्टोद्दिष्टसंख्यासिद्ध्यर्थं प्रयोगस्तानानाम्। main
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32 (vide) unknown
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33 <b>ेत्रन्द्रष्ट</b>ः annotation_inline
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vol_I_p094 RIGHT — 45 lignes

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1 VIMARŚA annotation_inline
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2 171 page_number
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3 musical training, even today the ākāra sound is given primary importance. (cf. DAI, main
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4 p. 46) main
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5 21, 22. This contention does not seem to fit in the context. The acceptance list_item
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6 of vowels beginning with ākāra out of the fourteen svaras (vowels) of language list_item
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7 does not carry further the argument that vowels and musical tones cannot be list_item
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8 equated. The number of vowels in language is twenty-one according to Pa Si list_item
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9 (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā list_item
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10 Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra list_item
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11 quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our list_item
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12 author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri list_item
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13 ga ma pa dha ni combine only two vowels viz. a and i with the respective list_item
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14 consonants. Perhaps the author is hinting at the acceptance of these two vowels list_item
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15 out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. list_item
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16 23. The gradual ascent of seven svaras in pitch seems to be implied. list_item
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17 24. There seems to be a break in the text; this sentence seems to be the list_item
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18 concluding remark of the whole discussion on the question of equating vowels list_item
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19 of language with musical tones both of which bear the same name viz. svara. list_item
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20 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach list_item
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21 the proper interpretation or application of other rules or resolve the apparent list_item
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22 contradictions among other rules. This word also stands, in general, for list_item
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23 abbreviations or signs used in any discipline; the latter meaning is relevant here list_item
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24 as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, list_item
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25 madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . list_item
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26 work that uses solfa-syllables, the above discussion has a historical context. list_item
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27 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship list_item
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28 of samvāda (roughly consonance), anuvāda (assonance) and vivāda list_item
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29 (dissonance) among svaras. A relationship pre-supposes two entities, rather two list_item
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30 ends in this case. The first one of these is the vādin or point of reference and list_item
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31 the second one is samvādin or anuvādin or vivādin according to the interval list_item
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32 concerned. This phenomenon of threefold relationships is associated with list_item
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33 pleasantness, indifference and unpleasantness which has been depicted here list_item
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34 with dual imagery viz. that of a logical discussion and governance. In an list_item
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35 assembly involved in logical discussion one person makes a postulation; the list_item
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36 vādin svara, playing the role of fundamental tone or tonic is like the person list_item
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37 who initiates a discussion. The samvadin is like a person who actively supports list_item
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38 the initial postulation. The anuvadin is like the person who passively supports list_item
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39 the postulation and the vivadin is like the one who opposes the postulation. list_item
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40 This imagery is inherent in the set of four musical terms that are under list_item
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41 reference here and have been handed down by tradition. The second imagery list_item
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42 of monarchial governance is an imposed one and occurs in our text for the first list_item
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43 time in extant texts. It has been mentioned in almost all later texts. list_item
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44 34. Here raga seems to stand for melodic configuration or melody-matrix, list_item
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45 rather than the delightfulness of musical sound in general. list_item
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vol_II_p101 LEFT — 38 lignes

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1 -- 1 annotation_inline
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2 History 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 S annotation_inline
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3 184 page_number
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4 BRHADDEŚĪ section_header
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5 [१. अथ टके] section_header
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6 पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्। main
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7 ..(ता? न्ता) annotation_inline
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8 भाषे annotation_inline
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9 <sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥ main
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10 चैषा ॰ annotation_inline
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11 उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा main
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12 धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] editorial_bracket
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13 मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा । main
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14 सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥ main
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15 उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- main
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16 सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- main
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17 सानिसा। पौराली । [२] editorial_bracket
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18 धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता । main
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19 (वैध ? धैव) annotation_inline
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20 टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥ main
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21 शकभाषा annotation_inline
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22 उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- main
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23 माधमागसासासा । त्रावणी । [३] editorial_bracket
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24 मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा । main
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25 विपा annotation_inline
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26 मान annotation_inline
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27 विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥ main
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28 ॰रागस्यैपा annotation_inline
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29 मूढलालिता annotation_inline
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30 उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा । main
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31 रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] editorial_bracket
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32 तानल॰ annotation_inline
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33 भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । main
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34 साधारणा तु पङ्जांशान्ता main
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35 पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥ main
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36 <b>ल्होनं</b> annotation_inline
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37 স্ত(?) annotation_inline
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38 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE annotation_inline
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vol_II_p061 RIGHT — 33 lignes

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1 1 page_number
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2 TRANSLATION page_header
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3 105 page_number
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4 [C. Gauda rāgas] section_header
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5 [Anu. 186] section_header
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6 (Contention) Why are they known as gaudas? It is being answered, on main
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7 account of being related to gaudigiti. What is its description? It is being main
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8 answered. That is thus - annotation_inline
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9 Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with main
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10 shaken sounds, without pause, in the three registers, gaudī gīti is said to main
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11 prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). main
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12 (315) annotation_inline
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13 [1. Gaudapañcama] section_header
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14 The description of gaudapañcama - main
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15 Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It main
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16 has dhaivata as its amśa and madhyama as its concluding note; it is devoid of main
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17 pañcama. annotation_inline
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18 (316) annotation_inline
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19 [Anu. 187] section_header
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20 This means - gaudapañcama is related to sadjagrāma on account of being main
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21 born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. main
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22 Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is main
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23 hexatonic, being devoid of pañcama. Its application is prescribed in main
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24 passionate acting (or dance) and in vipralambha śringāra (love in separation). main
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25 Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with main
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26 dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The main
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27 kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and main
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28 the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs main
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29 comprised of svara and pada. main
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30 [2. Gaudakaisika] section_header
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31 Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is main
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32 said to have şadja as the amśa and pañcama as the nyāsa. main
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33 (317) annotation_inline
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vol_II_p154 RIGHT — 44 lignes

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1 ŀ annotation_inline
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2 PATHAVIMARŚA page_header
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3 291 page_number
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4 दस्रवेदास्तृतीयेऽङ्ग्री .....। section_header
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5 Ibid. 158. main
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6 39. Mānaso IV.16. 508, SR IV.108 and S Rāj II.4.2.165 read bhogavatī in list_item
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7 the place of hemavatī. list_item
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8 40. Reconstruction based on probable meaning and proximity to list_item
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9 p.t. list_item
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10 41. Reconstruction based on the uddeśa (enumeration) given in verse list_item
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11 449 of our text. list_item
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12 42. The ed. has suggested 'yamaka' in the place of 'gamaka', taking list_item
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13 'alankāra' as standing for śabdālankāra in poetry, but here the context list_item
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14 demands the melodic alankāra and gamaka is a corollary of the same. list_item
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15 43. Our reconstruction as 'gamaka' in the place of 'yamaka' of p.t. is list_item
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16 corroborated by Mānaso IV.16. 505. list_item
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17 44. Śārngadeva (SR IV.112c, 113) refers to these seven varieties as list_item
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18 having been spoken of by Matanga, but says that they are not described by list_item
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19 him because their distinctive nature lies only in the difference caused by yati list_item
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20 (splitting or pause). list_item
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21 P.t. adds the following two verses after this, which are out of place - main
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22 लोकदुष्टं शास्त्र शास्त्र पञ्च वर्जयेत्। main
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23 + गोदुष्टं (?) तथा ग्राम्यं गतक्रममपार्थकम् ॥४८५॥ main
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24 पदं काप्यमसन्दिग्धं कला चाभ्यश्चि भक्तकम् । main
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25 प्राकारेण तताश्चोका वर्णे तालचतुष्टयम् ॥ ४८६॥ main
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26 We have given a reconstructed version at the end of this chapter as verse 490 main
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27 (three lines). annotation_inline
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28 45. Reconstruction based on SR IV.127a. main
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29 46. cf. गमकप्रासिनमुक्ता एला स्याद गौडदेशजा। main
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30 SR IV.127 cd. annotation_inline
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31 ानाप्रयोगरागांशरसभावोत्कटाऽऽन्धिका । main
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32 47. cf. annotation_inline
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33 भूरिभावरसोत्कर्षा द्राविडी प्रासवर्जिता ॥ main
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34 Ibid. 128. annotation_inline
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35 48. cf. मातृकाक्षरमेकैकं पदादौ विनियोज्य च। main
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36 Mānaso IV.16.310. annotation_inline
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37 49. cf. उद्ग्राहो ध्रुवकश्चेति यत्र खण्डद्वयं भवेत्। main
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38 Ibid. 431. main
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39 1 page_number
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40 50. cf. करणं करपाटेन तालेन किल गीयते । main
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41 Sam Sa Sā V.137. annotation_inline
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42 51. cf. हस्तपाटैस्तथा तेनपदस्वरसमन्वित: । main
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43 गीयते तालयुक्तो य: स वर्णस्वरको भवेत् ॥ main
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44 Mānaso IV.16.437. main
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193 lignes a valider — change uniquement les roles incorrects.