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 20613). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p119 LEFT — 36 lignes

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1 property and a property of the second annotation_inline
parent ligne 4
via heuristic_height
2 BRHADDEŚĪ page_header
via surya_layout
3 220 page_number
via heuristic_pagenum
4 [३३. द्विपदी] section_header
via surya_layout
5 या स्यात् करणतालेन द्विपदी-वृत्तसंगता । main
via surya_layout
6 (य:?या) annotation_inline
parent ligne 5
via heuristic_height
7 सा भवेद् द्विपदी नाम प्रोक्ता वस्तुविचक्षणै:<sup>२८</sup>॥ ४१४॥ main
via surya_layout
8 [३४. वर्तनी] section_header
via surya_layout
9 ग्रहस्त्विभमतो यत्र न्यासश्चांशेन केवलम् । main
via surya_layout
10 वर्णनीयस्य गात्श्च यस्यां नाम प्रवेश्यते (?)॥४१५॥ main
via surya_layout
11 तस्याद्वामप्रप्रवेश्यते main
via surya_layout
12 कङ्कालं प्रतितालं च द्रुतमण्ठं कुडुक्ककम्। main
via surya_layout
13 ∘ल: annotation_inline
parent ligne 12
via heuristic_height
14 °तालध annotation_inline
parent ligne 12
via heuristic_markers
15 ॰मठ: कुटुककम् annotation_inline
parent ligne 12
via heuristic_markers
16 विहाय गीयते या तु स्वरै: सा वर्तनी मता<sup>र९</sup>॥४१६॥ main
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17 [३५. एला] editorial_bracket
parent ligne 16
via heuristic_brackets
18 आद्यं पादद्वयं यत्र स्यादनुप्रासरञ्जितम् । main
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19 <b>व्धर्जितम्</b> annotation_inline
parent ligne 18
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20 अनुप्रासस्तृतीयेऽपि चतुर्थे वाऽथ गीयते ॥ main
via surya_layout
21 वा(द?ध) annotation_inline
parent ligne 20
via heuristic_height
22 त[योर्न वा ह्यनुप्रास:] सानुप्रासश्च पञ्चम:३०॥४१७॥ editorial_bracket
parent ligne 20
via heuristic_brackets
23 ++++ annotation_inline
parent ligne 20
via heuristic_height
24 4 # annotation_inline
parent ligne 20
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25 चतस्रो गीतयो यत्र पादे पादे भवन्ति च। main
via surya_layout
26 गीत्वा तदीयपादार्धमनुप्रासो विधीयते ॥ ४१८॥ main
via surya_layout
27 त्यागसौभाग्यसौन्दर्यशौर्यधैर्यादिवर्णनम् । main
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28 •नाम् annotation_inline
parent ligne 27
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29 यस्यां भवति गीतज्ञास्तामेलां<sup>३१</sup> सम्प्रचक्षते ॥४१९॥ main
via surya_layout
30 स[दा चै]व हि गातव्या गीतज्ञैर्गीतवस्तुषु । editorial_bracket
parent ligne 29
via heuristic_brackets
31 ++ annotation_inline
parent ligne 29
via heuristic_height
32 मण्ठेनाथ द्वितीयेन कङ्कालेन तथैव च ॥४२०॥ main
via surya_layout
33 मद्रेनाथ annotation_inline
parent ligne 32
via heuristic_height
34 (करं?कं) annotation_inline
parent ligne 32
via heuristic_height
35 संयुक्ता प्रतितालेन कर्तव्येला मनीषिभि:। main
via surya_layout
36 वर्णनीयस्य गातुश्च सा तु नामाङ्किता भवेत् ॥ ४२१॥ main
via surya_layout

vol_II_p126 RIGHT — 29 lignes

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1 235 page_number
via heuristic_pagenum
2 TRANSLATION page_header
via surya_layout
3 [7. Mohini] section_header
via surya_layout
4 Comprised of five padas, endowed with mūrchanā gamaka 74 (?) the main
via surya_layout
5 seventh varņailā should be known as mohinī, the auspicious one. main
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6 (466) annotation_inline
parent ligne 5
via heuristic_short
7 [Thus end the seven varņailās described in a different manner.] editorial_bracket
parent ligne 5
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8 [ E. The Varieties of <i>Deśailā</i>] section_header
via surya_layout
9 The charming and systematic elās become distinct with the respective main
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10 languages of (regions like) Lāṭa, 75 Karnāṭa, 6 Gauda, 77 Āndhra 78 (and) Dravida. 79 main
via surya_layout
11 (467) main
via surya_layout
12 [1, Lāţailā] section_header
via surya_layout
13 Lāṭailā is said to have rhyme (antyaprāsa)80 and is devoid of middle main
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14 alliteration,81 being combined with rasas and bhāvas. main
via surya_layout
15 (468) main
via surya_layout
16 [2. Karņāţailā] section_header
via surya_layout
17 Karņāţikā elā is said to be comprised of charming sounds with beautiful main
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18 alliteration in the beginning, middle and end.82 main
via surya_layout
19 (469) main
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20 [3. Gauḍailā] section_header
via surya_layout
21 Having alliteration everywhere, devoid of gamakas and endowed with main
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22 nāda, bindu<sup>83</sup> and rasa, that is the elā born of gauḍadeśa. main
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23 (470) main
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24 [4. Āndhrailā] section_header
via surya_layout
25 The wise have known andhri to be brimming with many gamakas, mixed main
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26 with many sounds and blended with many rāgas.84 main
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27 (471) main
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28 And the second of the second of the second of the second of the second of the second of the second of the second of the annotation_inline
parent ligne 27
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29 . . . annotation_inline
parent ligne 27
via heuristic_height

vol_II_p057 LEFT — 27 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 96 page_number
via heuristic_pagenum
3 [१. भिन्नषड्जः] section_header
via surya_layout
4 धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः । main
via surya_layout
5 षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥ main
via surya_layout
6 (जमा?जातो) annotation_inline
parent ligne 5
via heuristic_height
7 [अनुः १७५] editorial_bracket
parent ligne 5
via heuristic_brackets
8 [अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो editorial_bracket
parent ligne 5
via heuristic_brackets
9 ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ। main
via surya_layout
10 सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य main
via surya_layout
11 विजातीयो निरणानियृत्तस्य (?) annotation_inline
parent ligne 10
via heuristic_height
12 विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः । main
via surya_layout
13 दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
via surya_layout
14 [२.भिन्नपञ्चमः] section_header
via surya_layout
15 [अन्॰ १७६] editorial_bracket
parent ligne 14
via heuristic_brackets
16 .असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा - main
via surya_layout
17 शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः। main
via surya_layout
18 स्वर(न्ग्रे?ई) annotation_inline
parent ligne 17
via heuristic_short
19 धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥ main
via surya_layout
20 [अन्॰ १७७] editorial_bracket
parent ligne 19
via heuristic_brackets
21 अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात् main
via surya_layout
22 पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰ annotation_inline
parent ligne 21
via heuristic_markers
23 ण्या(म) annotation_inline
parent ligne 21
via heuristic_height
24 भिन्न(सं?)पञ्चमो annotation_inline
parent ligne 21
via heuristic_height
25 ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण- main
via surya_layout
26 श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । main
via surya_layout
27 प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः । main
via surya_layout

vol_II_p073 LEFT — 22 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 128 page_number
via heuristic_pagenum
3 ‘‘क्वचिदंशः क्वचित्र्यासः षाडवौडुविते क्वचित्। main
via surya_layout
4 अल्पत्वं च बहुत्वं च ग्रहापन्याससंयुतम् ॥ main
via surya_layout
5 मन्द्रतारौ तथा ज्ञात्वा योजनीयं मनीिषभि:। main
via surya_layout
6 ११९ नीया annotation_inline
parent ligne 5
via heuristic_height
7 ग्रामरागाः प्रयोक्तव्या विधिवद् दशरूपके ॥ main
via surya_layout
8 १२० एरूपकाः annotation_inline
parent ligne 7
via heuristic_short
9 प्रवेशाक्षेपनिष्क्रामप्रासादिकमथान्तरम् । main
via surya_layout
10 ॰(म?प)नि(प:फ्नाम)॰ annotation_inline
parent ligne 9
via heuristic_markers
11 गानं पञ्चविधं यत्तद् रागैरेभि: प्रयोजयेत् ॥'' main
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12 ď annotation_inline
parent ligne 11
via heuristic_height
13 १२१मीतं annotation_inline
parent ligne 11
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14 [गीतीनां विनियोगः] section_header
via surya_layout
15 १२२पूर्वरङ्गे तु शुद्धा स्याद् भिन्ना प्रस्तावनाश्रया । main
via surya_layout
16 (तु) annotation_inline
parent ligne 15
via heuristic_height
17 वेसरा मुखयो: कार्या गर्भे गौडी विधीयते। main
via surya_layout
18 १२३साधारिताऽवमर्शे स्यात् सन्धौ निर्वहणे तथा ॥३४४॥ main
via surya_layout
19 स्या+हणे स्यात् + सर्वदा main
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20 ॥ इति मतङ्गमुनिविरचितबृहद्देश्यां रागलक्षणं [नाम] तृतीया[ध्याय:] समाप्त:॥ editorial_bracket
parent ligne 19
via heuristic_brackets
21 •सम् annotation_inline
parent ligne 19
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22 न्यं annotation_inline
parent ligne 19
via heuristic_height

vol_I_p099 RIGHT — 45 lignes

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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
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5 48. 'Sukha' has been translated here as convenience or it could be rendered main
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6 as facility. The facility of the performer and listener is said here to be the main
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7 objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have main
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8 the reading 'nānātva' which means variety of mūrchanā and tāna, but since our main
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9 author has tried to distinguish between murchana and tana, we have accepted main
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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
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12 tānas. BṛD does not use this compound and emphasises the distinction between main
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13 the two; viz. mūrchanā and tāna. main
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14 Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and main
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15 said that the variety of murchana and tana accords facility to the performer by main
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16 making possible the use of three sthanas (registers) and also the omission of main
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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
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19 us could be construed to mean that mūrchanā as a complete scale in ascending main
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20 and descending establishes the three sthanas and tana (involving omission) main
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21 establishes a specific pattern in ascent. It is interesting to note that even today main
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22 omission of one or two svaras is very effective in the ascent in all those ragas main
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23 that involve omission in ascent and use the omitted svaras in descent. ( see main
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24 glossary) main
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25 49. Since specific omissions are prescribed for the two grāmas, tāna the result list_item
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26 of this specific omission could be said to be the distinguishing feature between list_item
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27 the jātis and rāgas of one grāma and the other. list_item
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28 50. This applies to kūļa-tāna where permutation and combination is involved and list_item
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29 definite numbering of each variety is effected. Retrieving the number of a given tana list_item
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30 (arrangement of a given number of svaras) and retrieving the form of a tana whose list_item
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31 number alone is given is known as uddista and nasta respectively. (see glossary) list_item
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32 51, 52. The word tāna-prayoga is being used here to convey two things—in list_item
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33 the first instance the number of tanas (permutation of a given number of list_item
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34 svaras ) is implied and in the second instance the number of svaras constituting list_item
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35 the specific tāna (combination of svaras) is implied. list_item
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36 53, 54, 55 & 56. Krama is a combination of svaras where the original order list_item
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37 remains intact and uthrama is a permutation where the original order is list_item
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38 changed. The method of obtaining the number of kramas and utkramas of a list_item
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39 given-number of svaras is like this—multiply the earlier numbers of a given list_item
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40 number, without leaving any number in-between. For example if the number of list_item
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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
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42 uthramas taken together; the last number of this series viz. 6 is the number of list_item
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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
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159 lignes a valider — change uniquement les roles incorrects.