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 20774). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p016 LEFT — 28 lignes

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1 14 page_number
via heuristic_pagenum
2 BRHADDEŚI page_header
via surya_layout
3 [ अनु. ७ ] section_header
via surya_layout
4 ननु श्रुतेः कि मानम्? उच्यते, पञ्चम [ अस्तावद् ग्रामद्वयस्थो लोके editorial_bracket
parent ligne 3
via heuristic_brackets
5 प्रसिद्धः । त- ] स्य श्रुत्युत्कर्षापकर्षाभ्यां मार्दवादायतत्वाद्वा यदन्तरं editorial_bracket
parent ligne 3
via heuristic_brackets
6 तत्प्रमाणाः श्रुतिरिति । main
via surya_layout
7 ुणं ३८ ूरो ३६ annotation_inline
parent ligne 6
via heuristic_short
8 [ अनु. ८ ] editorial_bracket
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via heuristic_brackets
9 इदानीं द्वाविंशतिप्रकारताया निदर्शनं यथा- main
via surya_layout
10 <sup>39</sup>ुत् annotation_inline
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11 द्वे वीणे40 तुल्यप्रमाण—तन्त्र्युप—41वादनदण्डमूर्च्छनासमे कृत्वा main
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12 वेणी annotation_inline
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13 पा annotation_inline
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14 ०पो annotation_inline
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15 षड्जग्रामाश्रिते कार्ये। तयोरन्यतरस्यां मध्यमग्रामिकीं श्रुतिं कृत्वा main
via surya_layout
16 पञ्चमस्यापकर्षात् तामेव श्रुतिं पञ्चमवशात् षड्जग्रामिकीं कुर्यात् । main
via surya_layout
17 <sup>4 2</sup> पञ्चमस्य   श्रुत्युत्कर्यवशात् main
via surya_layout
18 एक 🛂 - श्रुत्यपकृष्टा भवति, परं विशेषलाभो नास्ति, उच्चनीचमात्रप्रतीतेः। unknown
via fallback
19 एव annotation_inline
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20 पुनरपि तद्वदेवापकर्षेद्भ यथा गान्धारनिषादौ कर्तारौ पुनरन्यतरस्यां main
via surya_layout
21 व्ययित् annotation_inline
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22 स्थिरवीणायां धैवतर्षभौ कर्मतामापन्नौ प्रवेक्ष्यतः, अब्द्विश्रुत्यभ्यधिकत्वात् । main
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23 <sub>॰</sub>स<sub>॰</sub>45 annotation_inline
parent ligne 22
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24 पुनरपि तद्वदेवापकृष्टायां चलवीणायां धैवतर्षभौ इतरस्यां main
via surya_layout
25 पञ्चमषड्जौ प्रवेक्ष्यतः त्रिश्रुत्यभ्यधिकत्वात्। पुनरपि तद्वदेवापकृष्टायां main
via surya_layout
26 पञ्चममध्यमषड्जा इतरस्यां मध्यमगान्धारनिषादान् प्रविशन्ति चतुः- main
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27 इति अस्या annotation_inline
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via heuristic_height
28 श्रुत्यभ्यधिकत्वात्।। main
via surya_layout

vol_I_p059 LEFT — 53 lignes

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1 BRHADDEŚI page_header
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2 100 page_number
via heuristic_pagenum
3 उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस editorial_bracket
parent ligne 9
via heuristic_brackets
4 रि annotation_inline
parent ligne 9
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5 सा annotation_inline
parent ligne 9
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6 धा annotation_inline
parent ligne 9
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7 सा annotation_inline
parent ligne 9
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8 पा annotation_inline
parent ligne 9
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9 सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस main
via surya_layout
10 नी annotation_inline
parent ligne 9
via heuristic_short
11 री main
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12 सा annotation_inline
parent ligne 11
via heuristic_height
13 गा annotation_inline
parent ligne 11
via heuristic_height
14 धा annotation_inline
parent ligne 11
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15 सा annotation_inline
parent ligne 11
via heuristic_height
16 मा annotation_inline
parent ligne 11
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17 सरिमप, मगरिस [ इति ] उद्घट्टितः। editorial_bracket
parent ligne 11
via heuristic_brackets
18 [ २५ ] editorial_bracket
parent ligne 11
via heuristic_brackets
19 पा annotation_inline
parent ligne 11
via heuristic_height
20 सा annotation_inline
parent ligne 11
via heuristic_height
21 अन्₀ ९५ ] section_header
via surya_layout
22 त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं main
via surya_layout
23 कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु editorial_bracket
parent ligne 22
via heuristic_brackets
24 धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु main
via surya_layout
25 २६ । annotation_inline
parent ligne 24
via heuristic_short
26 इत्याक्षिप्तकः । main
via surya_layout
27 अनु, ९६ section_header
via surya_layout
28 प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव editorial_bracket
parent ligne 27
via heuristic_brackets
29 क्रमेणा- main
via surya_layout
30 व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -] editorial_bracket
parent ligne 29
via heuristic_brackets
31 सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा main
via surya_layout
32 संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा, main
via surya_layout
33 गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा, main
via surya_layout
34 पा annotation_inline
parent ligne 33
via heuristic_height
35 म annotation_inline
parent ligne 33
via heuristic_height
36 पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा, main
via surya_layout
37 [ २७ ] editorial_bracket
parent ligne 36
via heuristic_brackets
38 मरिसा सरिमा, गरिसा इति सम्प्रदानः । main
via surya_layout
39 अन्० ९७ section_header
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40 सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि, editorial_bracket
parent ligne 39
via heuristic_brackets
41 गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि, main
via surya_layout
42 ₹, annotation_inline
parent ligne 41
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43 धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः। editorial_bracket
parent ligne 41
via heuristic_brackets
44 Ⅰ २८ ] editorial_bracket
parent ligne 41
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45 गा annotation_inline
parent ligne 41
via heuristic_height
46 धा annotation_inline
parent ligne 41
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47 मा annotation_inline
parent ligne 41
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48 सा annotation_inline
parent ligne 41
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49 सा annotation_inline
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50 पा annotation_inline
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51 [ अनु。 ९८ ] section_header
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52 ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -] editorial_bracket
parent ligne 51
via heuristic_brackets
53 सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा main
via surya_layout

vol_I_p097 RIGHT — 43 lignes

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1 177 page_number
via heuristic_pagenum
2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
via surya_layout
6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
via surya_layout
8 different from the seven sthanas discussed above in note No. 63. list_item
via surya_layout
9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
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17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
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32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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vol_II_p066 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 114 page_number
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3 [अनु॰ १९८] section_header
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4 षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । main
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5 धैवत ऋषभहीन( ध ?)मौडवितम् annotation_inline
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6 <sup>८२</sup>सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना षड्जादि:। वर्ण आरोही। main
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7 ॰ना(दि) annotation_inline
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8 प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । main
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9 [७. टक्ककेशिक:] section_header
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10 धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: । main
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11 धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक: ॥३२६॥ main
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12 ॰एक annotation_inline
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13 [अनु॰ १९९] section_header
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14 धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:। <sup>८३</sup>ननु उभयग्रामसम्बन्धिन्यो- main
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15 (यस्याज? ठमय) annotation_inline
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16 र्जात्योः समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः main
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17 र्जा(न्यो?त्यो) annotation_inline
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18 (कथं) annotation_inline
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19 पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध main
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20 (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) annotation_inline
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21 एवायं राग:। ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। main
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22 <sup>८४</sup>कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य main
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23 विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छना। आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे main
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24 मध्यमादिधैवता(?) annotation_inline
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25 कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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26 [८. मालवकैशिक:] section_header
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27 ८५कैशिकीजातिसम्भूतः षड्जांशन्याससंयुतः । main
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28 दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥ ३२७॥ main
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29 <sup>८६</sup>पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । main
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30 हात्याद्याः + कर्मणि annotation_inline
parent ligne 29
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31 गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥ main
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1 TRANSLATION page_header
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2 229 page_number
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3 [2. Kāmalekhā] section_header
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4 Kāmalekhā is that where there are twenty-two<sup>60</sup> (dviguņita-rudra) mātrās in the main
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5 first (foot) and in the foot bearing an even number (second) the same (number main
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6 of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). main
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7 (445) main
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8 [3. Bāṇalekhā] section_header
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9 If in all the three feet, in a uniform manner there are double the number main
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10 of mātrās (obtaining in kāmalekhā) (and) where they are composed in main
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11 bāṇagaṇas,61 that is bāṇalekhā. main
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12 (446) main
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13 [4. Candralekhā] section_header
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14 Where there are three above forty (forty-three) mātrās in a couple of feet main
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15 i.e. the first two feet (and where) the number of mātrās is less by one (forty- main
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16 two) in the foot bearing an odd number (third foot), that is candralekhā. main
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17 (447) main
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18 Thus ends the fourfold mātrailā. section_header
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19 [C. The varieties of <i>Varnailā</i>] section_header
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20 There is no regulation of <i>tāla</i> here, none of <i>msa</i> and none of <i>rāga</i>; there is only main
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21 the regulation of syllables <math>^{62}</math> (in their number); hence it is called <i>varyailā</i>. main
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22 (448) annotation_inline
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23 Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) main
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24 kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). main
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25 (449) annotation_inline
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26 Beginning with eleven syllables and ending with seventeen (syllables in main
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27 each foot), these seven are sung in sequence, by the gandharvas with main
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28 beautiful padas (textual units) (and) good sounds. main
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29 (450) main
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30 [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] section_header
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31 That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all main
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32 long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always main
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33 profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). main
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34 (451) main
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189 lignes a valider — change uniquement les roles incorrects.