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 20957). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p099 RIGHT — 22 lignes

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1 181 page_number
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2 TRANSLATION page_header
via surya_layout
3 Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- main
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4 mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i] editorial_bracket
parent ligne 3
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5 Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the main
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6 mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made main
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7 hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with main
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8 the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\ main
via surya_layout
9 delightful to the people. main
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10 <math>(139-140)</math> main
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11 Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. main
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12 Nādākhyā [ii] editorial_bracket
parent ligne 11
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13 These two are there in vesarașādava. main
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14 13. Now the bhāṣās in bhinnatāna section_header
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15 Having pañçama as amsa and the same as the concluding note, this table
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16 sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid table
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17 of rṣabha, by the knowledgeable ones in music. table
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18 (141) table
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19 .....[Tānodbhavā] table
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20 [This one is in bhinnatāna] table
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21 [14. Bhāṣās in gāndhārapancama] table
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22 .....[Gāndhārī] table
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1 ŀ annotation_inline
parent ligne 4
via heuristic_height
2 TRANSLATION page_header
via surya_layout
3 191 page_number
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4 [3. Now in mālavapancama] section_header
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5 Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the main
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6 six (bhāṣās) in mālavapañcama. main
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7 (14) annotation_inline
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8 Having pañcama as the initial and concluding note vibhāvinī is born of a main
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9 region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained main
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10 union with an amorous woman.<sup>12</sup> main
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11 (15) annotation_inline
parent ligne 10
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12 Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini main
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13 dhānīnīdhāmāpāpā. Vibhāvinī [i] editorial_bracket
parent ligne 12
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14 .....Paurālī [ii] editorial_bracket
parent ligne 12
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15 The auspicious vegavatī should be known to have pañcama as amsa, being main
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16 complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression main
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17 or affliction) is profuse. main
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18 (16) annotation_inline
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19 Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā main
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20 dhāmā. annotation_inline
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21 Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] editorial_bracket
parent ligne 19
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22 Having pañcama as amsa and concluding note (and) being complete, main
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23 pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context main
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24 of) the song of (one with) a mature mind. 14 main
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25 (17) annotation_inline
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26 Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā main
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27 pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī main
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28 [iv] editorial_bracket
parent ligne 27
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29 Having madhyama as amśa (and) pañcama as the concluding note, andhri main
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30 is a bhāṣā born in the Āndhra region, well-known among the people (and) main
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31 is sung in (the context of) those who are corrupted by disease. 15 main
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32 (18) main
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vol_II_p068 LEFT — 31 lignes

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1 118 page_number
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2 BRHADDESÎ page_header
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3 [अनु॰ २०२] editorial_bracket
parent ligne 4
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4 ननु कश्यपमुनिना नर्तरागस्य किमित्यादौ निर्देश: कृत: ? उच्यते । उद्भटचांरिमण्डलाजौ main
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5 न(क?) र्क annotation_inline
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6 न्दौ annotation_inline
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7 विनियुज्यमानत्वान्मुख्यत्विमिति कश्यपमते । दुर्गशक्तिमते तु षड्जकैशिक एव मुख्यः । कुतः ? main
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8 षाडवत्वेन क्रमायातत्वात् । तद्यथा - main
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9 [१.नर्तरागः] section_header
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10 ९१पञ्चमांशो मध्यमान्तः पञ्चमीमध्यमोद्भवः । main
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11 नर्तरागस्तु विज्ञेय: स्वल्पद्विश्रुतिकस्वर: ॥ ३३३॥ main
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12 ·(वि ? द्वि)· main
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13 [अनु॰ २०३] section_header
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14 अस्यार्थः - नर्तरागो मध्यमग्रामसम्बन्धः पञ्चमीमध्यमोद्भवत्वात् । पञ्चमो ग्रहोंऽशश्च । main
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15 मध्यमो न्यास: । निषादगान्धारयोरत्राल्पत्वम् । निषादोऽत्र काकली । उद्भटचारिमण्डलाजौ<sup>९२</sup> main
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16 (जी?दी) annotation_inline
parent ligne 15
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17 चास्य विनियोग: । शृङ्गारादिरस:<sup>९३</sup>। पञ्चमादिमूर्छना । अलङ्कार: प्रसन्नमध्यम: ।  वर्ण: सञ्चारी । main
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18 इति कश्यपमते॥ main
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19 [अनु॰ २०४] section_header
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20 <sup>९४</sup>दुर्गशक्तिमते तु अयमेव राग: पञ्चमीधैवतीजात्योर्जायते, षड्जग्रामसम्बन्ध एव main
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21 बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुतिकत्वाद्भैवतस्य त्रिश्रुतिकत्वात् षड्जग्रामसम्बन्धः । main
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22 <b>॰त्वात्, धैवतस्य</b> annotation_inline
parent ligne 21
via heuristic_markers
23 [२. शक:] section_header
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24 स्यात् षाड्जीधैवतीजात्योः षड्जन्यासांशसंयुतः । main
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25 (जि? ह्जी) annotation_inline
parent ligne 24
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26 दुर्बल: पञ्चमो यत्र १५स शक: परिकीर्तित: ॥ ३३४॥ main
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27 काकल्य:(?) annotation_inline
parent ligne 26
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28 [अनुष् २०५] section_header
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29 अस्यार्थः - शकः षड्जग्रामसम्बन्धः, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य main
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30 ग्रहोंऽशो न्यासश्च। <sup>१६</sup>पञ्चमस्याल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । main
via surya_layout
31 (पश्चमस्याल्पत्वम्) annotation_inline
parent ligne 30
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1 VIMARŚA page_header
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2 295 page_number
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3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
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4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
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5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
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6 has been used in isolation, the compound utsarga-vidhi being implicit. main
via surya_layout
7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
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8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
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9 anuvādin svaras. annotation_inline
parent ligne 8
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10 14. This phrase or piece of notation does not occur in SR in the list_item
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11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
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12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
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13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
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14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
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15 this word in a different meaning, which could, perhaps, be graha. list_item
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16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
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17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
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18 in intervallic and melodic organisation. list_item
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19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
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20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
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21 rendering with or without text and 'pada' could stand for self-contained list_item
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22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
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23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
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24 pause between one vidārī and another. list_item
via surya_layout
25 19. 'Pāda', literally meaning foot is used both in the context of list_item
via surya_layout
26 textual metre and musical composition. list_item
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27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
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28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
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29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
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30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
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31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
via surya_layout
32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
via surya_layout
33 much earlier than our text. list_item
via surya_layout
34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
via surya_layout
35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
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36 of Bharata does not occur in the introduction to the citation. list_item
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37 22. The octave of the amsa is implied here; that is the beginning of list_item
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38 tāra (high). list_item
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39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
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40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
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41 indicating their tara position. list_item
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vol_II_p028 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
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2 38 page_number
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3 योजनीया इत्यर्थः। चतसृणां जातीनां नित्यसम्पूर्णानां नवांशाः पातनीयाः त्रिषष्टिमध्ये। main
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4 <sup>९४</sup>नित्यपूर्णानां main
via surya_layout
5 तद्यथा- पसगप रिपधनिप । एषु नवांशेषु पातितेषु चतुष्पञ्चाशदंशा अवशिष्यन्ते । तत्रापि main
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6 रिपधनिपसग । पध annotation_inline
parent ligne 5
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7 ९५षड्जमध्यमा - षड्जोदीच्यवा -       कैशिकी-गान्धारी-रक्तगान्धारी - षाड्जीत्यासां main
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8 धैवती आसां annotation_inline
parent ligne 7
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9 षङ्जातीनां सप्तांशाः पातनीयाः। तेषु सप्तांशेषु पातितेषु सप्तचत्वारिंशदंशा भवन्ति। तद्यथा- main
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10 मध्यमोदीच्यवा पेन तथा गान्धारपञ्चमी । main
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11 ॰सायां वा annotation_inline
parent ligne 10
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12 कार्मारवी रिपनिधै: सगपै: षड्जकैशिकी ॥२५७॥ main
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13 [अनु॰ १४०] editorial_bracket
parent ligne 12
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14 [अस्यार्थ: ......] तेषु [सप्त] चत्वारिंशदंशेषूक्तस्वरै: षाडवविधि: कर्तव्य: । editorial_bracket
parent ligne 12
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15 व्यरे: annotation_inline
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16 इदानीमौडुवितविधौ ये तु अनपवादिन: स्वरास्तान् दर्शयति - main
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17 येषु annotation_inline
parent ligne 16
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18 तथाऽपवादनिर्मुक्तास्त्रिंशदौडुवितास्तु ते ॥२५८॥ main
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19 न्ते भवेत् annotation_inline
parent ligne 18
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20 ९६०ते तु ते main
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21 [अनु•१४१] editorial_bracket
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22 अस्यार्थ: - तथा तेन प्रकारेण अपवादिनर्मुक्तास्त्रिंशत्प्रकारा बोद्धव्या: । तद्यथा - main
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23 (व्यं?व्य:) annotation_inline
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24 (रं?रो) annotation_inline
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25 त्रिषष्टिमध्ये नित्यसम्पूर्णानां चतसृणां जातीनां नवांशाः पातनीयाः । तेषु पातितेषु main
via surya_layout
26 चतुष्पञ्चाशदंशास्तत्रावशिष्यन्ते तत्रापि चतुष्पञ्चाशन्मध्ये चतसृणां जातीनां नित्यसम्पूर्णषाडवानां main
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27 (स्त? ने) annotation_inline
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28 द्वादशांशा: पातनीया: । तेषु पातितेषु द्विचत्वारिंशदंशे[षु गान्धारीरक्तगान्धारीषड्जमध्यमा- editorial_bracket
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29 द्वादशसप्तांशा: annotation_inline
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30 कैशिकीपञ्चमीत्यासां पञ्चजातीनामनौडुवितभागिनो द्वादशांशा: पातनीया: । तेषु पातितेषु main
via surya_layout
31 त्रिंशदंशे] षूक्तस्वरैरौडुवितविधिर्भवतीति । तथा चाह भरतः - editorial_bracket
parent ligne 30
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157 lignes a valider — change uniquement les roles incorrects.