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 20999). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p035 RIGHT — 29 lignes

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1 53 page_number
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2 <b>TRANSLATION</b> page_header
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3 This has been said— annotation_inline
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4 "Two grāmas named şadja and madhyama are well-known in the world."10 main
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5 (Anu. 33) annotation_inline
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6 But why are there only two grāmas? It is being answered; here two grāmas main
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7 have been formulated on account of (musical) performance being rooted in main
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8 the usage of two svaras.11 main
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9 "The svaras have attained the state of grāma through jātis and śrutis."12 main
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10 (Anu. 34) annotation_inline
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11 "Through the jātis" means through śuddhās and vikṛtās (both types of jātis) main
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12 and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā main
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13 jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and main
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14 diminution and mixing up,15 (these) svaras have attained the state of grāma. main
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15 ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās main
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16 and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is main
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17 born rāga.17 On account of the change 18 of grāma the change in the jāti and main
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18 rāga occurs. annotation_inline
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19 [ Thus ends the treatment of grāma ]. editorial_bracket
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20 [ The treatment of Mürchanā ] section_header
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21 (Anu. 35) annotation_inline
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22 Now the murchanas that befit the occasion or context are being spoken of. main
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23 But what is the etymology of the word murchana and what is its lakşana main
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24 (definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the main
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25 root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation) main
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26 and samucchrāya 19 (increase, growth). main
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27 That through which raga 20 (colour, delightfulness) grows or increases, is main
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28 (90) annotation_inline
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29 called mūrchanā. annotation_inline
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vol_I_p089 RIGHT — 48 lignes

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1 161 page_number
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2 VIMARŚA page_header
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3 commenting on NS XXVIII, 1. He says there that even if an untrained person main
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4 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) main
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5 i.e. svara will be attained. Since the tuning has to take effect only in one of the main
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6 mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has main
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7 used the word murchana in the same sense when he says for the Yakşi that again main
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8 and again she forgets the mūrchanā made by herself. main
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9 30. This prescription of establishing the two viņās in sadjagrāma immediately main
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10 after the mention of murchana appears to be rather queer, but the apparent main
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11 repetition could be justified if the mention of 'mūrchanā' is taken to refer to main
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12 equality in tuning, pure and simple and the later mention of sadjagrāma is main
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13 accepted as the specification of tuning. The construction of the sentence main
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14 implying that equal tuning is to be done first and then the viņās have to be main
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15 established in sadjagrāma which itself is a tuning, will have to be ignored as the main
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16 initial reference to tuning is a part of the general prescription about perfect main
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17 equality between the two viņās and the second reference relates to special main
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18 tuning. annotation_inline
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19 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could main
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20 be interpreted in two ways, viz.- main
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21 (a) 'Sruti' could be taken here as standing for sound in general; accordingly, main
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22 the total tuning of each grāma could be referred to as śruti in singular number. main
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23 (b) The interval of sruti perceived through apakarşa (lowering) of pañcama main
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24 is madhyamagrāmikī śruti and the same interval being perceived through the main
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25 utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that main
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26 the utkarşa of pañcama is not actual but only 'resultant' because it comes into main
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27 . annotation_inline
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28 being when all the other svaras are lowered in accordance with the lowering of main
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29 pañcama so that the samvada of şadja-pañcama that was disturbed on account of main
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30 the lowering of pañcama is restored. main
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31 33. In the mention of the restoration of sadjagrāma, the process i.e. the main
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32 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is main
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33 made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the main
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34 augmentation of pañcama. annotation_inline
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35 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by main
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36 one śruti, but this process does not prove the interval of any svaras in terms of main
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37 śruti since there is no svara in this system, that manifests on consecutive śrutis; main
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38 the gap or interval of one śruti is indispensable. main
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39 35. The word 'tadvat' has raised a big controversy among modern scholars. list_item
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40 It has been generally interpreted to mean "in the same manner" literally, giving list_item
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41 the sense that the second step of this process of demonstration of śrutis has to list_item
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42 begin again with the lowering of pañcama. Three opinions are notable in this list_item
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43 context. list_item
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44 (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, list_item
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45 Vol. IV, p. 37). He has inferred that since all the four steps start with the list_item
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46 lowering of pañcama, the value (in pitch) of all the four lowerings is identical list_item
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47 and hence all śrutis are identical according to Bharata. list_item
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48 (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all main
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vol_I_p013 LEFT — 37 lignes

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1 8 page_number
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2 BRHADDESI page_header
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3 नकारः प्राण इत्याहुर्दकारश्चानलो भतः । main
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4 %र annotation_inline
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5 नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥ main
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6 10हि annotation_inline
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7 ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् । main
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8 <sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥ main
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9 सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः main
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10 कण्ठमध्ये स्थितो । ३२॥ main
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11 ॰क्तः अ॰ annotation_inline
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12 1471: annotation_inline
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13 कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः। main
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14 इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥ main
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15 ।। इति नादोत्पत्तिः annotation_inline
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16 П main
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17 III [ श्रुति-प्रकरणम् ] section_header
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18 [ तत्र श्रुतिलक्षणम्, तत्संख्या च ] section_header
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19 --------------------------------------- unknown
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20 इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् । main
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21 श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥ editorial_bracket
parent ligne 20
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22 <sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥ main
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23 श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥ main
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24 नेर्मावः annotation_inline
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25 [ अनु. १ ] editorial_bracket
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26 श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा । main
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27 न्त annotation_inline
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28 •तयः annotation_inline
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29 तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात् main
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30 <b>‘देहाकाश</b> annotation_inline
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31 पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत् main
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32 नामेरूध्वकार unknown
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33 र्घ annotation_inline
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34 ₹ annotation_inline
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35 सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया unknown
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36 🛥 "पदावस्थान - annotation_inline
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37 - भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?) unknown
via fallback

vol_II_p107 LEFT — 35 lignes

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1 (vide) annotation_inline
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2 BRHADDEŠĪ page_header
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3 196 page_number
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4 उदाहरणम् – धासाधागा सानिसामानि । मानिधामागा । गामाधानी । धामामागा । निनि- main
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5 R annotation_inline
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6 धाधा। ललिता। [९] editorial_bracket
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7 ३५निषादवतिका ख्याता धैवताद्यन्तरा[जिता]। editorial_bracket
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8 ॰पतरख्याता(?) annotation_inline
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9 सम्पूर्णाऽन्तरभाषा च गीताऽन्यैश्च रिवर्जिता<sup>३२</sup> ॥ २९॥ main
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10 गीतान्येन विवर्जिता annotation_inline
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11 + + + म्या annotation_inline
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12 उदाहरणम् – धामागापा । पासापापा । गमामापानि धापाधाधा । पामाधागागा । सनिधाधापापा main
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13 धासा- annotation_inline
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14 गमागाप निधाधानीसरि सामापानिधापा मामागाप सधानिधाधा । निषादवती । [१०] editorial_bracket
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15 धैवताद्यन्तसंयुक्ता षाडवा ३३तुम्बुरु [:] स्मृता । editorial_bracket
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16 ऋषभेण विहीना तु गीयते <sup>३४</sup> ब्रह्मवादिभिः ॥ ३०॥ main
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17 उदाहरणम् - धानिसागा गामाधापा मागनि सनीधाधा । तुम्बुरु[:]। [११] editorial_bracket
parent ligne 16
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18 ३५गान्धारललिता पूर्णा <sup>३६</sup>मध्यमांशा[ऽ]न्तधैवता । editorial_bracket
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19 ल्पधैयता annotation_inline
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20 गीयते पितृकार्येषु ३७षड्जधैवतसङ्गतिः ॥ ३१॥ main
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21 ॰मक्रमात् annotation_inline
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22 उदाहरणम्-माधापा । पासासामग सासारीरी सानिधाधा सासारिगामा गारिरि सागरीसारी । main
via surya_layout
23 ॰का॰ annotation_inline
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24 साधा । गान्धारललिता । [१२] editorial_bracket
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25 <b>•प</b>िलता annotation_inline
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26 ..... main
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27 उदाहरणम्- धाधाधापा । गरिरिधापधानिनिरिगा पपानिधाधा रिगरिगधापधा रिपागा रिनिधा main
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28 ॰नि annotation_inline
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29 पाधाधा । कलिङ्गा । [१३] editorial_bracket
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30 oth annotation_inline
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31 धैवताद्यन्तभाषा [स्याच्छुद्धा] धैवतमध्यमौ<sup>३९</sup>[?]। editorial_bracket
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32 ॰मा शुभा annotation_inline
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33 धैवतान्तरः annotation_inline
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34 मूलभाषा भिन्नषड्जे गीयते नारदादिभिः॥ ३२॥ main
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35 नारदतुम्बुरू(?) main
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vol_II_p059 LEFT — 34 lignes

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1 BŖHADDEŚĪ page_header
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2 100 page_number
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3 [अनु॰ १८०] editorial_bracket
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4 अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति । main
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5 [४. भिन्नकैशिकः] section_header
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6 [अनुः १८१] editorial_bracket
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7 शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो भेदः main
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8 (कटी?गी) annotation_inline
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9 शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते। एतदुक्तं भवति - येन main
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10 स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति। लक्षणं चास्य यथा- main
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11 <b>(?)</b> annotation_inline
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12 (स्थं ?)संस्थानेन main
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13 •केन annotation_inline
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14 <b>ण्य</b>ने annotation_inline
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15 संस्थानेन annotation_inline
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16 शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:। editorial_bracket
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via heuristic_brackets
17 षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥ main
via surya_layout
18 [अन्॰ १८२] editorial_bracket
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19 अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात् । main
via surya_layout
20 ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयं यद्यपि रागः main
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21 उदयं(?) annotation_inline
parent ligne 20
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22 तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम् । येन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं main
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23 संस्थाने(न) annotation_inline
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24 विहाय तैरेव स्वरैरालाप: कर्तव्य:। शुद्धकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं main
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25 विभिन्नकैशिके annotation_inline
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26 (य) annotation_inline
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27 भिद्यते । दानवीरे चास्य विनियोगः । वीररौद्रादिको रसः । षड्जादिमूर्छना । वर्णः सञ्चारी । main
via surya_layout
28 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
via surya_layout
29 [श्रुतिभिन्नः] section_header
via surya_layout
30 साम्प्रतं श्रुतिभिन्नस्य लक्षणमाह - main
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31 भिन्नतानस्य annotation_inline
parent ligne 30
via heuristic_height
32 ६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु । main
via surya_layout
33 गान्धारो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥ ३१२॥ main
via surya_layout
34 (आधा ? गान्या)रो annotation_inline
parent ligne 33
via heuristic_height
183 lignes a valider — change uniquement les roles incorrects.