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 21039). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p057 RIGHT — 36 lignes

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1 97 page_number
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2 TRANSLATION page_header
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3 sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, main
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4 saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus main
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5 (16) annotation_inline
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6 is (ends) prasāda. annotation_inline
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7 (Anu. 86) annotation_inline
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8 (Pairs of) two svaras each moving to and fro in the order of ascent 53 and main
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9 descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari main
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10 riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, main
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11 (17) annotation_inline
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12 risa. Thus is (ends) udvāhita. annotation_inline
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13 (Anu. 87) annotation_inline
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14 This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being main
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15 repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, main
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16 dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, main
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17 (18) annotation_inline
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18 maga maga, gari gari, risa risa. Thus is (ends) upalolaka. main
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19 (Anu. 88) annotation_inline
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20 There, krama is that, where having reached the sthayin55 (steady) svara after main
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21 ascending in the svaras in successive order beginning with one, without any gap, main
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22 svaras are pronounced in the order of prastara, increasing one by one (in main
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23 successive phrases). This is not different from prastara, being identical in form.56 main
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24 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, main
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25 sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, main
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26 sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara main
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27 (gandhāra) and in the same order having ascended to the kākali (niṣāda) the main
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28 sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is main
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29 (19) annotation_inline
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30 (ends) krama. annotation_inline
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31 (Anu. 89) annotation_inline
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32 Niṣkūjita is (formed) on having ascended (in the order of) first-third, then main
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33 second-fourth and others also in the same order. In the opinion of Kohala main
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34 niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga main
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35 (20) annotation_inline
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36 rima gapa madha pani dhasa. Thus is (ends) nişküjita. main
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vol_I_p096 RIGHT — 61 lignes

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1 VIMARŚA main
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2 175 page_number
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3 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, main
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4 instead of rasa (chyle) of our text. Monier Williams also enumerates seven main
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5 dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak main
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6 with rasa. main
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7 62. The seven minerals are not clear. list_item
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8 63. The number of cakras (psychophysical centres in the human body list_item
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9 visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight list_item
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10 or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere list_item
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11 ( in the confused reading in the section on Varṇālankāra towards the end of list_item
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12 Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, list_item
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13 anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last list_item
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14 one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it list_item
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15 is the location of the sahasrāra cakra. These seven names do form part of the list_item
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16 ten cakras spoken of in SR in the following locations - list_item
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17 Name of Cakra table
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18 Location table
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19 1. Ādhāra table
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20 In-between the anus and the genitals table
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21 2. Svādhişthāna table
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22 Root of the genitals table
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23 Around the navel table
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24 3. Manipūra table
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25 4. Anāhata table
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26 Heart table
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27 5. Visuddhi table
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28 Throat table
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29 6. Ājāā table
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30 In-between the two eye-brows table
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31 7. Sahasrāra table
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32 Cerebral aperture table
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33 It is notable that SR associates the production of musical notes with the main
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34 anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone main
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35 and not with all the seven listed above. The treatment of cakras in BrD could main
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36 not be assessed from this stray reference. It is only the number seven that main
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37 corresponds with the connection of seven cakras with the svaras that the author main
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38 is trying to establish here. In note 59 above, we have said that the connection of main
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39 dhaivata with the forehead is not clear. If the seven svaras are connected with main
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40 the seven sthanas listed above, one by one, then dhaivata being the sixth one main
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41 could be connected with the viśuddhi cakra located in-between the eye brows. main
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42 But the location of seven svaras in the seven cakras is not corroborated by any main
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43 other known text. annotation_inline
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44 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as main
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45 follows- main
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46 Name of Svara table
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47 Name of Duipa table
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48 Sadja table
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49 Jambū table
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50 Rsabha table
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51 Šāka table
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52 Gändhära table
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53 Kuśa table
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54 Madhyama table
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55 Krauñca table
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56 Sālmalī table
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57 Pañcama table
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58 Dhaivata table
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59 Sveta table
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60 Nisāda table
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61 Puşkara table
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vol_II_p095 RIGHT — 27 lignes

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1 173 page_number
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2 <b>TRANSLATION</b> page_header
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3 Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā editorial_bracket
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4 dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix] editorial_bracket
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5 These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika. main
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6 (118) annotation_inline
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7 7. After this the bhāṣās in sauvīraka section_header
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8 Combined with sadja as the initial and concluding note, being complete main
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9 in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a main
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10 is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is main
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11 sauvīrī having a divine form and said to subsist in sauvīraka (rāga). main
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12 <math>(119-120)</math> annotation_inline
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13 Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā main
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14 sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i] editorial_bracket
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15 Having madhyama as amśa and şadja as the concluding note, being main
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16 complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math> main
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17 knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are main
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18 seen to be speedy. annotation_inline
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19 (121) annotation_inline
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20 Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā- editorial_bracket
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21 sāgāsānipāpādhāninisāsā. main
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22 sānisāsārigārisāsāsā main
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23 nidhānipāpānini annotation_inline
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24 ·Vegamadhyamā[ii] editorial_bracket
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25 Sādhāritā should be known to be that which has şadja as aniśa and main
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26 madhyamaas nyāsa. annotation_inline
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27 (122) annotation_inline
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vol_I_p040 LEFT — 38 lignes

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1 62 page_number
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2 <b>BRHADDESI</b> page_header
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3 स X गमप ध नि main
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4 निस X गमप ध annotation_inline
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5 धनिसxगमप main
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6 प ध नि स 🗶 ग म annotation_inline
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7 म प ध नि स 🗶 ग main
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8 गमपधनिस 🗶 main
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9 . annotation_inline
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10 x गमप ध नि स main
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11 ऋषभहीनाः। annotation_inline
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12 [सरिगम 🗶 धनि editorial_bracket
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13 निसरिगम 🗶 ध main
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14 ध निसरिगम 🗶 annotation_inline
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15 X ध निस रिगम main
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16 म X ध नि स रि ग annotation_inline
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17 गम 🗶 ध निस रि main
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18 रिगम 🗶 ध नि स annotation_inline
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19 पञ्चमहीनाः। main
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20 सरिगमपध 🗶 annotation_inline
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21 <b>X</b> स रिगम प ध main
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22 ध X स रिगमप annotation_inline
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23 पध X स रिगम main
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24 म प ध 🗶 स रि ग annotation_inline
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25 गमपध X सरि main
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26 1 page_number
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27 रिगमपध 🗶 स main
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28 निषादहीनाः । इति षाडवाः। main
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29 . annotation_inline
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30 . annotation_inline
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31 [ X रिगम X ध नि ] editorial_bracket
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32 नि x रिगम x ध main
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33 ध नि X रिगम X annotation_inline
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34 [ Хधनि X रिगम editorial_bracket
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35 म X ध नि X रि ग main
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36 गम X ध नि X रि annotation_inline
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37 रिगम 🗶 ध नि 🗶 main
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38 सपहीनाः। ] editorial_bracket
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vol_II_p075 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 132 page_number
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3 अहं ते कथियध्यामि सर्वं तत्त्वेन लक्षणम् । main
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4 पूर्वं ग्रामह्रयं प्रोक्तं ग्रामरागास्तदुद्भवाः ॥९॥ main
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5 ग्रामरागोद्भवा भाषा भाषाभ्यश्च विभाषिका:। main
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6 विभाषाभ्यश्च सञ्जातास्तथा चान्तरभाषिका: ॥१०॥ main
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7 [ग्रामरागेषु भाषाणां सङ्ख्या, उद्देशश्च] section_header
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8 टक्करागे दश हे च केचिदिच्छन्ति षोडश। main
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9 तत ऊर्ध्वं निगद्यन्ते चाष्टौ मालवकैशिके ॥११॥ main
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10 ककुभे सप्त ये प्रोक्ताः पञ्च हिन्दोलके स्मृताः । main
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11 ० (भै?भे) annotation_inline
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12 पञ्चमे दश विख्याता भित्रषड्जे नव स्मृता: ॥१२॥ main
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13 सौवीरके चतस्रस्तु चतस्रो भिन्नपञ्चमे । main
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14 बोट्टरागे तथाऽप्येका तथा मालवपञ्चमे ॥१३॥ main
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15 टक्ककैशिकजास्तिस्रो द्वे च वेसरषाडवे। main
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16 भिन्नताने तथा ह्येका चैका गान्धारपञ्चमे ॥१४॥ main
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17 पञ्चमषाडवे ह्येका इत्येतास्तु समासत:। main
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18 ॰(मा?म) annotation_inline
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19 भाषा विभाषा: कथितास्त्र्यधिका सप्ततिर्बुधै: ॥१५॥ main
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20 भाषाणां चैव नामानि लक्षणं च निबोधत। main
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21 प्रथमा त्रवणा ज्ञेया द्वितीया त्रवणोद्भवा॥१६॥ main
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22 वेरिञ्जका तृतीया तु छेवाटी च चतुर्थिका। main
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23 मालवेसरिका तत्र प्रयोक्तव्या तु पञ्चमी ॥१७॥ main
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24 षष्ठी च गूर्जरी ज्ञेया सौराष्ट्री सप्तमी तथा। main
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25 अष्टमी सैन्धवी चैव वेसरी नवमी तथा ॥१८॥ main
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26 पञ्चमाख्या तु दशमी रविचन्द्रा तथा भवेत्। main
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27 <sup>र</sup>अम्बाहेरी तु ललिता स्मृता कोलाहली तत: ॥१९॥ main
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28 <b>न्ही</b>? page_footer
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29 (vide) annotation_inline
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191 lignes a valider — change uniquement les roles incorrects.