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 21049). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p051 RIGHT — 29 lignes

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1 <b>g</b>., annotation_inline
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2 85 page_number
via heuristic_pagenum
3 TRANSLATION page_header
via surya_layout
4 with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of main
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5 all gitis. annotation_inline
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6 <math>(284 - 285)</math> main
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7 [6. Bhāṣā gīti] section_header
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8 This bhāṣā gīti is described by the experts in gīti as consisting of prayogas main
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9 (melodic phrases?) that are rendered by the body (voice), are smooth, main
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10 colourful with kākus, well composed, shaken, soft, brilliant, combined with main
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11 mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that main
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12 delights the people. main
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13 <math>(286 - 287)</math> main
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14 [7. Vibhāṣā gīti] section_header
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15 Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive, main
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16 numerous, brilliant, shaken, pertaining to the chest region, even, high and main
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17 very high, smooth, in which madhyama shines forth in between, that are main
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18 delightful to the ear and are attractive. This process of composition should main
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19 be spontaneous and should take the course that delights the people. main
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20 (288-289) annotation_inline
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21 [ Thus ends the description of gitis.] editorial_bracket
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22 [ The number and nomenclature of ragas ] section_header
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23 The lakṣaṇa (description) of gītis has been spoken of; now the number of main
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24 rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the main
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25 bhinna ones are of the same number. Gauda (rāgas) have been said to be main
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26 three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- main
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27 sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās main
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28 are only twelve and (now) know their names. main
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29 <math>(290 - 292)</math> main
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vol_I_p048 LEFT — 38 lignes

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1 <b>BRHADDES!</b> page_header
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2 78 page_number
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3 [ अनु₀ ५६ ] editorial_bracket
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4 कूटतानानां सहस्राणि पञ्च त्रयस्त्रिंशदधिकानि निष्पद्यन्ते। main
via surya_layout
5 <sub>०</sub>मस्त्रिः main
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6 दत्तिलेनाप्युक्तम्— annotation_inline
parent ligne 5
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7 <sup>83</sup>"पूर्णाः पञ्च सहस्राणि त्रयस्त्रिशच्च संख्यया। main
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8 ुर्णः, annotation_inline
parent ligne 7
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9 मसत्, main
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10 कथयन्ति प्रतिग्राममुपायो गणनेऽधुना।" main
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11 नेधुनः दत्तिलम् ३९ ] editorial_bracket
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12 पयोगेन main
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13 गणनाऽत्र परेण तानप्रयोगेण पूर्वस्तानप्रयोगो हन्यते। तथा चाह main
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14 ₀मा₃ annotation_inline
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15 दत्तिलः — main
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16 "हन्यादनन्तरायेण पूर्वा यस्य क्रमोत्क्रमात्। main
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17 गुणकारसमास्तत्र क्रमाः ध्ये शेषाः स्युरुत्क्रमाः।" main
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18 दित्तलम् ४० | unknown
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19 माच्छे. annotation_inline
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20 [ अनु<sub>०</sub> ५७ ] editorial_bracket
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21 इदानी गुणनोपायं कथयति— द्वाभ्यां पराभ्यामेकः पूर्वो बऽहन्येत main
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22 J. annotation_inline
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23 द्वावेव भवतः। तौ च द्वौ त्रिभिर्हतौ षड् भवतः । ते [ च षट् ] editorial_bracket
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24 ्रित annotation_inline
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25 ्रत्वा annotation_inline
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26 चतुर्हताश्चतुर्विंशतिर्भवन्ति। सा चतुर्विंशतिः पञ्चभिर्हता शतं विंशत्यधिकं main
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27 भवति। विंशत्यधिकं शतं षड्भिर्हतं शतानि सप्त-विंशत्यधिकानि भवति। main
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28 ्रन्ति main
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29 तानि सप्तभिर्हतानि पञ्चसहस्राणि चत्चारिंशदधिकानि भवन्ति। unknown
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30 अनु₀ ५८ editorial_bracket
parent ligne 28
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31 तत्र क्रमकृतास्तान् स्फोटयित्वा ह्युत्क्रमकृतानि कूटतानानां सप्त- main
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32 स्वरप्रयोगात् पञ्चसहस्राणि त्रयस्त्रिशदधिकानि भवन्ति। main
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33 प्रस्तारो annotation_inline
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34 यथा— main
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35 तत्र षड्जस्वरस्य स इत्येकः क्रमः। ऋषभस्य सरीत्येक एव क्रमः। रिस main
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36 इति च व्युक्तमो द्वितीयः। गान्धारस्य सरिगेत्येकः क्रमः। गरिसेत्यादयो main
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37 ुम annotation_inline
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38 ुत्यतः annotation_inline
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vol_I_p077 LEFT — 45 lignes

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1 BRHADDESI page_header
via surya_layout
2 136 page_number
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3 22. C.r. in S R I Sudhā, p. 94. list_item
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4 23. Added according to C.r. in S R I Sudhā, p. 94. list_item
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5 24. Portion added according to C.r. in S R I Sudhā, p. 95. list_item
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6 25. P.t. adds 'pañcama' before 'ṛṣabhaḥ' which is unwarranted. list_item
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7 26. P.t. combines sapta-svarāķ etc. and that has led to a misunderstanding list_item
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8 among scholars to the effect that Matanga has accepted the 'samvāda' of seven- list_item
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9 sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ, list_item
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10 No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is list_item
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11 related to 'svarāḥ'; hence a full-stop has been added after sapta and that clears list_item
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12 the whole confusion. list_item
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13 27. The ed. states that the text is broken here; the missing portion has been list_item
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14 taken by us from S R I Sudhā, p. 121. list_item
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15 28. Missing portion (verse 55-60) taken from C.r. in S R I Kalā, p. 79-81. list_item
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16 The cited verses are interspersed by Kallinatha with prose sentences of his own, list_item
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17 but they have been omitted by us. list_item
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18 29. C.r. in S R I Kalā, p. 81. list_item
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19 30. Sam S Sā, p. 14 and C.r. in S R I Kalā, p. 81. list_item
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20 31. This portion is missing in the MSS, it has been paraphrased in S R I Kalā, list_item
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21 p. 81 and cited in ibid. Sudhā, p. 97. list_item
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22 32. cf. व्हाजाती समी जेयी रिधी क्षत्रियजातिको । list_item
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23 निर्गा वैश्याविति प्रौक्तौ पञ्चमः शूद्रजातिकः ॥ list_item
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24 ( Sam Mak I. 29 ) main
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25 33. C.r. in S R I Sudhā, p. 97 and Sam Cû, p. 71. list_item
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26 34. C.r. in S R I Sudhā, p. 98. list_item
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27 35. Reading suggested by the ed. list_item
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28 36. C.r. in S R I Sudhā, p. 98. list_item
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29 37. C.r. in Sam Cu, p. 72. list_item
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30 38. C.r. in S R I Sudhā, p. 98. list_item
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31 39. cf. स्वराः सरिगमाश्चैव चत्वारो राक्षसाः स्मृताः । list_item
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32 पधौ मानुषसज्ञौ च निपाद दैवत विदुः ॥ list_item
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33 (Sam Mak I. 1.46) main
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34 40. After this P.t. has the following half-verse – main
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35 शृद्धजातिसमृत्पन्नी तौ काकल्यन्तरी स्वरी । main
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36 This is redundant and misplaced because verse 61 d has already spoken of main
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37 kākali and antara svaras being śūdra and this line does not fit into the context main
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38 after verse 72; hence it has been omitted by us. main
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39 41. cf. Nā Ši I.4.1,2 and Gītālankāra, p. 50. list_item
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40 42. cf. Nā Ši I.5.14-18. list_item
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41 43. The reading 'hara' suggested by the ed. in the place of 'bhi' of MSS. list_item
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42 44. cf. Nā Ši 1.5.12-14. list_item
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43 पर्जाञ्चतर्वारी च ऋषभस्य च गंद्रकः । list_item
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44 45. cf. list_item
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45 गान्धारस्य च शान्त च हास्यास्य मध्यमस्य च ॥ list_item
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vol_I_p102 RIGHT — 49 lignes

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1 VIMARŚA annotation_inline
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2 187 page_number
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3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
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4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
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5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
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6 mātrās; there also each kalā of time will be related to each phrase. list_item
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7 76,77. Identical with note 52 above. list_item
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8 78. All the four sa belong to the tāra-sthāna. list_item
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9 79. See note 47 above. list_item
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10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
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11 probably it has been used because the units of phrases here are not equal, they list_item
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12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
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13 81. Here the traditional rule of having a shake only on svaras with three list_item
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14 <i>śrutis</i> seems to have been abandoned. list_item
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15 82. Kalā obviously means phrase-unit here. list_item
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16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
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17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
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18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
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20 perhaps, be taken as the first indication of the advent of desi talas. list_item
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21 84. It is notable that BrD has not classified alankāras into varņas. list_item
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22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
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23 but they have not been described. list_item
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24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
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25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
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29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
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30 outside the above seven, but are very important on account of special tala list_item
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31 patterns and association with dance. All these forms are prescribed in list_item
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32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
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33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
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34 hence the units of text of songs could be stretched by the melody through list_item
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35 alankāras, the comprehension of the meaning of the text of songs being not list_item
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36 important there. list_item
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37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
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38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
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39 listener is very important and hence stretching of the syllables of the text is not list_item
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40 desirable. list_item
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41 88. The implication of this statement is not clear, because alankaras of the list_item
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42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
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48 e le par Alle annotation_inline
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49 and the second annotation_inline
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vol_II_p072 LEFT — 31 lignes

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1 BRHADDEŚĪ page_header
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2 126 page_number
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3 युद्धवीरेऽस्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नान्तोऽलङ्कारः । main
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4 ॰(र्य?रे) annotation_inline
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5 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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6 [साधारणरागाणां ग्रामविभागः] section_header
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7 इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते - main
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8 भम्माणपञ्चमो ज्ञेयो मध्यमग्रामसम्भव:। main
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9 गान्धारपञ्चमो नर्त: षड्जकैशिक एव च ॥ ३४२॥ main
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10 रूपसाधारितो रागः शकः ककुभ एव च। main
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11 रेवगुप्तस्तु षड्जाख्ये ज्ञेयः पञ्चमषाडवः ॥ main
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12 (뭐) annotation_inline
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13 सप्त[नव ?] साधारणाः प्रोक्ता ग्रामद्वयसमाश्रयाः ॥३४३॥ editorial_bracket
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14 (माश्र) annotation_inline
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15 [ग्रामरागाणां मूर्छना-निर्देशस्य आधार:] section_header
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16 [अनु॰२१३] editorial_bracket
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17 ननु पूर्वोक्तानां[ग्रामरागाणां]<sup>१११</sup> मूर्छनाविशेष-निर्देश: कस्माज्जायत इति [चेत्]<sup>११२</sup> editorial_bracket
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18 उच्यते । आसवचनान्पूर्छनानिर्देशो ज्ञायते । तथा चाह काश्यप: - main
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19 ११३कश्यप: annotation_inline
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20 (आसवचनाद्) annotation_inline
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21 ९१४‘‘ज्ञात्वा जात्यंशबाहुल्यं निर्देश्या मूर्छना बुधै:।” main
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22 [गीतरागयोर्भेद:] section_header
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23 [अनु॰ २१४] . editorial_bracket
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24 नन् गीतरागयो: को भेद:<sup>११५ ।</sup> उच्यते । दशलक्षणलिक्षतं गीतं रागशब्दाभिधेयम् । main
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25 <sup>११६</sup> शब्देनाभिधीयते annotation_inline
parent ligne 24
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26 ॰(यो:को) annotation_inline
parent ligne 24
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27 गीतं चतुरङ्गेपेतम् , ध्रुवायोगात् पञ्चविधम् । कुत <sup>११७</sup>एतद् विज्ञायते ? आसवचनात् । main
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28 तथा annotation_inline
parent ligne 27
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29 एव annotation_inline
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30 चाह काश्यप: - annotation_inline
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31 ११८कश्यप: main
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192 lignes a valider — change uniquement les roles incorrects.