Calibration 2g.6 — validation humaine du tagging

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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 21067). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p055 RIGHT — 31 lignes

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1 93 page_number
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2 TRANSLATION page_header
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3 [Anu. 169] editorial_bracket
parent ligne 4
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4 It means - the rāga called śuddhakaiśika is related to madhyamagrāma on main
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5 account of being born of kaišikī and kārmāravī jātis. Tāra (high) şadja is its main
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6 graha and amśa, pańcama is the nyāsa, nisāda is kākalī here and this (rāga) is main
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7 with complete svaras. Its application is prescribed in the nirvahana main
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8 (conclusion) of citra (pūrvaranga?) 42 comprised of eighteen angas main
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9 (components).43 Rasas like vīra and raudra are there. The mūrchanā main
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10 beginning with sadja obtains. Arohin (ascending) is the varṇa. Prasannādi is main
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11 the alankāra. The kalā (time-unit) is formed in the dakṣiṇa (mārga), the kalā main
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12 obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). A tāla like main
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13 caccatputa obtains in the songs composed of svara and pada. main
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14 [The assignment of grāmas to śuddha rāgas] section_header
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15 [Anu. 170] editorial_bracket
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16 (Contention) These (rāgas) are related to particular grāmas. From where main
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17 is this particularity obtained? It is being answered - this particularity is main
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18 obtained from the statement of Bharata himself. Thus has said Bharata main
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19 Muni- annotation_inline
parent ligne 18
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20 "On account of grāma-rāgas being born of jātis"; "whatever is sung in the main
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21 world, all of that is contained in the jātis"44 on account of this statement. main
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22 And it has also been said by Kasyapa - main
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23 "Şādava, pañcama and kaiśika obtain in madhyamagrāma. Sādhārita and main
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24 kaišikamadhyama, similarly, obtain in sadja (grāma)." main
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25 [The application of suddha ragas] section_header
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26 [Anu. 171] editorial_bracket
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27 (Contention) From where are these specific applications obtained? They main
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28 are obtained from the statement of the Muni. And thus has said Bharata - main
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29 "Madhyamagrāma (rāga) should be in the mukha (sandhi), şadja (grāma) main
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30 rāgain the pratimukha (sandhi), and sādhārita alone in the garbha (sandhi), main
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31 pañcama in the avamarśa (sandhi). In samhāra (conclusion), kaiśika has been main
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vol_I_p009 RIGHT — 4 lignes

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1 श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ main
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2 <b>OF</b> annotation_inline
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3 ŚRĪ MATANGA MUNI main
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4 (Volume I) main
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vol_II_p132 LEFT — 50 lignes

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1 246 page_number
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2 BRHADDEŚĪ section_header
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3 Verse No. table
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4 Reading table
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5 Reading table
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6 BrD table
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7 Datti table
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8 BŗD table
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9 Datti table
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10 193 page_number
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11 49 page_number
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12 पड्जायाधैव table
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13 पड्जायास्त्वथ table
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14 194 page_number
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15 सधैवत्यो: table
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16 सधैवत्ये * table
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17 50 page_number
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18 *This reading is there in the Trivandrum edition of Datti which has been main
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19 changed by Mukund Lath to sadhaivatyoh. main
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20 12. Both p.t. and Datti read'tatha', but we have replaced it with list_item
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21 'tābhyām' because 'tathā' does not relate gāndhārī and pañcamī to gāndhāra- list_item
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22 pañcami as its components or progenitors. list_item
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23 13. cf. NŚ XXVIII 49-53 for verses 199-203 of our text. list_item
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24 14. The portion in square brackets has been added from list_item
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25 NŚ XXVIII.55, 56. list_item
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26 15. Reading in NŚ XXVIII. 57. list_item
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27 l 6. cf(i) श्रुतिस्वरग्रामसमूहाज्जायन्त इति जातय:, अथवा जायते रसप्रतीतिराभ्य इति जातय:,यद्वा सकलस्य list_item
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28 रागादेर्जन्महेतुत्वाज्जातयः, अथवा यथा नराणां ब्राह्मणत्वादयो जातयः, शुद्धा विकृताश्च, एवमेता अपीति जातयः। list_item
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29 C.r. in Sudhā on SR 1.7.3. p. 171. unknown
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30 ŧ annotation_inline
parent ligne 28
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31 (ii) निर्हेतौ समवायात् श्रुतिस्वरग्रहादिसमूहाद्यतो जायन्ते ततो जातय इति निर्वचनम् । list_item
via surya_layout
32 Abhi Bhā on NŚ XXVIII. p. 37. list_item
via surya_layout
33 17.cf. अंशग्रहादिशतयोजनाया जायन्त इति जातय इत्यन्ये । जाते रसं प्रति आभ्य(जायते रसप्रतीतिराभ्य)इति list_item
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34 वा सकलस्य रागादेर्जन्महेतुर्जातिरिति टीकाकार:। list_item
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35 Abhi Bhā on NŠ XXVIII.p.38. main
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36 18. Reconstruction based on BhaKo, p. 227. list_item
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37 Reconstruction based on Sudhā on SR I. 7.3 p. 171, list_item
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38 cf. शुद्धाश्च विकृताश्चैवमत्रापि जातिलक्षणम् । जातिर्द्धिधा शुद्धा विकृता च । शुद्धा सप्तविधा । विकृता एकादशविधा । list_item
via surya_layout
39 BhaKo p. 227. list_item
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40 20. 'Viścṣa' or specified 'lakṣaṇa' relates to the description of each list_item
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41 <i>jāti</i>, hence this word has been replaced by us with ‘ <i>daśavidha</i> ’ (tenfold) . list_item
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42 ग्रहांशी तारमन्द्री च पाडवीडुविते क्रमात् । अल्पत्वं च बहुत्वं च न्यासोऽपन्यास एव च ॥ list_item
via surya_layout
43 21. cf.(i) list_item
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44 <b>Datti.</b> 55, unknown
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45 ग्रहांशी तारमन्द्री च न्यासोऽपन्यास एव च । list_item
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46 (ii) list_item
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47 अल्पत्वं च बहुत्वं च पाडवौडुविते तथा ॥ list_item
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48 NŠ XXVIII.66. main
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49 22. Reading of MS B as recorded by the ed. list_item
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50 23. Datti 56 reads *<i>evametadyathājāti *</i>. list_item
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vol_II_p084 RIGHT — 34 lignes

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1 151 page_number
via heuristic_pagenum
2 TRANSLATION page_header
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3 Māmāgari. Sādhāsāsā. main
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4 Sāriririgāgārī. annotation_inline
parent ligne 3
via heuristic_height
5 dhāsāsāgāgadhari. annotation_inline
parent ligne 3
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6 Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma] editorial_bracket
parent ligne 3
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7 sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii] editorial_bracket
parent ligne 3
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8 Combined with şadja as the initial and concluding note, has concert of main
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9 madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each, main
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10 is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa main
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11 svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup> main
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12 (regional). annotation_inline
parent ligne 11
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13 (65) annotation_inline
parent ligne 11
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14 Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī. main
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15 Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā. main
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16 Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī. main
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17 Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā. main
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18 Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii] editorial_bracket
parent ligne 17
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19 Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant main
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20 with madhyama, has concert between madhyama and ṛṣabha, is complete and main
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21 delightful to the people. This bhāṣā should be known as māṅgālī by the main
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22 knowledgeable ones in music. main
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23 (66) annotation_inline
parent ligne 22
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24 Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma. main
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25 Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā. main
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26 Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī. main
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27 Sanisasā. Māṅgālī [iv] editorial_bracket
parent ligne 26
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28 Saindhavī should be embellished with ṣaḍja as the initial and concluding main
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29 note, is replete with sadja and madhyama and similarly there is (mutual main
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30 movement between) niṣāda and ṛṣabha. They have known it as bearing the main
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31 name of deśa (region), being born of the Sindhu region. main
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32 (67) annotation_inline
parent ligne 31
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33 Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī. main
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34 Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v] editorial_bracket
parent ligne 33
via heuristic_brackets

vol_II_p163 RIGHT — 40 lignes

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1 <b>VIMARŚA</b> page_header
via surya_layout
2 309 page_number
via heuristic_pagenum
3 85. The gandhara and that too antara becomes the dhaivata of list_item
via surya_layout
4 madhyamagrāma. Perhaps this phenomenon is being indicated here. list_item
via surya_layout
5 86,87. Adbhuta and hasya on the one hand and karuna on the other list_item
via surya_layout
6 are incompatible. list_item
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7 88. The freedom of the performer is being indicated here. list_item
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8 89,90,91. The situations mentioned under viniyoga and the rasa vīra list_item
via surya_layout
9 are perfectly compatible. list_item
via surya_layout
10 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. list_item
via surya_layout
11 93. The indication of murchana finds place in the description of jatis list_item
via surya_layout
12 for the first time. No rule is prescribed for assigning a particular mūrchanā to list_item
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13 a given jāti. Here it is said that the mūrchanā of jāti is known from the list_item
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14 'statements of authorities', which implies that there is no prescribed rule. list_item
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15 94. The import seems to be that the amsa that is predominant among list_item
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16 amsas (in the case of jātis with more than one amsa) determines the mūrchanā list_item
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17 of a <i>jāti</i>. list_item
via surya_layout
18 95. The four components of gita have been enumerated as svara, pada, list_item
via surya_layout
19 tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). list_item
via surya_layout
20 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the list_item
via surya_layout
21 compositions in Sanskrit or in prescribed non-lexical syllables are used. The list_item
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22 dhruvā performed within the drama is invariably in Prākṛta and provides a list_item
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23 figurative and poetic commentary on the happenings in the drama. NS list_item
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24 XXXII gives numerous illustrations of <i>dhruvā</i> texts. list_item
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25 97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka, list_item
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26 prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga. list_item
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27 98. Prastāvanā(lit.introduction) is twofold, one occurring in the end list_item
via surya_layout
28 of the Pūrvaranga and the other in the beginning of the play immediately after list_item
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29 nāndī i.e. one is composed by the sūtradhāra known as director and the other list_item
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30 by the poet called playwright to-day. list_item
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31 99. Mukha and pratimukha are the first two among the five sandhis or list_item
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32 junctures of drama. list_item
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33 100,101. Garbha is the third sandhi and avamarsa (another name for list_item
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34 vimarsa) is the fourth one. list_item
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35 Chapter IV section_header
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36 (The description of bhāṣās) section_header
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37 [ A. Bhāṣās according to Yāṣṭika ] section_header
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38 1. This whole portion on bhāṣās according to Yāṣṭika seems to form main
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39 part of an independent text. We have retained it in our reconstructed text main
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40 as it embodies very valuable material, but we have numbered its verses main
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159 lignes a valider — change uniquement les roles incorrects.