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 21126). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p042 LEFT — 48 lignes

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1 BRHADDEŚĪ page_header
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2 66 page_number
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3 (৬) table
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4 सा पा नी मा पा पा गां गां table
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5 मां पां मां निधं नी नी सा सा table
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6 (८) table
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7 पां पां मां धंनिं पां पां पां पां table
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8 (९) table
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9 (१०) table
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10 मां पां मां रिग गा गा गा गा table
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11 (११) table
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12 गा पा मा पा नी नी नी नी table
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13 (१२) table
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14 मा पा मा परि गा गा गा गा table
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15 (१३) table
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16 गा गा गा मा मा निध नी नी table
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17 (१४) table
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18 नी नी धप मा निध निध पा पा table
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19 (१५) table
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20 रीं गां सां सां मा नी नी नी table
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21 (१६) table
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22 नी नी धा पा धा पा मा मा table
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23 ॥ [इति] मध्यमोदीच्यवा ॥ table
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24 141 page_number
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25 [६. कामारवी] section_header
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26 कार्मारव्यां भवन्त्यंशा निषादरिपधैवता: ॥ १६॥ main
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27 बहवोऽन्तरमार्गत्वादनंशा: परिकीर्तिता: । main
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28 गान्धारोऽत्यन्तबहुल: सर्वाशस्वरसंगति: ॥ १७॥ main
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29 सर्वाशत्वं(?)स्वसंगतैः main
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30 चच्चत्पृट: षोडशात्र कला: षड्जादिमूर्छना । main
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31 (জা) annotation_inline
parent ligne 30
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32 पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥ १८॥ main
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33 <sup>१७८</sup>अस्यां पञ्चमो न्यास:, अंशा एवापन्यासा: । <sup>१७९</sup>प्रस्तार: - main
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34 ए(व?वा) main
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35 री री री री री री री री table
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36 (१) table
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37 मां गां सां गां सा नी नी नी table
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38 (२) table
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39 (3) table
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40 नी मा नी मा पा पा गा गा table
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41 (8) table
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42 गा पा मा पा नी नी नी नी table
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43 (4) table
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44 री गासानी री गारी गा table
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45 री गारी सानिध नी पापा table
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46 <b>(</b>\(\xi\) table
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47 (৩) table
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48 मा पा मा परि गा गा गा गा table
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vol_II_p107 RIGHT — 29 lignes

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1 197 page_number
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2 TRANSLATION page_header
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3 Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā. main
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4 Ninidhādhā. Lalitā [ix] editorial_bracket
parent ligne 3
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5 Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and main
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6 concluding note, is a complete antara-bhāṣā and by others it is sung as being main
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7 devoid of ri (ṛṣabha). main
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8 (29) annotation_inline
parent ligne 7
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9 Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā. main
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10 Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari main
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11 sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x] editorial_bracket
parent ligne 10
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12 Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note, main
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13 is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders main
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14 of Veda<sup>27</sup> main
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15 (30) annotation_inline
parent ligne 14
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16 Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi] editorial_bracket
parent ligne 14
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17 Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the main
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18 concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has main
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19 concert between şadja-dhaivata. main
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20 (31) annotation_inline
parent ligne 19
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21 Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā main
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22 gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii] editorial_bracket
parent ligne 21
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23 ..................... annotation_inline
parent ligne 21
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24 Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā main
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25 rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii] editorial_bracket
parent ligne 24
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26 The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math> main
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27 dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3 main
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28 others in bhinnaṣadja (rāga). main
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29 (32) annotation_inline
parent ligne 28
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vol_I_p084 RIGHT — 51 lignes

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1 1 page_number
via heuristic_pagenum
2 Ė annotation_inline
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3 151 page_number
via heuristic_pagenum
4 VIMARŚA page_header
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5 ì annotation_inline
parent ligne 6
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6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
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7 music which is rendered through the voice or stringed and wind instruments. main
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8 BṛD does not mention vādya along with gīta here, nor in verse 14 where desī main
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9 music is defined as 'that which is sung.' Since voice sets the model followed by main
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10 stringed and wind instruments, gita is the word for the melodic aspect of music main
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11 and the content of the above instruments is included in it. This extension of the main
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12 meaning of gita gets established when the word vādya is juxtaposed with it, main
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13 because in that case vādya gets restricted to drums. But here, in absence of that main
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14 juxtaposition, gita would acquire a further extension by way of also including main
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15 vādya in its orbit. Hence gīta stands here for the totality of music. It is notable main
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16 that gita is followed by svara in this verse. This looks like a repetition because main
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17 svara is the main constituent of gita. This could be construed as an emphasis on main
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18 'svara' through an independent reference to it. main
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19 3. Nrtta generally stands for pure dance where the delineation of artha main
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20 (meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263). main
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21 Nṛtta is dependent on nāda, because it has to be accompanied on instruments, main
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22 specially drums. annotation_inline
parent ligne 21
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23 4. The statement that the world is made up of nāda seems to be somewhat main
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24 out of place here, because the context is that of nada being the essence of main
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25 music and dance. But if one recalls the exposition of the order of manifestation main
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26 or formation of gandharva beginning from bindu and moving forward through main
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27 nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its main
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28 auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva) main
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29 incorporates all the stages upto gandharva and hence the fundamental nature main
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30 of nāda as established in gīta could be logically extended to the 'world' because main
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31 the world or phenomenon itself is a manifestation of nāda through the above main
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32 stages. SR expresses the same idea in the following manner - main
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33 "Nāda manifests the letters ( of alphabet ), letters constitute the word and main
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34 words make a sentence; so, the entire business of life is carried on through main
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35 language and therefore, the whole phenomenon (i.e. the world) is based on main
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36 nāda". (SR1, 2.2) annotation_inline
parent ligne 35
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37 Just as SR has related the business of life with nāda through verbal main
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38 communication that is based on the same, BrD has used gita in an extended main
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39 meaning, including in it all the manifestations of nada and has expounded nada main
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40 to be the essence of the whole world. annotation_inline
parent ligne 39
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41 It would be interesting to note here that S R also speaks of nāda being the main
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42 essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in main
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43 that context. annotation_inline
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44 "Nāda is the very essence of vocal music, instrumental music is enjoyable as main
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45 it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental main
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46 music); therefore, all the three together depend on nāda". (SRI, 2.1) main
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47 5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva main
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48 (three gods), representing three aspects of the manifestation of the Ultimate main
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49 Reality into the phenomenon of the universe, viz. creation, preservation and main
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50 destruction. Although the three of them occur in Vedic literature, yet the idea main
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51 (vide) annotation_inline
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vol_II_p163 RIGHT — 40 lignes

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1 <b>VIMARŚA</b> page_header
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2 309 page_number
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3 85. The gandhara and that too antara becomes the dhaivata of list_item
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4 madhyamagrāma. Perhaps this phenomenon is being indicated here. list_item
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5 86,87. Adbhuta and hasya on the one hand and karuna on the other list_item
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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
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9 are perfectly compatible. list_item
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10 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. list_item
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11 93. The indication of murchana finds place in the description of jatis list_item
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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
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18 95. The four components of gita have been enumerated as svara, pada, list_item
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19 tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). list_item
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20 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the list_item
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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
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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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vol_I_p033 LEFT — 26 lignes

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1 BRHADDEŚI page_header
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2 48 page_number
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3 पञ्चमस्तु भवेत् कृष्णः पीतवर्णस्तु धैवतः। main
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4 निषादः सर्ववर्णोऽयं विज्ञेयाः स्वरवर्णकाः॥७४॥ main
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5 <b>४</b> यड्जस्य दैवतं ब्रह्मा ऋषभो वह्निदैवतः। main
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6 गान्धारो भारतीदेवो मध्यमोभ् हरदैवतः॥७५॥ main
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7 पञ्चमः शतयज्ञस्तु धैवतो गणनायकः। main
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8 निषादो भानुदेवस्तु इत्येते स्वरदेवताः॥७६॥ main
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9 <b>44अग्निगीतः स्वरः षड्ज ऋषभो ब्रह्मणोदितः।</b> main
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10 सोमेन गीतो गान्धारो विष्णुना मध्यमः स्वरः॥७७॥ main
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11 पञ्चमस्तु स्वरो गीतो नारदेन महात्मना। main
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12 धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ।।७८।। main
via surya_layout
13 <b>४</b>व्हास्यशृङ्गारयोः कार्यौ स्वरौ मध्यमपञ्चमौ। main
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14 षड्जर्षभौ तथा ज्ञेयौ वीररौद्राद्भुतेषु च ॥७९॥ main
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15 गान्धारइच निषादइच कर्तव्यौ करुणे रसे। main
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16 धैवतश्चापि कर्त्तव्यो बीभत्से सभयानके।।८०॥ main
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17 कण्ठादुत्तिष्ठते षड्ज ऋषभः शिरसः स्मृतः। main
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18 स्यि annotation_inline
parent ligne 17
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19 नासायाश्चैव गान्धार उरसो मध्यमः स्वरः॥८१॥ main
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20 उरसः शिरसः कण्ठादुत्थितः पञ्चमः स्वरः। main
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21 तालुदेशात् समुत्पन्नो धैवतस्तु यशस्विनि।। main
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22 46हो annotation_inline
parent ligne 21
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23 निषादस्तु समुत्पन्नो विज्ञेयः सर्वसन्धितः ॥८२ ॥ main
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24 एवं स्वरान् विजानीयादुत्पन्नान् गीतसागरे। main
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25 महादेवमुखोद्भतान् देशीमार्गे च संस्थितान्।।८३।। main
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26 ॥ इति स्वरप्रकरणम् ॥ editorial_bracket
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194 lignes a valider — change uniquement les roles incorrects.