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 21177). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p072 RIGHT — 34 lignes

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1 127 page_number
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2 <b>TRANSLATION</b> page_header
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3 mā mā sā sā annotation_inline
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4 de - vam - annotation_inline
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5 mā sā sā mā annotation_inline
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6 de vam sa rvam annotation_inline
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7 sasa masa mama nn annotation_inline
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8 devam sarvam vande annotation_inline
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9 (Anu. 112) annotation_inline
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10 Māgadhī is (known as such) because of its origin in the magadha deśa (south main
via surya_layout
11 Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). main
via surya_layout
12 Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 main
via surya_layout
13 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to main
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14 'pada'. In the repetition of half a pada the verbal meaning should not be main
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15 construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or main
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16 acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is main
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17 predominantly musical, the verbal meaning is not cared for in the repetitions. It main
via surya_layout
18 has been said - the word jātavedasam (fire) that is repetitive, here (in the main
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19 context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī, main
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20 on the other hand, is based on the predominance of laghu (short syllables); main
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21 on account of the profusion of the grouping (grāma) of padas (syllabic units) it main
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22 is called pṛthulā (lit. broad or large). main
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23 (Anu. 113) annotation_inline
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24 In the three margas in the prescription about gitis, the use of laya should be main
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25 seen to be ninefold. annotation_inline
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26 He (the author) shows the use of laya as - daksina marga, vartika marga and main
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27 citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina main
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28 mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas main
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29 in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus main
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30 are the three layas in the operation of citra-marga. Thus has been propounded main
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31 in the chapter on gitis. As - in the daksina marga there are four gurus (long main
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32 units) two gurus and one guru. In vārtika mārga there are two gurus, one guru main
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33 and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half main
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34 - mātrā unit). annotation_inline
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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
via surya_layout
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
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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
via surya_layout
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
via surya_layout
44 <b>Datti.</b> 55, unknown
via fallback
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_I_p051 LEFT — 38 lignes

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1 BRHADDEŚI page_header
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2 84 page_number
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3 मपधनिसरिगमपधनिस । अश्वक्रान्ता ६ main
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4 पधनिसरिगमपधनिसरि । अभिरुद्गता [ ७ ] editorial_bracket
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5 ॥ इति षड्जग्रामे ॥ editorial_bracket
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6 [ अनु₀ ६३ ] editorial_bracket
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7 'मध्यमग्रामेऽप्येवमेव मपधनिसरिगाद्या मूर्छना निसरिगमपधाद्या main
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8 <math>[:]^{95}</math>रागकाले द्वादशस्वरमूर्छना अवगन्तव्याः । ताश्च षड्जग्रामे <math>[:]^{95}</math> editorial_bracket
parent ligne 7
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9 मूर्छनासु अन्तर्गता ज्ञेयाः । तद्यथा— main
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10 निसरिगमपधनिसरिगम। सौवीरी [१] editorial_bracket
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11 सरिगमपधनिसरिगमप। हरिणाश्वा [२] editorial_bracket
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12 रिगमपधनिसरिगमपध। कलोपनता [३] editorial_bracket
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13 [8] editorial_bracket
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14 गमपधनिसरिगमपधनि। शुद्धमध्या main
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15 मपधनिसरिगमपधनिस। मार्गी main
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16 [4] editorial_bracket
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17 [६] editorial_bracket
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18 पधनिसरिगमपधनिसरि। पौरवी main
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19 [ ૭ ] editorial_bracket
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20 धनिसरिगमपधनिसरिग। हृष्यका main
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21 ॥ इति मध्यमग्रामे ॥ editorial_bracket
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22 [ इति ग्राममूर्छनाप्रकरणम् ] editorial_bracket
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23 VI [ वर्णालंकारप्रकरणम् ] editorial_bracket
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24 [ तत्र वर्णाः ] editorial_bracket
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25 अतः परं प्रदर्श्यन्ते वर्णाश्चत्वार एव हि। main
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26 स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।। main
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27 [ अनु₀ ६४ ]. editorial_bracket
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28 वर्णशब्देन किमुच्यते ? वर्णशब्देन गानमभिधीयते। यत्र समाः main
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29 नन् annotation_inline
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via heuristic_short
30 स्वरा अनुपहतरूपास्तिष्ठन्ति तेभ्यो यद्गीतं वर्णाभिव्यक्तिकृद् यत्र पदे main
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31 त् annotation_inline
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32 स वर्णः स्थायीत्युच्यते। यथा— main
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33 षाङ्ज्यां सासासासा, मध्यमायां तु मामामामा इति। main
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34 सारीसासारीसा annotation_inline
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35 षज्जा annotation_inline
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36 <sup>1</sup>षड्जात annotation_inline
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37 <b>य्यत्र गीते संचरिन्त स्वराः परस्परमन्त्यसहिताः।</b> main
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38 एकैकशो [ द्विशो ] वा स संचारी वर्ण उच्यते।। ११९ ॥ editorial_bracket
parent ligne 37
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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
via surya_layout
5 ì annotation_inline
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6 2. Gita (lit. song or the act of singing) stands for the melodic aspect of main
via surya_layout
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
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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
via surya_layout
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
parent ligne 42
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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
via surya_layout
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_p093 LEFT — 32 lignes

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1 BRHADDEŚĨ page_header
via surya_layout
2 168 page_number
via heuristic_pagenum
3 उदाहरणम् - धाधासासागधरिगारिसागनिरीसासाधासानीनीनी धाधाधानिधापापामाधासाधा main
via surya_layout
4 निनिधाधापागागाधारिधामामाधा निनिधाधा । दाक्षिणात्या । [२] editorial_bracket
parent ligne 3
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5 धैवताद्यन्तसंयुक्ता गान्धारस्वरभूषिता । main
via surya_layout
6 गन्धारधैवतस्यात्र गमनं दृश्यते घनम् ॥ main
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7 गान्धारो annotation_inline
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8 •क्षेति annotation_inline
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9 भाषा ह्येषा तु सङ्कीर्णा गान्धारी समुदाहता ॥ १०७॥ main
via surya_layout
10 हा + annotation_inline
parent ligne 9
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11 उदाहरणम् – धाधागागागिरिगमगामाधा रिरिरिरगामापामा मापामापामापासगारिरिगागागाधापाधागागा main
via surya_layout
12 रीसासासानिसासानिगामापासासानीगारीमागमागामा मामामानिनिनिन। मधाधाधाधा। गान्धारी । [३] editorial_bracket
parent ligne 11
via heuristic_brackets
13 धैवताद्यन्तसंयुक्ता षाडवा पञ्चमोज्झिता । main
via surya_layout
14 ॰माहिता annotation_inline
parent ligne 13
via heuristic_markers
15 मध्यमर्षभसंवादो द्विश्रुतीनां च गीयते ॥ main
via surya_layout
16 १८विभाषा चैव श्रीकण्ठी प्रयोगे ललितास्तुते ॥ १०८॥ main
via surya_layout
17 ॰कण्ठे annotation_inline
parent ligne 16
via heuristic_markers
18 उदाहरणम् -धानिमागागाधा रिमागागाधा रिमागरिगारिरिगारिरिगामागारिगाधा रिरिरीनिसा- main
via surya_layout
19 निनिधाधा। श्रीकण्ठी । [४] editorial_bracket
parent ligne 18
via heuristic_brackets
20 ९९मध्यमांशा धैवतान्ता ऋषभेण तु दुर्बला । main
via surya_layout
21 (तु) annotation_inline
parent ligne 20
via heuristic_height
22 मध्यमर्षभपञ्चमानां गमनं दृश्यते घनम् ॥१०९॥ main
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23 दुश्यतेन्धनम् annotation_inline
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via heuristic_height
24 •पञ्चमगमनं annotation_inline
parent ligne 22
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25 एषा विभाषा पौराली रम्या चातिमनोहरा । main
via surya_layout
26 चा(नि?ति) annotation_inline
parent ligne 25
via heuristic_height
27 गीयते नागलोकेन गमकैर्मधुरस्वरा ॥ ११०॥ main
via surya_layout
28 गधकै annotation_inline
parent ligne 27
via heuristic_height
29 उदाहरणम् - [मा]पापाधा निनिसासामानिधा पाधाधाधाधा निसारिरिमागारिसारिमागासारिसारि- editorial_bracket
parent ligne 27
via heuristic_brackets
30 मामारिगारिमा सासासासानिनिनिनीधाधा मापामापापापानिनिरिरिसानिधा पाधाधानिनिधा निनिरि- main
via surya_layout
31 <b>₹</b> annotation_inline
parent ligne 30
via heuristic_height
32 रिनिरि रिमागारिसा निरिसानिसासानिनिधाधा गमापाधानिनिसानिसानिधाधा। पौराली । [५] editorial_bracket
parent ligne 30
via heuristic_brackets
205 lignes a valider — change uniquement les roles incorrects.