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 21207). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p164 RIGHT — 41 lignes

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1 311 page_number
via heuristic_pagenum
2 VIMARŠA page_header
via surya_layout
3 22,23. Nāga and kinnara are names of ethnic groups. Our text is the list_item
via surya_layout
4 first one to mention ethnic names in the context of music. list_item
via surya_layout
5 24. Paurāla is not a known geographical name. One approximate list_item
via surya_layout
6 name is paurava, "a country on the eastern bank of the jhelam including the list_item
via surya_layout
7 Gujrat district, the original seat of the Purus, the kingdom of Porus who list_item
via surya_layout
8 fought with Alexander " (Nando Lal De). Purālī was an ancient name of list_item
via surya_layout
9 Travancore (ibid). list_item
via surya_layout
10 25. Harşapūra is not known as a geographical name. list_item
via surya_layout
11 26. <math>\bar{A}bh\bar{i}ra</math> is both a geographical and ethnic name. It is identified as list_item
via surya_layout
12 "the south-eastern portion of Gujrat about the mouths of the Narmada" list_item
via surya_layout
13 (Nando Lal De). list_item
via surya_layout
14 27. 'Samyoga' is another expression for sancara or sangati. list_item
via surya_layout
15 28. Kāmboja is identified as Afghanistan (Nando Lal De). list_item
via surya_layout
16 29. Sātavāhana or Sātavāha is "the name of a king fabled to have been list_item
via surya_layout
17 discovered, when a child, riding a Gandharva called Sāta, who, according to list_item
via surya_layout
18 one legend, was changed into a lion" (Monier Williams). Also known as list_item
via surya_layout
19 Sālivāhana, the Śaka ruler who founded the Śaka era i.e samvat. list_item
via surya_layout
20 30. Gāndhāra and niṣāda are implied. list_item
via surya_layout
21 31. Chāyā is used while describing the resemblance of one rāga with list_item
via surya_layout
22 another at a given point. list_item
via surya_layout
23 32. Kākalī is prescribed to be always sparse in the grāma system. The list_item
via surya_layout
24 prescription here of kākalī being frequent is a notable departure. list_item
via surya_layout
25 33. Again the ethnic name kinnara appears here. See notes 22,23. list_item
via surya_layout
26 34. The basic name is hindola or hindolaka meaning a swing; its list_item
via surya_layout
27 synonym is sometimes used to meet the exigency of metre. list_item
via surya_layout
28 35. See note 26. list_item
via surya_layout
29 36. Gāndharva is a rigorously guarded tradition. The inclusion of list_item
via surya_layout
30 bhāṣā in this corpus is incongruous, unless gāndharva is taken to stand for list_item
via surya_layout
31 music in general. list_item
via surya_layout
32 37. "Mangala - called also Mangali or Mangalapura, the capital of list_item
via surya_layout
33 Udyāna, identified by Wilford with Mangora or Manglora. Cunningham list_item
via surya_layout
34 thought it could be identified with Minglaur (Mangalore) " (Nando Lal list_item
via surya_layout
35 De). list_item
via surya_layout
36 38. The word samvāda has been used here again for sancara or sangati. list_item
via surya_layout
37 39. The origin of this vibhāṣā is traced directly to pañcama rāga, where list_item
via surya_layout
38 as it should really be related to a bhāṣā of that rāga. It is treated as a bhāṣā list_item
via surya_layout
39 in SR and S Rāj. list_item
via surya_layout
40 40. Gändhärapañcama has been mentioned here under pañcama. list_item
via surya_layout
41 41. "Dākṣiṇātya is identified with Deccan; that part of India that lies list_item
via surya_layout

vol_II_p041 RIGHT — 47 lignes

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1 TRANSLATION page_header
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2 65 page_number
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3 dhā nī sā sā rī rī rī rī table
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4 (3) table
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5 sā sā sā rī gā mā mā mā table
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6 (4) table
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7 mā dhā nī dhā mā dhā mā pā table
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8 . annotation_inline
parent ligne 24
via heuristic_height
9 <b>(5)</b> table
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10 gā rī sā dhani rī rī rī rī table
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11 (6) table
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12 gā rī sā sā pā dhā mā mā table
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13 (7) table
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14 gā gā gā mā pā nidhani nī nī table
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15 (8) table
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16 gã gã nĩ nĩ gã gã gã gã table
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17 (9) table
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18 gā gā nī nī nidha pā pā pā table
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19 (10) table
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20 mā pā mā pā pā pā mā mā table
via surya_layout
21 (11) table
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22 sā mā gā nidha nī nī gā gā table
via surya_layout
23 (12) table
via surya_layout
24 Thus ends <i>Kaišikī</i>. section_header
via surya_layout
25 [5. Madhyamodicyavā] section_header
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26 Madhyamodīcyavā is known to be always complete and having pañcama as main
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27 amsa. annotation_inline
parent ligne 26
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28 (14) main
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29 The remaining lakṣaṇa should be known to be as in gāndhārodīcyavā. The main
via surya_layout
30 mūrchanā beginning with madhyama obtains. Caccatpuța is known as the main
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31 (prescribed) <i>tāla</i>. main
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32 (15) annotation_inline
parent ligne 31
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33 The application is (prescribed) in the dhruvā of the fourth act. main
via surya_layout
34 Madhyama is the nyāsa in this jāti. Ṣadja and dhaivata are the apanyāsas. The main
via surya_layout
35 prastāra is thus – main
via surya_layout
36 pā dhani nī nī mā mā nī pā table
via surya_layout
37 (1) table
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38 rī rī rī gā sā riga gā gā . table
via surya_layout
39 (2) table
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40 nī nī nī nī nī nī nī nī table
via surya_layout
41 (3) table
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42 nī nī dhapa mā nidha nidha pā pā table
via surya_layout
43 <b>(4)</b> table
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44 pā pā rī rī rī rī rī rī table
via surya_layout
45 (5) table
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46 mā riga sā sadha nī nī nī nī table
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47 (6) table
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vol_II_p153 LEFT — 47 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 288 page_number
via heuristic_pagenum
3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
via surya_layout
4 17. cf.(i) annotation_inline
parent ligne 3
via heuristic_short
5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
via surya_layout
6 Mānaso IV.16.332. annotation_inline
parent ligne 5
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7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
via surya_layout
8 (ii) annotation_inline
parent ligne 7
via heuristic_short
9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
via surya_layout
10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
via surya_layout
11 S Rāj II.4.3.111. annotation_inline
parent ligne 10
via heuristic_short
12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
via surya_layout
13 (iii) annotation_inline
parent ligne 12
via heuristic_short
14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
via surya_layout
15 Ra Kau III.117. annotation_inline
parent ligne 14
via heuristic_short
16 18. Reconstruction in the first and second foot based on SR IV. main
via surya_layout
17 212c, 213b. annotation_inline
parent ligne 16
via heuristic_short
18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
via surya_layout
19 <b>cf.(i)</b> annotation_inline
parent ligne 18
via heuristic_short
20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
via surya_layout
21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
via surya_layout
22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
via surya_layout
23 Mānaso IV.16,333,335. main
via surya_layout
24 आर्यैव यदि गीयेत तालेन गजलीलया । main
via surya_layout
25 (ii) annotation_inline
parent ligne 24
via heuristic_short
26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
via surya_layout
27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
via surya_layout
28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
via surya_layout
29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
parent ligne 28
via heuristic_brackets
30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
via surya_layout
31 S Rāj 11.4.3.108-110. main
via surya_layout
32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
via surya_layout
33 19. cf. annotation_inline
parent ligne 32
via heuristic_short
34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
via surya_layout
35 SR IV.279,280. annotation_inline
parent ligne 34
via heuristic_short
36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
via surya_layout
37 20. cf. annotation_inline
parent ligne 36
via heuristic_short
38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
via surya_layout
39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
via surya_layout
40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
via surya_layout
41 Mānaso IV.16.336 -338. main
via surya_layout
42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
via surya_layout
43 21. cf. annotation_inline
parent ligne 42
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44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
via surya_layout
45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
via surya_layout
46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
via surya_layout
47 SR IV.283,284. main
via surya_layout

vol_II_p161 RIGHT — 46 lignes

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1 ٠ page_number
via heuristic_pagenum
2 <b>VIMARŚA</b> page_header
via surya_layout
3 305 page_number
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4 central part of present Madhya Pradesh. The special preference for Mālavā main
via surya_layout
5 requires further investigation. annotation_inline
parent ligne 4
via heuristic_height
6 29. The word gamaka is used here in the sense of vocal embellishments list_item
via surya_layout
7 including shakes; it is not restricted to shake. list_item
via surya_layout
8 30. See note 22. list_item
via surya_layout
9 31. Each grāmarāga is said to be born of one or more jātis. list_item
via surya_layout
10 32. Pūrvaranga has been described in NS IV and V; it embodies list_item
via surya_layout
11 instrumental rendering, song, dance, dialogue etc. presented as a preliminary list_item
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12 to drama. It has both ritualistic and psychological value as it ensures the list_item
via surya_layout
13 success of drama by propitiating the gods and prepares the audience for list_item
via surya_layout
14 being receptive to drama. list_item
via surya_layout
15 33. Kākalī and antara are always prescribed to be sparse, but here only list_item
via surya_layout
16 the sparseness of gandhara is prescribed, although both antara and kakali are list_item
via surya_layout
17 present. It could be construed that gandhara stands for the original list_item
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18 gāndhāra and not antara. See note 91. list_item
via surya_layout
19 • annotation_inline
parent ligne 18
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20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
via surya_layout
21 not easy to comprehend. It could only be surmised that the peculiar form list_item
via surya_layout
22 of a raga in some cases becomes manifest in ascent, in other cases in descent list_item
via surya_layout
23 and similarly a specific alankāra could be assigned to a rāga on account of list_item
via surya_layout
24 having a special role in establishing the same. list_item
via surya_layout
25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
via surya_layout
26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
via surya_layout
27 being its double and dakṣiṇa again being its double. Our text describes two list_item
via surya_layout
28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
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29 being half of dhruva. (See Vol.I. Anu.113) list_item
via surya_layout
30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
via surya_layout
31 that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in list_item
via surya_layout
32 tāla, sounded or unsounded and thirdly, the unsounded action. Here the list_item
via surya_layout
33 first meaning is relevant because the length of kalā depends on the mārga in list_item
via surya_layout
34 use at a given time. list_item
via surya_layout
35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
via surya_layout
36 This is the only caturasra (lit. square) tala, being composed of four kalas or list_item
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37 eight mātrās. list_item
via surya_layout
38 39. Garbha-sandhi is the third among the five sandhis or junctures in list_item
via surya_layout
39 drama described in NŚ XIX; the first two being mukha and pratimukha and list_item
via surya_layout
40 the last two being vimarsa and nirvahana. Garbha literally means 'womb', list_item
via surya_layout
41 the inside or interior of something. In drama garbha-sandhi stands for that list_item
via surya_layout
42 juncture where the 'sprouting' of the 'seed' has taken place, but the fruit list_item
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43 is still enshrouded in the 'garbha'. list_item
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44 40. Our text does not uphold the relationship of any raga to both the list_item
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45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
via surya_layout
46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
via surya_layout

vol_I_p068 RIGHT — 39 lignes

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1 119 page_number
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2 <b>TRANSLATION</b> page_header
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3 sarimapapamarisa rigapadhadhapagari gamadhaninidhamaga 143 mapanisasasanipama main
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4 sanipamamapanisa nidhamagagamadhani dhapagaririgapadha pamarisasarimapa, main
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5 (25) annotation_inline
parent ligne 4
via heuristic_height
6 udghattitah annotation_inline
parent ligne 4
via heuristic_height
7 sarigā rigamā gamapā mapadhā padhanī dhanisā 144 sanidhā nidhapā dhapamā main
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8 (26) annotation_inline
parent ligne 7
via heuristic_height
9 pamagā magarī garisā, āksiptakah main
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10 sagamā marisā rimapā pagarī gapadhā dhamagā madhanī nipamā panisā 145 main
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11 sadhapā dhanisā sadhapā panisā nipamā madhanī dhamagā gapadhā pagarī main
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12 (27) annotation_inline
parent ligne 11
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13 rimapā marisā sagamā garisā, sampradānam main
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14 sagama marisa rimapa pagari..... main
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15 VII [ Section on Pada - giti ] section_header
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16 O! most venerable muni! I have duly spoken of the alankaras. Now I shall main
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17 speak about giti1 which is associated with chandas2 and akṣara3 (syllable). main
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18 (170) annotation_inline
parent ligne 17
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19 The first one should be known as māgadhī, and the second one is main
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20 ardhamāgadhī, the third one is sambhāvitā and the fourth one is known as main
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21 (171) annotation_inline
parent ligne 20
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22 pṛthulā. annotation_inline
parent ligne 20
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23 The giti which is 'returned to'4 (repeated) thrice, that giti is known as main
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24 māgadhī. That (gītī) which is completed5 in half the time (of māgadhī) should be main
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25 (172) annotation_inline
parent ligne 24
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26 known as ardhamāgadhī (lit. half-māgadhī). main
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27 And sambhāvitā should be known to be composed of guru (lit. heavy, here main
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28 long) syllables. And the one called pṛthulā should be known to be composed of main
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29 (173) annotation_inline
parent ligne 28
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30 laghu (lit. light, here short) syllables. main
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31 (Anu. 104) annotation_inline
parent ligne 30
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32 In dakṣiṇa 6 mārga 7 (lit. path) (operates) the pṛthulā gīti, in vārtika 8 mārga main
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33 sambhāvitā (gīti) and in citra 10 mārga māgadhī gīti. There are eight mātrās in main
via surya_layout
34 dakṣiṇa mārga, four mātrās in vārtika mārga and two mātrās in citra mārga in the main
via surya_layout
35 order of the use of kalās.11 main
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36 In the citra mārga and ekakala tāla, māgadhī gīti should be known; in the main
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37 vārtika mārga (and) dvikala tāla sambhāvitā gīti should be known. (174) main
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38 ___ annotation_inline
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39 (vide) annotation_inline
parent ligne 37
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220 lignes a valider — change uniquement les roles incorrects.