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 21241). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p121 RIGHT — 32 lignes

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1 TRANSLATION page_header
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2 225 page_number
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3 The lineage of kṣatriyas is there and the rasa has been said to be raudra. main
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4 Where there are five analoganas <math>^{40}</math> and the sixth is a vāyugana, <math>^{41}</math> lo! that elä main
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5 is known to be <i>hamsāvatī</i>, by the experts in music. main
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6 (430) main
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7 [3. Nandāvatī] section_header
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8 Combined with small gamakas in mālavakaišika rāga, the nandāvatī elā is main
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9 sung in <i>pratitāla</i>. main
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10 (431) annotation_inline
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11 Indrāņī is the devatā (presiding deity), sāttvatī is the vṛtti<sup>42</sup> spoken of here, main
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12 gaudi is the <math>riti^{43}</math> spoken of (and) yellow is the colour accepted by the wise. main
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13 (432) annotation_inline
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14 Vīra is the rasa that is said to be, (this clā) is born of the lineage of vaisyas. main
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15 Everything (else) beginning with rāga should be done as in nādāvatī. main
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16 (433) annotation_inline
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17 Where there are five <math>ambara</math>-gaņas, <math>^{44}</math> combined with <math>m\bar{a}rta\eta daga\eta as^{45}< main
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18 should be known as nādāvatī elā by the experts in music. main
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19 (434) main
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20 [4. Bhadrāvatī] section_header
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21 Structured with padas one by one, brimming with mūrchanā 46 sounds, main
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22 combined with kańkāla tāla, it is sung in kakubha (rāga). main
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23 (435) annotation_inline
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24 Bhadrāvatī elā is born of the śūdra caste and should be known to be of black main
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25 colour, being bedecked with vaidarbhī rīti.47 main
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26 (436) annotation_inline
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27 Combined with bhāratī vṛtti 48 and embellished with bībhatsa rasa, it is said main
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28 to be endowed with vārāhī devatā,49 by those adept in music. main
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29 (437) annotation_inline
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30 Where there are five <math>bh\bar{u}mi</math>-gaņas<sup>50</sup> and similarly the sixth is <math>jalagaņa_i^{51}</math> main
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31 that is known by the best among munis to be famous as bhadrāvatī. main
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32 (438) main
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vol_I_p055 RIGHT — 36 lignes

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1 93 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 75) annotation_inline
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4 Where, having 'stayed' (stopped) for a long time at one svara in the form of main
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5 șadja and the like, having touched the octave36 (tara) of that like fire and main
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6 having stayed there for one (short) time-unit<sup>37</sup> (kalā), suddenly the 'low' (svara) main
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7 is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. main
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8 <b>(6)</b> annotation_inline
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9 (Anu. 76) annotation_inline
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10 Having touched (a svara) for the interval of one kalā (time-unit), on main
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11 account of the pronunciation of (svaras) in the reverse order of bindu, (the main
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12 alankāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends main
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13 <b>(7)</b> annotation_inline
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14 nivṛttapravṛtta. annotation_inline
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15 (Anu. 77) annotation_inline
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16 Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like main
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17 ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. main
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18 (8) annotation_inline
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19 (Anu 78) annotation_inline
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20 On account of the shake of (svara having) three srutis in the lower heptad, main
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21 kampita (is formed), that is composed of three kalās (time-units). As - main
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22 <b>(9)</b> annotation_inline
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23 sarigamapadhanisa,42 thus is (ends) kampita. main
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24 (Anu. 79) annotation_inline
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25 On account of the shake of (svara having) three śrutis 43 in the middle main
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26 heptad kuharita (is formed), that is composed of three kalās. As - main
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27 (10) annotation_inline
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28 sarigamapadhanisa.44 Thus is (ends) kuharita. main
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29 (Anu. 80) annotation_inline
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30 On account of the shake of (svara having) three śrutis in the higher main
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31 heptad, recita (is formed), that is composed of three kalās. As - main
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32 (11) annotation_inline
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33 sarigamapadhanisa 45 Thus is (ends) recita. main
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34 (Anu. 81) annotation_inline
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35 Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) main
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36 and 'coming' (descent) of (groups of) two or more svaras, in equal temporal main
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vol_II_p033 LEFT — 35 lignes

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1 BRHADDEŚĪ page_header
via surya_layout
2 48 page_number
via heuristic_pagenum
3 सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला<sup>१४२</sup>। वीररौद्राद्धता रसा:। प्रथमप्रेक्षणके नैष्क्रामिकी- main
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4 धूवागाने विनियोगः<sup>१४३</sup>। main
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5 (वं ? वा) main
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6 [३. धैवती] section_header
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7 [अनु॰ १५०] section_header
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8 <sup>१४४</sup>धैवत्या धैवतर्षभौ ग्रहावंशौ च ।शुद्धावस्थायां<sup>१४५</sup> धैवत एवापन्यास:, विकृतावस्थायां main
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9 धैव(न्या ? त्या) धैवतं महौ ग्रहौ अंशौ main
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10 धैवत्येव न्यासः annotation_inline
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11 च धैवतर्षभमध्यमा अपन्यासाः। धैवतो न्यासः। पञ्चमहीनं षाडवं<sup>१४६</sup>पञ्चमषड्जहीनमौडुवित्ं main
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12 तावेव षड्जपञ्चमस्वरौ<sup>१४७</sup>दुर्बलौ कर्तव्यौ क्वचिल्लङ्घनीयौ । पञ्चस्वरपरस्तार: । न्यासपरस्तत्परो main
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13 (व्य ? व्यौ) annotation_inline
parent ligne 12
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14 तु क main
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15 वा मन्द्र:१४८। main
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16 [अनु॰ १५१] section_header
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17 सप्तविधत्वमस्या: । सप्तांशका: - शुद्धो, विकृतपूर्णो [द्वौ द्वौ षाडवौडुवितौ च ।] editorial_bracket
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18 <i>विविध</i>॰ annotation_inline
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19 ्ण annotation_inline
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20 ऋषभादिमूर्छना। ताल: पञ्चपाणि:, एककलश्चित्रो मार्ग:, मागधी गीति:। द्विकलो <sup>१४९</sup>वार्तिक:. main
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21 (वा)र्तिक: annotation_inline
parent ligne 20
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22 सम्भाविता । चतुष्कलो दक्षिण:, पृथुला । कलाश्चित्रे द्वादश, वार्तिके चतुर्विशतिर्दक्षिणे- main
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23 कला (धतर ?) दक्षिणे . कला: द्वादश वार्तिके कला main
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24 ऽष्टचत्वारिंशच्च । रसा वीरबीभत्सभयानकाः । ध्रुवागाने प्रथमे प्रेक्षणके विनियोगः । main
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25 अष्टचत्वारिशद् । main
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26 [४. नैषादी] section_header
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27 [अनु॰ १५२] section_header
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28 निषादवत्या निषादर्षभगान्धारा ग्रहा अंशाश्च। अपन्यासाश्च निषादगान्धारर्षभा:। निषाद एव main
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29 (शा) annotation_inline
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30 न्हाः annotation_inline
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31 को annotation_inline
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32 न्यासः। पञ्चमहीनं षाडवं, पञ्चमषड्जहीनमौडुवितम्। पूर्णावस्थायां १५०षड्जमध्यमपञ्चमधैवता- main
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33 <i>ान्धारमध्यमपञ्चमा</i>- annotation_inline
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34 नामल्पत्वम् । १५१ [षाडवे षङ्जमध्यमधैवतानामल्पत्वम् ।] औडुविते मध्यमधैवतयोरल्पत्वम् । editorial_bracket
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35 नामः annotation_inline
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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
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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
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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
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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_p068 RIGHT — 35 lignes

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1 119 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
via surya_layout
3 [Anu. 202] editorial_bracket
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4 (Contention) Why has Kasyapa Muni described narta-rāga in the main
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5 beginning? It is being answered. In the opinion of Kasyapa its prominence main
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6 is due to its application in passionate performance of caris, mandalas and main
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7 situations of combat. In the opinion of Durgaśakti, on the other hand, main
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8 sadjakaisika alone is prominent. Why? On account of its falling under the main
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9 order of the state of sādava (rāga).76 That is thus - main
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10 [1. Narta-rāga] section_header
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11 Having pañcama as its amśa and madhyama as its concluding note, being main
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12 born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat main
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13 as sparse the svaras comprised of two śrutis each. main
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14 (333) annotation_inline
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15 [Anu. 203] editorial_bracket
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16 Its meaning is thus - narta-rāga is related to madhyamagrāma on account of main
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17 being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, main
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18 madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is main
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19 kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik main
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20 mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra. main
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21 Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. main
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22 [Anu. 204] editorial_bracket
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23 In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī main
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24 jātis. It should be known to be related to şadjagrāma itself. Why? On account main
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25 of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is main
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26 related to şadjagrāma. annotation_inline
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27 [2. Saka] section_header
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28 That is said to be śaka which has a weak pañcama, is combined with ṣaḍja main
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29 as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. main
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30 (334) annotation_inline
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31 [Anu. 205] editorial_bracket
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32 Its meaning is thus - śaka is related to şadjagrāma on account of being born main
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33 of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the main
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34 sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And main
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35 this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta main
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189 lignes a valider — change uniquement les roles incorrects.