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 21247). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p044 RIGHT — 27 lignes

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1 71 page_number
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2 TRANSLATION page_header
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3 Thus end names of the tanas devoid of şadja in madhyamagrama. main
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4 Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also main
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5 (109) annotation_inline
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6 abhyudaya. annotation_inline
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7 Thus end the names of tanas devoid of rşabha. main
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8 Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt main
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9 (110) annotation_inline
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10 and then godohana. main
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11 Thus end the names of tanas devoid of gandhara. main
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12 Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. main
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13 Thus end the names of forty-nine (sadava) tanas seated in the two gramas. main
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14 Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka main
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15 (111) annotation_inline
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16 are the audava (tānas) in şadjagrāma. main
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17 Thus end the names of tanas devoid of şadja and pancama. main
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18 J annotation_inline
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19 Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and main
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20 (112) annotation_inline
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21 saubharaka is known. main
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22 Thus end the names of tanas devoid of gandhara and nisada. main
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23 Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and main
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24 (113) annotation_inline
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25 then), uccățana and vasikțt. main
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26 Thus end the name of tanas that are devoid of pancama and mabha. main
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27 Thus end the twenty-one names of audavita tānas in sadjagrāma. main
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vol_I_p052 RIGHT — 41 lignes

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1 87 page_number
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2 <b>TRANSLATION</b> page_header
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3 When in the gita (melodic rendering) the svaras move (to and fro) in main
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4 mutual7 (directions) along with the last one8 (of the preceding phrase forming main
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5 the beginning of the succeeding phrase), or two by two, that is known as the main
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6 (119) annotation_inline
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7 sañcārin9 (circulatory) varņa. annotation_inline
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8 (Anu. 65) section_header
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9 Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in main
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10 various (phrases) like this, on account of mutual movement (the sañcārin varņa main
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11 is formed). annotation_inline
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12 (Anu. 66) section_header
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13 Where the svaras of the gita ascend one by one or with intervening gaps, main
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14 that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, main
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15 dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri main
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16 mama dhani nini pāri mama dhani pādhani riripā — thus on account of main
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17 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin main
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18 (ascending) varņa (comes into being). main
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19 Where the svaras descend in one order alone, that is called avarohin with main
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20 (120) annotation_inline
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21 'equal' (gapless) svaras (or) with gaps. annotation_inline
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22 pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama main
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23 nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on main
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24 account of 'mutual' (gapless) descent or with a gap of one or two svaras. main
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25 Hence it has been said - annotation_inline
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26 "These varnas ought to be known for the sake of the structuring" of main
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27 alankāras and the like, as being born of svaras produced by the human body 12 main
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28 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) main
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29 (Anu. 67) section_header
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30 How is varna brought about? It is being answered. When the svaras stretch main
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31 the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their) main
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32 steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of main
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33 melodic movement) is effected. annotation_inline
parent ligne 32
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34 Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. main
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35 Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha main
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36 padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī main
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37 — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā main
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38 pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in main
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39 nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā main
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40 pā pā pā pā pā pā, dhā nī mā pā gā gā gā. main
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41 These varņas obtain also in the wooden20 (viņā), just as they are main
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vol_I_p084 RIGHT — 51 lignes

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1 1 page_number
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2 Ė annotation_inline
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3 151 page_number
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4 VIMARŚA page_header
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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
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
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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_p019 LEFT — 35 lignes

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1 化二溴磺基基 医动物 annotation_inline
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2 20 page_number
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3 BRHADDEŚĪ page_header
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4 [७. अल्पत्व-लक्षणम्] section_header
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5 [अनु॰ १२८] editorial_bracket
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6 इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् main
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7 (ते?त्वे) annotation_inline
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8 बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । main
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9 <sup>५५</sup>अन्तरमार्गस्य main
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10 संन्यासादिगतो भवेत् annotation_inline
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11 ৽হা৽ annotation_inline
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12 लक्षणं यथा जातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्यां गान्धारस्य सर्वस्वरसंगत्या main
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13 अनंशो annotation_inline
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14 विनास्प: annotation_inline
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15 बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- main
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16 ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति main
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17 [ना॰ शा॰ २८.१३६] editorial_bracket
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18 [८. बहुत्वलक्षणम्] section_header
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19 [अनु॰ १२९] editorial_bracket
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20 <sup>५६</sup>अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेष:। कथमित्याह editorial_bracket
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21 बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- main
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22 न्ते annotation_inline
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23 ५७ जातिस्वरैस्तु नित्यं [स्याज्] जात्यल्पत्वं द्विधा च तत्॥ editorial_bracket
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24 (स्यात्) annotation_inline
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25 जात्यस्प(स्व?त्वं)द्वि(विधं?धा) annotation_inline
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26 सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। main
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27 संचा(रस्य/रोंऽश) annotation_inline
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28 न्यासश्चान्तरमार्गस्तु जातीनां व्यक्तिकारक:॥'' main
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29 द्विविधान्तर • annotation_inline
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30 • कार(कम्?कः) main
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31 [तुल॰ ना॰ शा॰ २८.७४ गघ, ७५] editorial_bracket
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32 [९. न्यासलक्षणम्] section_header
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33 [अनु॰१३०] editorial_bracket
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34 इदानीं न्यासमाह - न्यस्यतें त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास main
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35 ॰ स: स annotation_inline
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vol_II_p032 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 46 page_number
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3 यदा षाडवा गीयते तदा ऋषभस्याल्पत्वं कार्यम्, शेषाणां स्वराणां बहुत्वम् । main
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4 (था ? दा) annotation_inline
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5 [अनु॰ १४७] editorial_bracket
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6 अस्याश्च दशांशका: । तद्यथा - शुद्ध:, विकृताश्च पञ्च पूर्णाश्चत्वार: main
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7 <sup>१३५</sup>षाडवा:, main
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8 <sup>१३६</sup>गान्धारेंऽशे षाडवापवादात् । येनांशा: स्फुटयन्ते तेन लिखिता: । main
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9 षड्जांशेन शुद्धत्वं <sup>१३७</sup>षड्जश्चापन्यास:।सम्पूर्णावस्थायामष्टविधलक्षणम्।षाडवावस्थायां main
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10 नवविधत्वम् । शुद्धां परित्यज्य चतुर्विधा षाड्जी विकृता बोद्धव्या । main
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11 न(य ? व) annotation_inline
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12 अस्याश्च धैवतादिमूर्छना । पञ्चपाणिरेककलिश्चत्रे मार्गे मागधी गीति:। पञ्चपाणिर्द्विकलो main
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13 ॰श्चित्रे मार्गे annotation_inline
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14 र्वहकल: annotation_inline
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15 वार्तिकमार्गे सम्भाविता गीतिश्चतुष्कलः पञ्चपाणिर्दक्षिणे मार्गे पृथुला गीतिः । अनेन क्रमेण main
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16 र्णाः •द• annotation_inline
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17 सर्वासां जातीनां बोद्धव्यम्। वीररौद्राद्धतरसा: कार्या:। प्रथमे <sup>१३८</sup>प्रेक्षणके ध्रुवागाने विनियोग। main
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18 [२. आर्षभी] section_header
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19 [अनु॰ १४८] section_header
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20 १३९[आर्षभ्याम्]ऋषभधैवतनिषादा ग्रहा: स्वयमेवांशा:, त एवापन्यासा: पञ्चस्वरपरस्तारो१४० editorial_bracket
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21 ष्र: annotation_inline
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22 निषाद:[?] । ऋषभो न्यास: । न्यासपरस्तत्परो वा मन्द्र: । १४१षड्जधैवतयोर्ऋषभगान्धारयोश्च editorial_bracket
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23 ॰पञ्चम: ऋषभ॰ annotation_inline
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24 सङ्गति: । षड्जहीनं षाडवम्, षड्जपञ्चमहीनम् औडुवितम् । पूर्णावस्थायां main
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25 षङ्जगान्धारपञ्चमानामल्पत्वम् , औडुविते गान्धारमध्यमयोरल्पत्वम् , शेषाणां च बहुत्वम्। main
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26 [अनु॰१४९] section_header
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27 दशविधत्वं चास्याः। दशांशाः शुद्धः, विकृताः पूर्णास्त्रयः, त्रयः षाडवाः, त्रय main
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28 Πannotation_inline
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29 औडुवाश्चेति। पञ्चमादिमूर्छना, चच्चत्पुटस्ताल:। एककलेन चित्रेण मागधी,द्विकलेन वार्तिकेन main
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183 lignes a valider — change uniquement les roles incorrects.