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 21437). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p026 RIGHT — 24 lignes

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1 35 page_number
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2 TRANSLATION page_header
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3 sa annotation_inline
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4 n annotation_inline
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5 ni annotation_inline
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6 ga annotation_inline
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7 dha annotation_inline
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8 ma annotation_inline
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9 pa annotation_inline
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10 Thus ends the Samvādi-mandala. caption
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11 (Anu. 22) annotation_inline
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12 The use of samvadin is thus- main
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13 The sadja that is accepted as amsa (fundamental note) in a gita (melodic main
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14 structure), in the place of that (if) madhyama (is used) it does not destroy the main
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15 rāga (melodic matrix). The location on which madhyama is used in accordance main
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16 with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy main
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17 the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, main
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18 they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the main
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19 place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly main
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20 niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a main
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21 loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with main
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22 ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha main
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23 as amía, these two (dhaivata and rṣabha) when used as being mutually related, main
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24 do not become the destroyers of jāti or rāga. main
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vol_I_p034 RIGHT — 35 lignes

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1 51 page_number
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2 <b>TRANSLATION</b> page_header
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3 V (the Section on Grāma-mūrchanā) section_header
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4 [The treatment of grama] section_header
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5 (Anu. 30) annotation_inline
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6 Then, what is spoken of by the word grāma? How many grāmas are there? main
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7 From where is grāma born? And what is its objective? main
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8 (84) annotation_inline
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9 It is being answered. annotation_inline
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10 The two grāmas stand for a group! composed of svara, śruti and the like. main
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11 (85) annotation_inline
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12 Just as all members of families live together, (similarly) grāma? is known as main
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13 (86) annotation_inline
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14 that by all the people where there is an abiding settlement. main
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15 Two grāmas named şadja and madhyama are definitely well-known. Nārada main
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16 speaks of gandhara (grama)3, but that is not 'sung' (used) by the mortals. main
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17 (87) annotation_inline
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18 ٠ page_number
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19 Şvaras are born of Sāmaveda, grāma is born of svaras, and these (grāmas) are main
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20 known to be two5 characterised by (the names) şadja and madhyama. main
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21 (88) annotation_inline
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22 (Anu. 31) annotation_inline
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23 The objective is thus - the systematisation<sup>6</sup> of svara, śruti, mūrchanā, tāna, jāti main
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24 (and) rāga is indeed the objective. main
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25 (Anu. 32) annotation_inline
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26 But why are the gramas named after the svaras sadja and madhyama? It is main
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27 being answered. Because of (their) uncommonness the grāmas are named after main
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28 them. And the uncommonness is on account of their being born of devakula? main
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29 (the community of gods). main
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30 The same has been said by Nārada - main
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31 "Ṣadja, gāndhāra" and madhyama are born of devakula. Brahmā, Viṣṇu and main
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32 Maheśvara should be known as their presiding deities." main
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33 Out of the two grāmas which one is known to be prominent? From the main
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34 statement by the muni (Bharata?), the prominence of şadja-(grāma)9 is known. main
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35 (89) annotation_inline
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vol_II_p152 LEFT — 43 lignes

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1 286 page_number
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2 BRHADDEŚĪ page_header
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3 2. Gāthā main
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4 आर्यालक्षणसंयुक्ता गाथा प्राकृतभाषया । main
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5 गीयते पूर्ववद् रम्या छन्दोलक्षणवेदिभि:॥ main
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6 Mānaso IV.16.256. annotation_inline
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7 आर्येव प्राकृते गेया स्यात् पञ्चचरणाश्रया । main
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8 त्रिपदी षट्पदी गाथेत्यपरे सूरयो जगुः॥ main
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9 SR IV.232. annotation_inline
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10 3. Dvipathaka main
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11 गातव्या (व्य:) स्वरसंयुक्तस्तालेन परिवर्जिता: (त:) । main
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12 प्रबन्धो द्विपथाभिज्ञो गीतविद्याविशारदै: ॥ main
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13 Mānaso IV.16.261. annotation_inline
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14 छन्दसा द्विपथेन स्याद् द्विपथ: स्वरमुक्तिक: । main
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15 तालहीन: सतालो वा स च ज्ञेयश्रतुर्विध:॥ main
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16 स्वरैरेकोऽन्य: प्रयोगै: सोभयानुभयौ परौ । main
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17 प्राकृते दोहसंज्ञोऽसौ तस्य भेदा नव त्विमे ॥ main
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18 SR IV.232-34. annotation_inline
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19 8. Reconstruction based on - main
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20 कयापि भाषया क्लृप्ता ...... main
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21 भाषया तु यया कया..... main
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22 Mānaso IV.16.316, 318. main
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23 9. Reconstruction based on S Rāj I.3.3.32 b. list_item
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24 येन केनापि तालेन रागेणाभिमतेन च। list_item
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25 10. cf. (i) list_item
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26 गीयते स्वरसंयुक्ता गीतज्ञैध चतुष्पदी ॥ list_item
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27 Mānaso IV.16.285. main
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28 समे पोडश मात्रा: स्यु: पादे पञ्चदशायुजि । main
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29 (ii) annotation_inline
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30 यस्यां भित्रार्थयमकावधौ सा तु चतुष्पदी ॥ main
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31 स्वरतेनकसंयुक्ता तेनकन्याससंयुता ॥ main
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32 SR IV.271,272. main
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33 11. This line seems to pertain to the description of <i>dodhaka</i>, which is list_item
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34 incomplete due to a break in the text. list_item
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35 12. The description of totaka is missing due to a break in the text. The list_item
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36 following extracts from other texts are relevant for filling the gap- list_item
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37 येन केनापि तालेन रागेणाभीप्सितेन च। list_item
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38 (i) list_item
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39 गातव्यस्ता (स्तो)टको नाम प्रबन्धो गीतवेदिभि:॥ list_item
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40 Mānaso IV.16.267, main
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41 तोटकच्छन्दसा न्यस्तस्वरोऽङ्ग्रयन्ते तु तोटक:। main
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42 (ii) annotation_inline
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43 SR IV. 244. main
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vol_II_p125 RIGHT — 30 lignes

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1 233 page_number
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2 TRANSLATION page_header
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3 [D. Once again the group of seven Varņailās] section_header
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4 Ramaņī, candrikā, lakṣmī, padminī, similarly rañjinī, mālatī and mohinī - main
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5 thus is the group of seven varņailās. main
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6 (459) main
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7 [1. <i>Ramaņi</i>] section_header
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8 Where there is samā yati<sup>68</sup> in the first and second foot and that which is main
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9 adorned with nāda in each foot, that satpadī 69 is ramaņī. main
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10 (460) main
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11 [2. Candrikā] section_header
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12 Where srotogată<sup>70</sup> and samā yati obtain in two feet and (that which) is main
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13 combined with bindu-gamakas, that is called candrini. main
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14 (461) main
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15 [3. Lakşmi] section_header
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16 Where gopucchā, 71 sumā and srotogatā (yatis) obtain in the three feet (respectively) main
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17 (and) there is mūrchanā <sup>72</sup> accompanied by nāda, that clā is known as laksmī. main
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18 (462) main
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19 [4. <i>Padminī</i> ] section_header
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20 (That) elä which is comprised of varņadhvani<sup>73</sup> in the first, second and main
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21 third and fourth foot, is said to be padminī. main
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22 (463) main
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23 [5. Rañjini] section_header
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24 (Where) there is samā (yati) in the first and second (feet) and gopucchā main
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25 (yati) in the third (foot) and that which is adorned with gamakas is rañjinī. main
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26 (464) main
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27 [6. Mālatī] section_header
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28 That elā which is composed with short and long syllables and with alliterations, main
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29 having four feet at will, i.e. of variable length, is held to be malati. main
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30 (465) main
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vol_I_p056 LEFT — 41 lignes

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1 BRHADDEŚI page_header
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2 94 page_number
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3 ग्रंसरि रिस रिंग गरि गम मंग मंप पम पंध धंप धनि निध निस सनि [ इति ] editorial_bracket
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4 [ १२ ] editorial_bracket
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5 प्रेङ्खोलितः। main
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6 [ अनु。 ८२ ] editorial_bracket
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7 अंशाच्चतुर्थं पञ्चमं वा स्वरं गत्वा यत्र मन्द्रे पुनरागम्यते [ स ] तारमन्द्रप्रसन्नः। editorial_bracket
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8 रिगमपधरि गमपधनिग मपधनिसम। अथवा मन्द्रस्वरात् तारं main
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9 यथा—18सरिगमपस annotation_inline
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10 [ १३ ] editorial_bracket
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11 गत्वा पुनः सहसा मन्द्रवशादागम्यते स तारमन्द्रप्रसन्नः। main
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12 (व) .द्वा. annotation_inline
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13 [ अनु₀ ८३ ] editorial_bracket
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14 मन्द्रात् सहसा तारं प्राप्य मन्द्रत्वेन क्रमेणावरोहान्मन्द्रतारप्रसन्नः । [ यथा - ] editorial_bracket
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15 ₹ः annotation_inline
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16 ⋴रः annotation_inline
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17 19सपमगरिस रिधपमगरि गनिधपमग मसनिधपम। अथवा—मन्द्रस्वरात् main
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18 तारस्वरमुच्चार्य क्रमेणावरुह्य च मन्द्र एवागम्यते [ स ] मन्द्रतारप्रसन्नः। editorial_bracket
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19 १४। annotation_inline
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20 यथा - ससनिध पमगरिस [ इति ] मन्द्रतारप्रसन्नः। editorial_bracket
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21 [ अनु॰ ८४ ] editorial_bracket
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22 द्विरूपश्च प्रस्तारः स्थायिन्यारोहिणि च। तत्र स्थायिन्येकस्वरः स्वस्मात् main
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23 स्य (?) annotation_inline
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24 ्यी त्या, इणी main
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25 विक annotation_inline
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26 क्रमशस्तारमन्द्रा [-रोहा-] वरोहणेन [ आरोहिणि च ] मन्द्रतारारोहणेन[ ावरोहणेन ] editorial_bracket
parent ligne 24
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27 स्वरेण [ ? ] प्रस्तारः । [ यथा ] सरिरिस सरिगगरिस [ सरिगममगरिस ] editorial_bracket
parent ligne 24
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28 सरिगमपपमगरिस सरिगमपधधपमगरिस सरिगमपधिनिनिधपमगरिस main
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29 सरिगमपधनिससनिधपमगरिस 20अथवा 21सरिरिस रिगगरि गममग मपपम पधधप main
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30 १५ page_number
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31 धनिनिध निससनि [ इति ] प्रस्तारः। editorial_bracket
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32 [ अनु₀ ८५ ] editorial_bracket
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33 प्रस्तार-विपरीतः प्रसादः यथा- main
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34 प्रस्वस्तारः पविपरितः ( ? ) annotation_inline
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35 सनिनिस सनिधधनिस सनि [ ध ] पपधनिस सनिधपममपधिनस editorial_bracket
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36 सा annotation_inline
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37 सा annotation_inline
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38 सा annotation_inline
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39 सनिधपमगगमपधनिस सनिधपमगरिरिगमपधनिस सनिधपमगरिससरिगमपधनिस। main
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40 सा annotation_inline
parent ligne 39
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41 सा page_footer
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173 lignes a valider — change uniquement les roles incorrects.