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 21537). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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
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
via surya_layout
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
parent ligne 21
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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
via surya_layout
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
parent ligne 50
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vol_I_p039 RIGHT — 35 lignes

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1 61 page_number
via heuristic_pagenum
2 <b>TRANSLATION</b> page_header
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3 Audūvita is with five svaras; its lakṣaṇa (description) is fivefold, it is main
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4 numbered thirty-five,33 as explained by the ācāryas (teachers). main
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5 (101) annotation_inline
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6 (Anu. 42) annotation_inline
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7 With (the omission of) șadja, rșabha, pañcama and nișāda the șādava main
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8 (mūrchanās) of ṣadja-grāma (come into being). Those devoid of ṣadja, ṛṣabha and main
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9 gandhara are şadavas in madhyama-grama. main
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10 (Anu. 43) annotation_inline
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11 The state of auduvita (comes into being) on account of the omission of main
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12 (two) samvadins,34 because of this statement the general rule is that the state of main
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13 auduvita is attained through two samvadin svaras. Sometimes the state of main
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14 auduvita comes into being with (the omission of) two55 anuvādin svaras, this is main
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15 also a general rule. Sometimes the state of anuvadin does come into existence main
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16 with (the omission) of pañcama-ṛṣabha in ṣadja-grāma (and) that of dhaivata- main
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17 rşabha in madhyama-grāma. main
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18 The auduvitas in şadja-grāma are devoid of pañcama-şadja, two (svaras) that main
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19 are comprised of two śrutis (each) (viz. gandhāra and niṣāda) and pañcama- main
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20 (102) annotation_inline
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21 rşabha. main
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22 The pentatonic tānas in madhyama-grāma are verily devoid of dhaivata-ṛṣabha main
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23 and two (svaras) comprised of two śrutis (each) (viz. niṣāda and gāndhāra). main
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24 (103) annotation_inline
parent ligne 23
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25 (Anu. 44) main
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26 Now he (the author) demonstrates this very (description) with prastara.36 main
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27 That is thus in sadja-grāma— main
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28 X ri ga ma pa dha ni main
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29 ni X ri ga ma pa dha main
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30 dha ni X ri ga ma pa main
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31 pa dha ni X ri ga ma main
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32 ma pa dha ni X ri ga main
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33 ga ma pa dha ni X ri main
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34 ri ga ma pa dha ni X main
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35 (Tānas) devoid of şadja. main
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vol_II_p026 LEFT — 30 lignes

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1 BRHADDEŠĪ page_header
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2 34 page_number
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3 पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:। editorial_bracket
parent ligne 4
via heuristic_brackets
4 आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥ main
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5 र्गद annotation_inline
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6 <b>ल्कं</b> वा॰ annotation_inline
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via heuristic_markers
7 स्वराणामङ्गहारैर्यत एवासारितक्रमै:। main
via surya_layout
8 वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥ main
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9 [८. जातीनां षाडवौडुवविधि:] section_header
via surya_layout
10 ८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् । main
via surya_layout
11 प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥ main
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12 (॰वो?वौ) annotation_inline
parent ligne 11
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13 ॰पोद्यते annotation_inline
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14 [अनु॰ १३४] editorial_bracket
parent ligne 11
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15 त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां] editorial_bracket
parent ligne 11
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16 परिकल्प्य annotation_inline
parent ligne 11
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17 षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति - main
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18 न्छते annotation_inline
parent ligne 17
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19 अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा । main
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20 गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥ main
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21 (तं?त:) annotation_inline
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22 [अनु॰ १३५] editorial_bracket
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23 अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ main
via surya_layout
24 गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो main
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25 (संचा?संवा) annotation_inline
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26 ...याः annotation_inline
parent ligne 24
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27 लोपाभावात्। section_header
via surya_layout
28 कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे । main
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29 तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥ main
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30 ॰ता तदा॰ annotation_inline
parent ligne 29
via heuristic_markers

vol_II_p017 RIGHT — 22 lignes

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1 14 page_number
via heuristic_pagenum
2 17 page_number
via heuristic_pagenum
3 <b>TRANSLATION</b> page_header
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4 The extent(gati)<sup>25</sup> of tāra should be known up to the fourth, fifth or main
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5 seventh svara from the amśa, it is not desirable beyond that." main
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6 (NŚ XXVIII.70) annotation_inline
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7 [4. The definition of mandra] section_header
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8 [Anu. 125] editorial_bracket
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9 Now mandra is being said - mṛdu<sup>26</sup> (lit. soft, here low) svara is mandra. And main
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10 the extent (gati) of mandra is threefold, viz. amśaparā (followed by amśa), main
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11 nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The main
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12 compound<sup>27</sup> bahuvrihi operates here (and the meaning is that which is main
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13 followed by amśa svara i.e. that which precedes the amśa). The svara that main
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14 comes before that (amśa), is mandra. As in dhaivatī<sup>28</sup> - dha - dha - ni - dha - main
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15 ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa<sup>29</sup> svara is (operative) here. main
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16 Similar is the case with nyāsa 30 svara. main
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17 [5. The definition of sadava] section_header
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18 [Anu. 126] editorial_bracket
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19 Now şādava is being said - (a structure of) six svaras is şādava. Since it is main
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20 related to (or operates in) fourteenfold jatis, four jatis are always complete main
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21 and hence, on account of their absence, it (sādava)31 has forty-seven main
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22 varieties and similarly has said Bharata - main
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vol_II_p029 LEFT — 36 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŠĪ page_header
via surya_layout
2 40 page_number
via heuristic_pagenum
3 ‘‘षट्स्वरा सप्तमे त्वंशे नेष्यते षड्जमध्यमा । main
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4 ९७-र्य annotation_inline
parent ligne 3
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5 ९९हांशे main
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6 ९८०राः १०००मांशा त unknown
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7 संवाद्यलोपाद् गान्धारे १०१तद्वदेव हि नेष्यते ॥ main
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8 <sup>९०२</sup>संवादिलोपाद् गान्धारस्तत्रैव न भविष्यति main
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9 गान्धारी-रक्तगान्धारी-कैशिकीनां च पञ्चमम्। main
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10 १०३त व्मः annotation_inline
parent ligne 9
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11 षड्जायाश्चेव गान्धारमंशकं विद्ध्यषाडवम् ॥ main
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12 १०४वां चैव unknown
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13 <sup>१०५</sup>विद्धि षाडवम् main
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14 षाडवं धैवते नास्ति षड्जोदीच्य[ां]शके द्विजा:। editorial_bracket
parent ligne 13
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15 <sup>१०६</sup>षाडवे धैवतो १०७पड्जोदीच्यवियोगता main
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16 <sup>१०८</sup>दीच्यामधांशके main
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17 <sup>१०९</sup>[संवाद्यलोपात् सप्तैता: षाट्स्वर्येण विवर्जिता: ॥] editorial_bracket
parent ligne 16
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18 गान्धारी-रक्तगान्धार्यो: षड्जमध्यमपञ्चमा:। main
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19 व्यौ<sup>११०</sup> annotation_inline
parent ligne 18
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20 सप्तमश्चैव विज्ञेया १११ यैस्त्वनौडुवितं भवेत् ॥ main
via surya_layout
21 <sup>११२</sup>सनिपादाश्च विज्ञेया येषु नौडुविते इमे unknown
via fallback
22 <sup>११३</sup>येषु नौडुवितं भवेत् main
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23 द्वौ षड्जमध्यमांशा तु गान्धार: सनिषादवान् । main
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24 न्त्रोपुरेश्४ न्तोऽधरेर५ main
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25 ऋषभश्चेव पञ्चम्यां कैशिक्यां धैवतस्तथा ॥ main
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26 चैव धैवत: annotation_inline
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27 <sup>११६</sup>॰क्याक्षैव annotation_inline
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28 एवं च द्वादशैवैते वर्ज्या:११९ पञ्चस्वरे सदा । main
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29 तु११७ व्वेह११८ (र्गा:? ज्यां:) न्या:१२० main
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30 [तास्त्वनौडुविता नित्यं कर्तव्या हि स्वराश्रया: ॥] १२१ editorial_bracket
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31 सर्वस्वराणां नाशोऽत्र विहितः सर्वजातिषु । main
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32 <sup>१२२</sup>नाशस्तु विहितस्त्वथ जातिषु main
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33 <sup>१२३</sup>विहितो विनाशस्त्वथ जातिषु main
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34 न मध्यमस्य लोपो हि कर्तव्यस्तु कदाचन ॥ main
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35 १२४नाशस्तु कर्तव्यो हि main
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36 <sup>१२५</sup>मध्यमस्य विनाशस्तु कर्तव्यो न main
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174 lignes a valider — change uniquement les roles incorrects.