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 21598). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p113 LEFT — 42 lignes

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1 BRHADDEŚĪ page_header
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2 208 page_number
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3 प्रबन्धोऽयं स्वरार्थ: स्याद् ज्ञेयोऽसौ गीतवेदिभि: । main
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4 चत्वारिंशत्तमं प्रोक्तं करणं पञ्चभिर्युतम् ॥३७८॥ main
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5 चत्वारिंशद्युत: षड्भिश्चासौ वर्णस्वर: स्मृत:। main
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6 °ता: annotation_inline
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7 चत्वारिंशत्सप्तयुता ज्ञेया मुक्तावलीति या ॥ ३७९॥ main
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8 प्रतापवर्धनश्चाष्ट्रचत्वारिशः प्रकीर्तितः । main
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9 (त?न) annotation_inline
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10 ॰शत् annotation_inline
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11 अष्टौ च मुनिना ख्याताश्चत्वारिंशत् सुसंयुता[:] ॥ ३८०॥ editorial_bracket
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12 पञ्चधा मुनिना main
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13 न्ता चत्वाः annotation_inline
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14 एतेषां लक्षणं विच्य समासाद् विदुषां कृते । main
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15 चच्छि annotation_inline
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16 विदुषात्तमम् main
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17 यथोक्तं चात्र नियमै[:] [पदतालादिसंयुतै:] ॥ editorial_bracket
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18 रागैर्यथावदुक्तैस्तु गातव्या गीतकोविदै: ॥ ३८१॥ main
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19 [प्रबन्धानां लक्षणानि] section_header
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20 [१.कन्द:] section_header
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21 तालशून्यस्तु य: पाटैर्बिरुदेश्च समन्वित:। main
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22 ॰ता: annotation_inline
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23 स कन्द इति कर्णाटभाषादिपदिमश्रित: ॥३८२॥ main
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24 कन्दादिप्रबन्धा लक्ष्यत: प्रसिद्धा एव । main
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25 क(दा?न्दा) main
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26 [२. वृत्त:] section_header
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27 आर्यायां द्विपथे वृत्तो गाथायां दोघके तथा। main
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28 वृते गाधाया जेधके तथा(?) main
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29 ्याः annotation_inline
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30 तोटके[ ऽथ] च तालस्य नियमो नास्ति कदाचन ॥ editorial_bracket
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31 •केन main
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32 मुख्यता तेषु निर्दिष्टा मुनिभिश्छन्दस: स्फुटम्<sup>४</sup>॥ ३८३॥ main
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33 ॰सा annotation_inline
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34 अन्ते च स्वरविन्यास: [स्वरहीनं स्मृतं परै:] । editorial_bracket
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35 अन्त: स्वर + विन्यास: + + + + + main
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36 [वृत्ते छन्दिस यच्चान्ये] वङ्क्ति तदिप सम्मतम् ॥३८४॥ editorial_bracket
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37 . . . . . . . . . annotation_inline
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38 न्तः annotation_inline
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39 NAME OF TAXABLE PARTY. annotation_inline
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40 محفظ ماملا دي ماسي الراكات المار annotation_inline
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41 4 . . . . . . . . . annotation_inline
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42 (vide) annotation_inline
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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
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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
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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_p100 LEFT — 29 lignes

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1 4 page_number
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2 BARRION POR annotation_inline
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3 182 page_number
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4 BŖHADDEŚI page_header
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5 [१५. अथ पञ्चमपाडवे] section_header
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6 ऋषभांशा मध्यमान्ता शकभाषा प्रकीर्तिता । main
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7 मध्यमांशा annotation_inline
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8 सुसम्पूर्णस्वरा होषा बहुगान्धारपञ्चमा ॥ १४२॥ main
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9 धैवतर्षभबाहुल्यं दृश्यते च मुहुर्मुहु:। main
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10 शकरागे तु सम्भूता [?] भाषा पञ्चमषाडवे<sup>१३४</sup>॥ १४३॥ editorial_bracket
parent ligne 9
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11 ॰प्पृ annotation_inline
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12 उदाहरणम् - रिरिसानिनि । पानिरिरिरि [००० म] [शकभाषा] editorial_bracket
parent ligne 9
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13 [॥ इति पञ्चमषाडवे ॥] section_header
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14 इत्येताः प्रकटा लोके भाषा बहुमताः स्मृताः। main
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15 यथा यथा प्रयुञ्जीत तथा सा तु विवर्तिता ॥ १४४॥ main
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16 तस्य annotation_inline
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17 तथा सर्वप्रयत्नेन गातव्या लक्षणान्विता । main
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18 गीयते annotation_inline
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19 श्रोतव्या गायकैर्नित्यं परिहासार्थ-कौशले ॥ १४५॥ main
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20 <b>॰कौशिलि</b> annotation_inline
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21 यत्किञ्चिदाहवे[दृष्टं] समस्तं दर्शयेच्च सा । editorial_bracket
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22 ॰दाह्यये + + annotation_inline
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23 नाशयेत्•तत् main
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24 सर्वत्र ग्रामरागेषु भाषाणामुपलभ्यते ॥ १४६॥ main
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25 सर्वन्त्रामरागेषु annotation_inline
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26 [इति] सर्वागमसंहितायां याष्टिकप्रमुखभाषालक्षणाध्याय: चतुर्थ:॥ editorial_bracket
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27 ॰भाषा(ध्या॰) annotation_inline
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28 [ख. शार्दूलमते भाषालक्षणम्] र section_header
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29 अतः परं प्रवक्ष्यामि शार्दूलमते भाषालक्षणम् - main
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vol_II_p155 RIGHT — 36 lignes

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1 <b>VIMARŠA</b> section_header
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2 (Annotations) main
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3 Chapter II section_header
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4 (Jātis) section_header
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5 1. The number 140 pertains to the modified varieties of jātis comprising main
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6 the complete, hexatonic and pentatonic formations of jātis in accordance main
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7 with each of the amsa svaras assigned to each of the eighteen jātis. This main
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8 number is computed as follows - main
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9 The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 main
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10 complete varieties of jātis. Out of these 63, there are 16 amsas that do not main
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11 permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> main
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12 that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> main
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13 <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; main
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14 the treatment is incomplete because of a break in the text. main
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15 Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by main
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16 adding the śuddhā states of the seven jātis bearing svara-names. main
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17 2. Brahmā has been said here to be the original author of the number main
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18 of jātis in NS, from where we have taken the verse under reference. In NS, main
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19 Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have main
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20 added only dance to theatre. As between Brahmā and Šiva, the former is said main
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21 to be responsible for all the elaboration based on vāk. The origin of all the main
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22 Vedas is also attributed to him. Siva has special relationship with the main
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23 movements of the body (anga). Jāti being the first formation of melodic main
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24 structure, its association with Brahmā is understandable because melody is main
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25 a manifestation of the tonal aspect of vāk. main
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26 Abhi Bhā explains the reference to Brahmā in the text of NS, main
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27 (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by main
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28 knowledgeable and trustworthy authorities cannot be wrong. The fact that main
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29 no less than Brahmā is the authority regarding the jātis lends a special main
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30 sanctity to this melodic abstraction that is striking on account of its main
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31 comprehensive sweep. main
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32 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains list_item
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33 it as "I shall throw light on the forms of jātis retained in my mind through the list_item
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34 description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide list_item
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35 Abhi Bhā on NS XXVIII. 39, p.36). list_item
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36 4. The alteration in respect of amsa i.e using an amsa other than that list_item
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1 29 page_number
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2 TRANSLATION page_header
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3 expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja main
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4 and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras main
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5 become their agre-sara 68 (movers in front). main
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6 (52) annotation_inline
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7 Thus I have spoken of the śrutis that are seated in grāma.69 main
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8 Here ends the section on srutis. annotation_inline
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9 IV [The Section on Svaras] section_header
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10 [The laksana of svaras] section_header
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11 Now I shall speak of the ascertainment of svaras. In this context, initially, the main
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12 (53) annotation_inline
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13 etymology of the word 'svara' is being spoken about. main
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14 From the root raje, meaning brilliance, to which is prefixed the word sva main
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15 (the word 'svara' is derived); because (the meaning is) that which shines by main
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16 (54) annotation_inline
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17 itself, hence it is known as svara. main
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18 [ Anu. 15 ] editorial_bracket
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19 But what is meant by svara? It is being answered - the dhvani (sound) which main
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20 is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said main
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21 Kohala. annotation_inline
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22 "By the will of the atman, the vayu (that is) moving upward from the base of main
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23 the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the main
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24 space, is known as svara, the delightful<sup>5</sup> sound." main
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25 (Anu. 16) annotation_inline
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26 But svara in this way is one or many, pervasive or non-pervasive or is it main
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27 eternal or non-eternal? annotation_inline
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185 lignes a valider — change uniquement les roles incorrects.