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 21649). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p124 RIGHT — 29 lignes

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1 TRANSLATION page_header
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2 231 page_number
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3 [4. Mālatī] section_header
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4 The elā composed with long and short (syllables), 64 adorned with sweet main
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5 sounds, similarly straight, having profuse gamakas and alankāras (and) beautiful, main
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6 is mālatī. annotation_inline
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7 (452) main
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8 [5. Lalitā] section_header
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9 This <i>lalitā</i> (<i>elā</i>) should be sung by the <i>gandharvas</i> with graceful regulation main
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10 of syllables. (Its) two feet are like the first one, combined with gamakas and main
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11 hindu-mūrchanā.65 annotation_inline
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12 (453) main
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13 [6. Hemavatī] section_header
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14 (It) is with graceful pada, ends in biruda and similarly there is gamaka main
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15 placed on the yati. 66 This is the order of the (first) two feet, then there is the main
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16 name of the object of description. main
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17 (454) main
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18 [7. Kusumavatī?] section_header
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19 Where that (third foot) composed with textual units comprised of short main
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20 syllables, is sung again after having sung the name of the singer (composer) main
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21 'preceded' (accompanied) by the description of the play of valour and the like, main
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22 that has been said to be <i>varṇailā</i> by Matanga<sup>67</sup> according to the accepted order. main
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23 Where the respectability brought about by the description of glory, enthusiasm, main
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24 steadfastness and the like is seen in a definite order, that is said to be varyailā. It main
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25 is sung in tālas like maņļha, dvitīya, kankāla (and) įmatitāla. main
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26 <math>(455-457)</math> main
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27 This is one manner in which (varnaila) has been described clearly, now the main
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28 seven varnailās are being described in a way similar (samarasa) to the same. main
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29 (458) main
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vol_II_p035 LEFT — 31 lignes

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1 BŖHADDEŚĪ page_header
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2 52 page_number
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3 पञ्चमयोरत्पत्वम् । <sup>१५३</sup>गान्धारस्यांशत्वे[ऽ]प्राप्ते[ऽपि] बाहुत्यम् । षाडवे पञ्चमस्यात्पत्वम् editorial_bracket
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4 पद्जागान्धारपञ्चमयोरलपत्वम् , main
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5 औडुविते न कस्याप्यल्पत्वमशेषाणां बहुत्वम् । मध्यमो न्यासः । ऋषभधैवतावपन्यासौ । अंशानां main
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6 परस्परगमनम् । main
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7 [अनु॰ १५७] section_header
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8 १५४एकादशविधत्वमस्या:। एकादशांशका: -पूर्णाश्चत्वार:, षाडवास्त्रयो धैवतांशे तदपवादाद् main
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9 औडुविताश्चत्वार:।शुद्धस्तु नास्ति।गान्धार[ादि]मूर्छना।ताल:पञ्चपाणि:।एककलेन चित्रेण editorial_bracket
parent ligne 8
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10 मागधी, द्विकलेन वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । रसौ शृङ्गारहास्यौ । main
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11 ध्रवागाने द्वितीयप्रेक्षणके विनियोग:। main
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12 [७. पड्जमध्यमा] section_header
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13 [अनु॰ १५८] section_header
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14 षड्जमध्यमाया ग्रहा अंशाश्च सप्तैव स्वरा:। पञ्चस्वरपरस्तार:। न्यासपरस्तत्परो वा मन्द्र: main
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15 ॰हा: annotation_inline
parent ligne 14
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16 निषादहीना षाडवा । निषादगान्धारहीना औडुविता । ग्रामाविरोधेन यथेष्टं सञ्चार: । पूर्णावस्थायां main
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17 निषादगान्धारयोरल्पत्वम् । षड्जमध्यमौ न्यासौ । सप्तस्वरा अपन्यासा: । main
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18 <b>क्खरापन्या</b> (स: ? सा) annotation_inline
parent ligne 17
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19 [अनु॰ १५९] section_header
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20 सप्तदशांशका: – तत्र सप्त पूर्णा:, पञ्च षाडवा:, पञ्च औडवाश्चेति main
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21 <sup>१५५</sup>सप्तदशविधत्वमस्याः । main
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22 एतदंशकाश्रत्वार: पाडवा:। तथैव थैवतेंऽशे पाडवानाम् औदुविताश main
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23 <sup>१५६</sup>दशिंधत्वमस्या annotation_inline
parent ligne 22
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24 शुद्धत्वं नास्ति । मध्यमादिमूर्छना । ताल: पञ्चपाणि: । एककलेन चित्रेण मागधी, द्विकलेन main
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25 (F) annotation_inline
parent ligne 24
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26 वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । सर्वरसात्मिका, ध्रुवागाने द्वितीये प्रेक्षणके main
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27 विनियोग: । annotation_inline
parent ligne 26
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28 ॥ [इति] एता: षड्जग्रामसम्बन्धा: सप्त जातय: ॥ editorial_bracket
parent ligne 26
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29 [अनु॰ १६०] section_header
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30 इदानीं मध्य[म] ग्रामसम्बन्धा जातय उच्यन्ते - editorial_bracket
parent ligne 29
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31 --- annotation_inline
parent ligne 29
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vol_I_p096 RIGHT — 61 lignes

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1 VIMARŚA main
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2 175 page_number
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3 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, main
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4 instead of rasa (chyle) of our text. Monier Williams also enumerates seven main
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5 dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak main
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6 with rasa. main
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7 62. The seven minerals are not clear. list_item
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8 63. The number of cakras (psychophysical centres in the human body list_item
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9 visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight list_item
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10 or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere list_item
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11 ( in the confused reading in the section on Varṇālankāra towards the end of list_item
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12 Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, list_item
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13 anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last list_item
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14 one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it list_item
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15 is the location of the sahasrāra cakra. These seven names do form part of the list_item
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16 ten cakras spoken of in SR in the following locations - list_item
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17 Name of Cakra table
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18 Location table
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19 1. Ādhāra table
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20 In-between the anus and the genitals table
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21 2. Svādhişthāna table
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22 Root of the genitals table
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23 Around the navel table
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24 3. Manipūra table
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25 4. Anāhata table
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26 Heart table
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27 5. Visuddhi table
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28 Throat table
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29 6. Ājāā table
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30 In-between the two eye-brows table
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31 7. Sahasrāra table
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32 Cerebral aperture table
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33 It is notable that SR associates the production of musical notes with the main
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34 anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone main
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35 and not with all the seven listed above. The treatment of cakras in BrD could main
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36 not be assessed from this stray reference. It is only the number seven that main
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37 corresponds with the connection of seven cakras with the svaras that the author main
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38 is trying to establish here. In note 59 above, we have said that the connection of main
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39 dhaivata with the forehead is not clear. If the seven svaras are connected with main
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40 the seven sthanas listed above, one by one, then dhaivata being the sixth one main
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41 could be connected with the viśuddhi cakra located in-between the eye brows. main
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42 But the location of seven svaras in the seven cakras is not corroborated by any main
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43 other known text. annotation_inline
parent ligne 42
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44 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as main
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45 follows- main
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46 Name of Svara table
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47 Name of Duipa table
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48 Sadja table
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49 Jambū table
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50 Rsabha table
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51 Šāka table
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52 Gändhära table
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53 Kuśa table
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54 Madhyama table
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55 Krauñca table
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56 Sālmalī table
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57 Pañcama table
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58 Dhaivata table
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59 Sveta table
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60 Nisāda table
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61 Puşkara table
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vol_II_p109 RIGHT — 41 lignes

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1 [Chapter V] section_header
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2 [Desī rāgas] section_header
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3 [Propitiation] section_header
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4 I make obeisance to the Devīl who bears a red hue like that of the bandhūka main
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5 (flower), has three eyes, wears a crest of the kalā (part) of the one having rays main
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6 of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight main
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7 of breasts that are becoming plump and elevated, is conventionally associated main
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8 with the begininning of youth, is adorned with all ornaments, has abode in main
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9 the lotus, whose body bears association with the citron fruit, whose (two) main
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10 hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands main
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11 are held in the abhaya (granting of freedom from fear) and vara (granting main
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12 of boons) gestures and who is the yoni (origin, birth-place) of the universe. main
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13 (345) annotation_inline
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14 [Threefold desi ragās] section_header
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15 After this I shall speak of the group of desī rāgas, which embodies the main
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16 combination of practice (laksya) and theory (laksana) and is threefold4; viz. main
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17 rāgānga, bhāṣānga and kriyānga as the third one. main
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18 (346, 347) annotation_inline
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19 I shall speak of the description of each of them one after another. main
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20 (348) annotation_inline
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21 All rāgāngas are so called by the experts in music because they bear only main
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22 a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of. main
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23 (349) annotation_inline
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24 Bhāṣāṅgas are so called by the singers devoted to the rendering of main
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25 panegyrics because they are based on the reflection or shadow (châyā) of main
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26 bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās). main
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27 (350) annotation_inline
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28 Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of main
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29 rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. main
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30 (351) annotation_inline
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31 The set of regulations prescribed earlier for the mārga-rāgas, could main
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32 sometimes become otherwise in desī-rāgas, bhāṣās and the like. main
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33 (352) annotation_inline
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34 [Bhāṣāṅgarāgas<sup>10</sup>] editorial_bracket
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35 [1. Kacchelli] section_header
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36 Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, main
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37 has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid main
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38 of ga-dha (gāndhāra-dhaivata) and should be known to have profuse main
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39 movement of pa-ri (pañcama-ṛṣabha). main
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40 (353) annotation_inline
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41 (vide) annotation_inline
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vol_II_p078 RIGHT — 27 lignes

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1 TRANSLATION page_header
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2 139 page_number
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3 Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā main
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4 sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- main
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5 ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] editorial_bracket
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6 That which has sadja as its concluding note, madhyama as its amsa, is main
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7 always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are main
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8 profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. main
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9 (40) annotation_inline
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10 Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. main
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11 Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī main
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12 nīsasā. Travaņodbhavā [ii] editorial_bracket
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13 Verañjikā should be known to have gandhāra as its amśa and weak main
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14 pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the main
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15 mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus main
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16 should be known (this) bhāṣā; it is said to be hexatonic. main
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17 <math>(41-42)</math> main
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18 Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- main
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19 nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga main
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20 ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā main
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21 rīmamarisā- nidhānisāsā. Verañjika [iii] editorial_bracket
parent ligne 20
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22 Combined with sadja as the initial and concluding one (graha-nyāsa), main
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23 complete, brilliant 15 with madhyama, there being the mutual concert main
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24 (samvāda<sup>16</sup>) between sadja-madhyama and the (two) svaras comprised of two main
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25 śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the main
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26 knowledgeable ones in music as <i>mūlabhāṣā</i>. main
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27 (43) page_footer
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189 lignes a valider — change uniquement les roles incorrects.