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 21676). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p034 LEFT — 30 lignes

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1 BRHADDEŚÏ page_header
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2 50 page_number
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3 पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र: । main
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4 <b>(</b>Y) annotation_inline
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5 [अनु॰ १५३] editorial_bracket
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6 गान्धारादिमूर्छना । तालश्चच्चत्पुट: । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] editorial_bracket
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7 चतुष्यष्टिः annotation_inline
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8 चित्रेऽष्टौ । दशविधत्वं चास्या: । दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय editorial_bracket
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9 शुद्धास्त्रयो annotation_inline
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10 औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: । editorial_bracket
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11 [५. षड्जकैशिकी] section_header
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12 [अनु॰ १५४] editorial_bracket
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13 षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तार: । editorial_bracket
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14 न्हाः annotation_inline
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15 न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् । main
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16 - ऋषभस्याल्पतरत्वम्, annotation_inline
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17 थैवतनिषादग्रहा । मध्यमानामल्पत्वम् annotation_inline
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18 शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च । main
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19 (ना ? न्या)सस्तु गा(मागा ? न्या)रः । main
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20 ्याः अष्टधैव annotation_inline
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21 [अनु॰ १५५] editorial_bracket
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22 नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः, main
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23 अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः main
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24 द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुण: । प्रथमप्रवेशगीते main
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25 द्वितीयप्रेक्षणके विनियोग:। main
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26 [६. षड्जोदीच्यवा] section_header
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27 [अनु॰ १५६] editorial_bracket
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28 षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो main
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29 ्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् । main
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30 <sup>१५२</sup>पूर्णावस्थायामृषभ- 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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1 227 page_number
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2 TRANSLATION page_header
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3 [General Prescription] section_header
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4 The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind main
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5 should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās. main
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6 (439) annotation_inline
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7 Then one should properly put in the name of the one being described. It main
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8 (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) main
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9 comes after this. annotation_inline
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10 (440) main
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11 Thus ends the fourfold ganaila. main
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12 [5. Saṅkarailā] section_header
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13 If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā main
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14 spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is main
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15 said to be named sankara. main
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16 (441) annotation_inline
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17 [Thus ends gaņailā.] editorial_bracket
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18 [B. The varieties of Mātrailā] section_header
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19 Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties main
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20 of) mātrailā spoken of by Vallabha.54 main
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21 (442) main
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22 [1. Raulekhā] section_header
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23 Where there are rudra 55 numbered (eleven) mātrās in (each of the first) main
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24 two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa main
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25 named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure) main
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26 (and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name main
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27 ratilekhā by the experts in the science of music (gītaśāstra). main
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28 <math>(443-444)</math> main
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vol_II_p071 LEFT — 32 lignes

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L#Texte OCRRole autoCorriger si incorrect
1 BRHADDEŚĨ page_header
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2 124 page_number
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3 [अनु॰ २१०] section_header
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4 अस्यार्थ: - पञ्चमषाडव: १०७षड्जग्रामसम्बन्ध: । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो main
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5 ॰( ঘ:) annotation_inline
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6 न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ editorial_bracket
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7 ॰(जी?दी) annotation_inline
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8 (स्र?कृ)॰ annotation_inline
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9 विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, main
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10 चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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11 [९.रेवगुप्त:]<sup>१०९</sup> section_header
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12 ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा । main
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13 (₹) annotation_inline
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14 आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित: ॥३४०॥ main
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15 [अन्॰ २११] section_header
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16 अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि main
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17 षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव main
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18 च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ विनियोग: । main
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19 वीरादिरस:। annotation_inline
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20 ॰(जी?दी) annotation_inline
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21 ऋषभादिमूर्छना । आरोही वर्ण: प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला । main
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22 चच्चत्पुटादिताल:। ११० main
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23 [१०. टक्सैन्धवः] section_header
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24 स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:। main
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25 षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥ main
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26 [अनु २१२] section_header
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27 [अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य editorial_bracket
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28 ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् । main
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29 ग्रहोंऽशो न्यासश्च । main
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30 ॰(रेष ? चै) annotation_inline
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31 (चित्रे ? चात्र) annotation_inline
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32 210 page_number
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1 VIMARŚA page_header
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2 295 page_number
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3 becoming an adjective of vidhi and the total meaning being 'general rule'. main
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4 Utsarga and apavāda is another pair that is commonly used in Pūrva main
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5 Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga' main
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6 has been used in isolation, the compound utsarga-vidhi being implicit. main
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7 'Vidhi' meaning rule or injunction has been used with the adjective samvādī main
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8 -anuvādī in a compound, meaning the rule pertaining to the samvādin and main
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9 anuvādin svaras. annotation_inline
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10 14. This phrase or piece of notation does not occur in SR in the list_item
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11 prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī. list_item
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12 15. 'Svasthāna' is known to stand for a section of 'ālapti' or list_item
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13 improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here list_item
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14 in jāti which is a prototype of rāga. It is not improbable that our text is using list_item
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15 this word in a different meaning, which could, perhaps, be graha. list_item
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16 16. The purport is that amsa is the regulator of graha, apanyasa, list_item
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17 vinyāsa, samnyāsa and nyāsa on account of being the point of reference both list_item
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18 in intervallic and melodic organisation. list_item
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19 17,18. Gīta is melodic rendering and pada is a unit of text or melody list_item
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20 or text-cum-melody, as the case may be, i.e., gīta could stand for melodic list_item
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21 rendering with or without text and 'pada' could stand for self-contained list_item
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22 units of text (meaningful or otherwise) or of melody or of text-cum-melody. list_item
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23 Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the list_item
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24 pause between one vidārī and another. list_item
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25 19. 'Pāda', literally meaning foot is used both in the context of list_item
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26 textual metre and musical composition. list_item
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27 20. 'Peśī', literally meaning muscle suggests the conception of the list_item
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28 'body' of a musical structure on the model of the human body. SR IV. 12a list_item
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29 speaks of the dhātus (lit. humours) of prabandha that are so called because list_item
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30 of upholding the 'body' of prabandha and again in 13b speaks of the list_item
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31 'prabandha-puruşa' that has six angas or limbs. The word peśī has also been list_item
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32 used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going list_item
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33 much earlier than our text. list_item
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34 21. NS. XXVIII.68, 69 has reading variants in all the editions; the list_item
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35 citation in our text has proximity to c.r. in Kalā. It is notable that the name list_item
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36 of Bharata does not occur in the introduction to the citation. list_item
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37 22. The octave of the amsa is implied here; that is the beginning of list_item
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38 tāra (high). list_item
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39 23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī list_item
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40 in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās' list_item
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41 indicating their tara position. list_item
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166 lignes a valider — change uniquement les roles incorrects.