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 21680). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p003 RIGHT — 69 lignes

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1 Park to the unknown
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2 <b>CONTENTS</b> section_header
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3 Introduction table
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4 ν table
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5 xvii table
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6 <b>Abbreviations</b> table
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7 Bṛhaddeśī of Srī Mataṅga Muni table
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8 (Text and Translation) table
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9 CHAPTER II table
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10 Jātis table
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11 3 page_number
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12 1. Their number, nomenclature and types table
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13 Number and nomenclature table
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14 3 page_number
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15 3 page_number
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16 The jātis of ṣaḍjagrāma table
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17 3 page_number
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18 The jātisof madhyamagrāma table
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19 5 page_number
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20 Sādhāraņakṛtā Jātis table
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21 5 page_number
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22 2. The śuddhā, vikṛtā and samsargajā vikṛtā jātis table
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23 9 page_number
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24 3. General definition of jāti table
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25 4. The tenfold lakṣaṇas or characteristics table
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26 The definition of graha table
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27 13 page_number
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28 The definition of amśa table
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29 2. table
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30 The definition of apanyāsa table
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31 13 page_number
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32 forming part of that of amsa table
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33 The definition of sammyāsa table
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34 forming part of that of amśa table
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35 13 page_number
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36 The definition of vinyāsa table
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37 15 page_number
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38 forming part of that of anisa table
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39 15 page_number
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40 The definition of tara table
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41 3. table
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42 17 page_number
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43 The definition of mandra table
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44 4. table
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45 17 page_number
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46 5. The definition of sāḍava table
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47 19 page_number
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48 The definition of audava table
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49 6. table
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50 21 page_number
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51 The definition of alpatva table
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52 7. table
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53 21 page_number
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54 The definition of bahutva table
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55 8. table
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56 21 page_number
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57 The definition of <i>nyāsa</i> table
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58 9. table
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59 23 page_number
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60 10. The definition of apanyāsa table
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61 5. Optional and alternative prescription of amśa table
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62 23 page_number
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63 and the like in jātis table
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64 31 page_number
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65 6. Indication of the gaņas or groups of the jātis table
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66 7. Prescription regarding the performance of jātis table
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67 33 page_number
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68 35 page_number
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69 8. The ṣāḍava and auḍava formation of jātis table
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1 TRANSLATION page_header
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2 179 page_number
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3 11. Now in <i>takkakaišika</i> section_header
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4 Mālavapañcamī should be known to be combined with dhaivata as the main
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5 initial and concluding note. There is concert between șadja-ṛṣabha and main
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6 similarly between sadja-dhaivata. This is complete with beautiful svaras main
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7 (and) is a charming regional<sup>65</sup> bhāsā. main
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8 (133) annotation_inline
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9 lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā main
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10 pāmāgarimādhāpādhā. Mālavā [i] editorial_bracket
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11 Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as main
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12 nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and main
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13 not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is main
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14 commonly known as sankīrņā (mixed) and is beautiful. main
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15 <math>(134-135)</math> main
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16 Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā main
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17 nimadhāpādhādhādhā.Bhinnavālikā [ii] editorial_bracket
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18 Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note, main
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19 there is (mutual) movement between the svaras comprised of two śrutis each main
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20 and similarly between şadja-dhaivata. This pertains to the Drāvida region, main
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21 is charming and bears a regional name. main
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22 (136) annotation_inline
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23 Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i> editorial_bracket
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24 pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii] editorial_bracket
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25 These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>. main
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26 12. Now in vesarașādava section_header
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27 Bāhyaşāḍavā should be known to be combined with madyama as the initial main
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28 and concluding note. There is concert between the two svaras comprised of main
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29 two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by main
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30 people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in main
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31 vesara-șâdava (rāga). main
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32 <math>(137-138)</math> main
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vol_II_p070 LEFT — 27 lignes

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1 BRHADDEŚĪ page_header
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2 122 page_number
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3 [अनु॰ २०८] editorial_bracket
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4 अस्यार्थः - रूपसाधारितः षड्जग्रामसम्बन्धः षड्जमध्यमानिषाद-[वती]-सकाशादुत्पन्नत्वात्। editorial_bracket
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5 षङ्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । पञ्चमर्षभयोरल्पत्वम् । निषादोऽत्र काकली। main
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6 पूर्णश्चायम्। annotation_inline
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7 (पञ्चमर्पभयोरल्पत्वम्) annotation_inline
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8 वीरकरुणेऽस्य प्रयोग: । वीरादिरस: । षङ्जादिमूर्छना । <sup>१०२</sup>आरोही वर्ण: । अलङ्कार: प्रसन्नमध्य: । दक्षिणे main
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9 कला, वार्तिक कला, चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः। main
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10 [६. गान्धारपञ्चम:] section_header
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11 गान्धारीरक्तगान्धार्योर्जातो गान्धारपञ्चम:। main
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12 गान्धारोऽस्य भवेदंशो न्यासो गान्धार एव च ॥३३८॥ main
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13 [अनु॰ २०९] section_header
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14 अस्यार्थ: – गान्धारपञ्चमो मध्यमग्रामसम्बन्धः, गान्धारीरक्तगान्धारीसमुत्पन्नत्वात् । यद्यपि main
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15 १॰३दुर्गशक्तिमते धैवतीसमुत्पत्रोऽसौ, तथापि पञ्चमस्य त्रिश्रुतिकत्वादुभयग्रामजातिजातोऽपि मध्य[म]- editorial_bracket
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16 सम्बन्ध एव । गान्धारोऽस्य ग्रहोंऽशो न्यासश्च, प्रयोक्त्रपेक्षया गान्धारो धैवतो भवेत् <sup>१०४</sup>। निषादोऽत्र काकली। main
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17 पूर्णश्चायम्। १०५अद्भुते विस्मये हास्ये चास्य विनियोगः। करुणो रसः। गान्धारादिमूर्छना सञ्चारी वर्णः । main
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18 र(स): annotation_inline
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19 अद्भुते( ऽस्य विनियोग:) main
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20 प्रसन्नमध्यमोऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चपुयदितालः। main
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21 [७. षड्जकैशिक:]<sup>१०६</sup> table
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22 .............. annotation_inline
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23 [८. पञ्चमषाडवः] editorial_bracket
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24 धैवत्यार्षभिकाजात्योर्जात: पञ्चमषाडव:। main
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25 (भी?भिका) annotation_inline
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26 ऋषभांशसमायुक्तो मध्यमो न्यास एव च ॥३३९॥ main
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27 <b>(</b>श) annotation_inline
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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
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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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1 15 page_number
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2 TRANSLATION page_header
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3 "Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis; main
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4 some (speak of them) as being differentiated into sixty-six. Others propound main
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5 their infinity itself." annotation_inline
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6 (Anu. 7) annotation_inline
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7 But then, what is the measure of śruti? It is being explained. Pañcama is main
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8 known as being seated in the two grāmas.19 The difference of that (pañcama) main
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9 through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through main
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10 mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or main
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11 extended) is the measure of śruti (lit. śruti is of that measure). main
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12 (Anu. 8) annotation_inline
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13 Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis main
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14 is thus (being given). Having made two viņās equal in measure,25 string,26 main
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15 upavādana 27 (the place where the strings are tied up at the lower end of the main
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16 viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should main
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17 be established in şadjagrāma.50 On one of these, having made the śruti main
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18 madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa main
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19 (lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32 main
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20 (belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes main
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21 lowered by (one) śruti, but there is no special gain,34 because of there being main
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22 only the perception of high and low. Again one should lower in the same main
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23 manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.) main
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24 on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification main
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25 (karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra- main
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26 niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha- main
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27 dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is main
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28 lowered in the same manner, will enter the pañcama-şadja on the other (viņā), main
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29 on account of their being 'more's8 (higher) (than the latter) by three śrutis main
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30 (each). Again also, on the (cala) viņā that is lowered in the same way, pañcama, main
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31 madhyama and şadja enter madhyama, gandhara and nişada respectively on the main
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32 other on account of their being 'more'39 (higher) (than the latter) by four main
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33 śrulis. annotation_inline
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222 lignes a valider — change uniquement les roles incorrects.