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 21707). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p026 LEFT — 21 lignes

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1 34 page_number
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2 <b>BRHADDES!</b> page_header
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3 स annotation_inline
parent ligne 8
via heuristic_height
4 नि annotation_inline
parent ligne 8
via heuristic_height
5 रि annotation_inline
parent ligne 8
via heuristic_height
6 . <b>u</b> annotation_inline
parent ligne 8
via heuristic_height
7 ग annotation_inline
parent ligne 8
via heuristic_height
8 [ इति षड्जग्रामे संवादिमण्डलम् ] section_header
via surya_layout
9 [ अनु. २२ ] section_header
via surya_layout
10 संवादिप्रयोगो यथा— section_header
via surya_layout
11 यस्मिन् गीते योऽशत्वेन परिकल्पितः षड्जस्तस्य स्थाने main
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12 मध्यमः क्रियमाणो रागहा न भवेत् । यस्मिन् स्थाने मूर्छनावशात् main
via surya_layout
13 मध्यमः प्रयुक्तः तस्मिन् स्थाने क्रियमाणः षड्जो जातिरागहा न भवेत्। main
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14 ग्र annotation_inline
parent ligne 13
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15 षड्जपञ्चमयोः स्थाने पञ्चमषड्जौ प्रयुज्यमानौ जातिरागहानिकरौ न main
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16 भवतः । एवम् ऋषभधैवतयोः स्थाने धैवतर्षभी प्रयुज्यमानौ जातिराग- main
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17 विनाशकरौ न भवतः। एवं गान्धारनिषादयोः स्थाने निषादगान्धारौ main
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18 17[ प्रयुज्यमानौ जातिरागहानिं न कुरुतः । ] editorial_bracket
parent ligne 17
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19 18ककुभस्य धैवतांशत्वेन 19रेवगुप्तस्य ऋषभांशत्वेन main
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20 तदुभयरागजनन्याश्चार्षभीजातेऋिषभांशपरिग्रहात् परस्परसम्बद्धौ च प्रयुज्यमानौ main
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21 जातिरागविनाशकरौ न भवतः । main
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vol_I_p093 RIGHT — 44 lignes

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1 VIMARŚA main
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2 169 page_number
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3 6, 7. The author seems to be speaking of svara at the same level at which list_item
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4 sabda has been treated as eternal and vibhu (all-pervading) by several systems list_item
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5 of philosophy, e.g. grammar, mimāmsā. list_item
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6 8. The infinity of svara, as propounded here, could be understood in two list_item
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7 layers viz. (i) the infinite melodic combinations and permutations of the seven list_item
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8 svaras (ii) the multi-farious shades of intervals coming into usage on account of list_item
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9 various relationships between svaras established on account of variety of list_item
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10 melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of list_item
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11 melodic configuration and bhāṣā, the derived form of rāga have been list_item
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12 mentioned here for indicating the infinity of variety in melodic phrasing that list_item
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13 brings about the infinity of svara. Raga has been omitted here, but its relevance list_item
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14 could be inferred on the basis of its derivative bhāṣā. list_item
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15 9. The statement that svaras are combined with padas means that syllabic list_item
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16 units are combined with svaras when the latter are rendered. These (units) list_item
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17 could be meaningful linguistic units or non-sensical so far as linguistic meaning list_item
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18 is concerned. Pada has been thus defined by Bharata - list_item
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19 यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । main
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20 ( NŚ XXXII, 28 ab ) annotation_inline
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21 "Whatever is formulated with syllables, all that is called pada". main
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22 Thus meaningfulness is not a condition for pada in music. Tonal rendering main
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23 with the voice is usually combined with syllabic units, e.g. in the ālāpa in main
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24 dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the main
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25 following (and a few more) syllabic units known as padas spoken of by Brahmā main
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26 for nirgita (music devoid of meaningful text, rendered mainly on stringed and main
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27 wind instruments, accompanied by voice )- main
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28 झण्दु जगतिय दिगिनिगि तितिझल कुचझल main
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29 ( NŚ XXXI, 104 ) annotation_inline
parent ligne 28
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30 It will be seen that these are formulated units of four-matras (time-units) main
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31 each. If the voice renders svaras without padas (meaningful or non-sensical main
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32 syllabic units) then it is combined with vowels like a, i, u etc. which themselves main
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33 are primary units of pada. Hence the combination of svara with pada is spoken main
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34 of. main
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35 10. In Indian music svaras are not used in a plain or unornamented way; list_item
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36 hence alankāra is mentioned here. The concept of alankāra will be discussed in list_item
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37 the respective section. list_item
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38 11. The prescription of the use of specific svaras in the context of different list_item
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39 rasas dates back to NS. It will be discussed under the reproduction of this list_item
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40 prescription in our text later in this section. list_item
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41 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- list_item
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42 pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in list_item
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43 a limited time and space and not for all times or everywhere, it could not be list_item
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44 said to be indestructible or all-pervading. list_item
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vol_I_p038 LEFT — 30 lignes

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1 BRHADDESI page_header
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2 58 page_number
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3 अनु. ३९ main
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4 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः सम्पूर्णाः कथिताः। इदानीं main
via surya_layout
5 तासां नामानि कथ्यन्ते— main
via surya_layout
6 षड्जे चोत्तरमन्द्रा स्यान्निषादे रजनी स्मृता। main
via surya_layout
7 •वा annotation_inline
parent ligne 6
via heuristic_height
8 धैवते चोत्तरा ज्ञेया शुद्धषड्जा च पञ्चमे।। ९३।। main
via surya_layout
9 मध्यमे मत्सरी ज्ञेया गान्धारे चाश्वक्रान्तिका। main
via surya_layout
10 ऋषभेण च विज्ञेया सप्तमी चाभिरुद्रता॥९४॥ main
via surya_layout
11 षड्जग्रामाश्रितास्त्वेवं विज्ञेयाः सप्त मूर्छनाः। main
via surya_layout
12 अतः परं प्रवक्ष्यामि मध्यमग्राममूर्छनाः ॥९५॥ main
via surya_layout
13 मध्यमेन च सौवीरी गान्धारे हरिणायिका । main
via surya_layout
14 ह्या annotation_inline
parent ligne 13
via heuristic_height
15 स्यात् कलोपनता चैव ऋषभेणैव मूर्छना।।९६।। main
via surya_layout
16 शुद्धमध्या [ तु ] षड्जे स्यान्निषादे चैव मार्गिका। editorial_bracket
parent ligne 15
via heuristic_brackets
17 पौरवी धैवते ज्ञेया हृष्यका पञ्चमे तथा।।९७।। main
via surya_layout
18 इति तावन्मया प्रोक्ता मध्यमग्राममूर्छनाः। main
via surya_layout
19 इदानी सम्प्रवक्ष्यामि षाडवौडुवमूर्छनाः ॥९८॥ main
via surya_layout
20 षट्स्वरा षाडवा ज्ञेया औडुवा पञ्चिभः स्वरैः। main
via surya_layout
21 षाडवौडुवितानां च व्युत्पत्तिश्च निगद्यते।।९९।। main
via surya_layout
22 अनु. ४० annotation_inline
parent ligne 21
via heuristic_short
23 षट्स्वरा अवन्ति रक्षन्ति ये ते षाडवस्वराः। तेषां प्रयोगः षाडवः। main
via surya_layout
24 तारकादितच् प्रत्ययः। main
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25 [ अनु. ४१ ] editorial_bracket
parent ligne 24
via heuristic_brackets
26 उडवो नक्षत्राणि गच्छन्ति यस्मिन्नाकाशे तदाकाशमौडुवम्। तेन पञ्च main
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27 संख्या लक्ष्यते, पञ्चमं हि महाभूतं, तत्स्था संख्या च विद्यते main
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28 यस्य तदौडुवितम्। annotation_inline
parent ligne 27
via heuristic_short
29 षाडवं षट्स्वरं ज्ञेयं लक्षणं सप्तधा मतम्। main
via surya_layout
30 एकोनपञ्चाशत् संख्यं तज्ज्ञेयं गीतवेदिभिः॥१००॥ main
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vol_I_p036 LEFT — 29 lignes

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1 <b>BRHADDES!</b> page_header
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2 54 page_number
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3 आरोहणावरोहणक्रमेण स्वरसप्तकम्। main
via surya_layout
4 मूर्छनाशब्दवाच्यं हि विज्ञेयं तद् विचक्षणैः ॥ ९१ ॥ main
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5 अनु. ३६ section_header
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6 सा च मूर्छना द्विविधा-सप्तस्वरमूर्छना द्वादशस्वरमूर्छना चेति। तत्र main
via surya_layout
7 सप्तस्वरमूर्छना चतुर्विधा- पूर्णा, षाडवा, औडुविता, साधारणा चेति। main
via surya_layout
8 तत्र सप्तभिः स्वरैर्या गीयते सा पूर्णा। षड्भिः स्वरैर्या गीयते सा main
via surya_layout
9 षाडवा। पञ्चिभः स्वरैर्या गीयते सा औडुविता। काकल्यन्तरस्वरैर्या main
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10 13:56 annotation_inline
parent ligne 9
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11 गीयते सा साधारणा। main
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12 ,पी14 main
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13 [ अनु. ३७ ] section_header
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14 ii<br>L unknown
via fallback
15 इदानीं मूर्छनामण्डलमुच्यते। तत्र परिपाट्याहितत्वेन प्रवृत्तत्वात् main
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16 सप्तस्वराणां मूर्छनानां प्रतिग्राममेकोनपञ्चाशत् स्वराः कोष्ठाश्च भवन्ति। main
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17 तद्यथा— section_header
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18 एकोनाः खलु पञ्चाशत् कर्तव्याः स्वरसंयुताः। main
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19 ₀ण्डू ( ? ) annotation_inline
parent ligne 18
via heuristic_markers
20 तिर्यगृध्वं च रेखाभिरष्टभिश्चैव कोष्ठकाः ॥९२॥ main
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21 [ अनु. ३८ ] section_header
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22 तत्र स-नि-ध-प-म-ग-रीत्याद्याः सप्त षड्जग्रामे। main
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23 म-ग-रि-स-नि-ध-पाद्याः सप्त मध्यमग्रामे। main
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24 तिर्यगृर्ध्वगा अपि स्वरा:15 कार्या:1 तद्यथा— main
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25 नि-ध-प-म-ग-रि-सा इति षड्जग्रामे। main
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26 ग-रि-सं-नि-ध-प-मा16 इति 17मध्यमग्रामे॥ main
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27 एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः संपूर्णाः। main
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28 स-रि-ग-म-प-ध-नि annotation_inline
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29 नि-स-रि-ग-म-प-ध main
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vol_I_p043 RIGHT — 30 lignes

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1 69 page_number
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2 TRANSLATION page_header
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3 mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha- main
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4 śloka).37 How is that (the difference)? The group of svaras that is arranged in main
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5 the ascending and descending order is spoken of as murchana, whereas tana is main
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6 with the ascending order, this is the distinction.58 main
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7 [The Yajña-names of Tānas] section_header
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8 Now the yajña-names 59 of tanas are being spoken of— main
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9 Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and main
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10 (104) annotation_inline
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11 rājasūya is the seventh one. main
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12 Thus are the names of sadava tanas devoid of sadja. main
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13 Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as main
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14 (105) annotation_inline
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15 ртājāpatya. annotation_inline
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16 Thus end the names of şāḍava tānas devoid of ṛṣabha. main
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17 Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit main
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18 (106) annotation_inline
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19 (and) nāgayajāa. annotation_inline
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20 Thus end the names of şādava tānas devoid of pañcama. main
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21 Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi, main
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22 <math display="block">(107)</math> annotation_inline
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23 citra and the seventh one is udbhidyaga. main
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24 Thus end the names of şādava tānas devoid of niṣāda. main
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25 ١ page_number
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26 Thus end the names of twenty-eight şādava tānas in şadjagrāma. main
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27 Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement) editorial_bracket
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28 of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana editorial_bracket
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29 (108) main
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30 of kaunapas (demons) is the seventh one. main
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154 lignes a valider — change uniquement les roles incorrects.