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 21709). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p016 LEFT — 37 lignes

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1 14 page_number
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2 BRHADDESÏ page_header
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3 सोऽभिधीयते । अंशस्य विवादी ३९यो न भवति [स] प्रथमविदार्यन्ते४० editorial_bracket
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4 यदि main
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5 प्रयुक्तो annotation_inline
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6 <b>॰यन्तिर्यादि</b> annotation_inline
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7 प्रवृत्तो annotation_inline
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8 यथा annotation_inline
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9 भवति, तदासौ संन्यास इत्यर्थ: । main
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10 ¥<sup>१</sup>तदा annotation_inline
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11 <sup>४२</sup> इत्युच्यते main
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12 यदा annotation_inline
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13 [अंशलक्षणान्तर्गतं विन्यासलक्षणम्] section_header
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14 [अनु॰१२३] editorial_bracket
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15 एष एव तु संन्यासस्वरः पदान्ते विन्यस्तो तदा विन्यासः । main
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16 <sup>४३</sup>०स्वरो यदा annotation_inline
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17 अतएव तदुक्तं भवति - main
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18 र्४४<br>एवांशस्य संवाद्यनुवादी वा पदिवदार्यन्ते भवतीत्युक्तम् । main
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19 भ्भ' रागश्च यस्मिन् वसति यस्माच्चैव प्रवर्तते । main
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20 अंशस्य संवादी या भवति annotation_inline
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21 नेता च तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥ main
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22 ग्रहापन्यासविन्याससंन्यासन्यासगोचर:। main
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23 अनुवृत्तश्च यश्चेह सोंऽश: स्याद् दशलक्षण:॥'४६ main
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24 स्या(दं?द्द)शलक्ष(णं?ण:) main
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25 [तुल॰ ना॰ शा॰ २८.६८,६९] editorial_bracket
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26 [३. तारलक्षणम्] section_header
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27 [अनु॰ १२४] editorial_bracket
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28 इदानीं तारलक्षणमुच्यते - main
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29 <sup>४७</sup>अंशस्वरप्रयोगादारभ्य main
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30 पञ्चस्वरपरा तारगति:। main
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31 किमुक्तं भवति ? main
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32 पञ्चमस्वरारोहणं तार इति, चतुःस्वरारोहणं तार इति [वा]। नन्दयन्त्यां यथासासानिधसा editorial_bracket
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33 <b>ल्सारो</b>॰ annotation_inline
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34 <b>ल्यमारो</b>॰ annotation_inline
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35 रिग annotation_inline
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36 इति, पञ्चमांशत्वात् षड्जस्तार: । आपञ्चमादिति योजना [गान्धार्या] अष्टम्या विदार्या editorial_bracket
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37 °ध्या page_footer
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vol_II_p123 LEFT — 31 lignes

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1 BRHADDEŚĨ page_header
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2 228 page_number
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3 [२. कामलेखा] section_header
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4 द्विगुणितरुद्रा प्रथमे, मात्रा युजि सम्भवन्ति ता एव । main
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5 विंशतिश्चासमे चरणे, यस्या: सा कामलेखेति ३६॥४४५॥ main
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6 विंशति विषमे annotation_inline
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7 (?)चरमे annotation_inline
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8 [३. बाणलेखा] section_header
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9 द्विगुणितकला यदि स्युर्मात्रा: पादत्रयेऽप्यविशिष्टा: । main
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10 (電?) annotation_inline
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11 ऽपि+(विशिष्टम्) annotation_inline
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12 [ता]बाणगणोपेता यस्यां सा बाणलेखेति ३७॥ ४४६॥ editorial_bracket
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13 न्त annotation_inline
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14 [४. चन्द्रलेखा] section_header
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15 चत्वारिशत् त्र्यधिका मात्रासंख्याऽङ्घ्रियुग्मेषु main
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16 एकोना सा विषमे यस्यां सा चन्द्रलेखेति ३८॥ ४४७॥ main
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17 ॥ इति मात्रैलाचतुष्टयम् ॥ editorial_bracket
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18 [ग. वर्णेलाप्रकारा:] section_header
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19 नैवात्र तालनियमो रसनियमो रागनियमस्तु । main
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20 भवति[खल्]वर्णनियमो वर्णेला कथ्यते तस्मात् ॥४४८॥ editorial_bracket
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21 ++ annotation_inline
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22 मदनवती शशिलेखा प्रभावती मालती तथा[ललिता] । editorial_bracket
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23 (च)तथा annotation_inline
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24 हेमवती ३९कुसुमवती वर्णनिबन्धा भवन्ति सप्तैला:॥४४९॥ main
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25 एकादशादिवर्णै: सप्तदशान्तै: क्रमेण सप्तैता: । main
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26 गीयन्ते गन्धर्वैर्लिलतपदैर्जगित सन्नादै: ॥ ४५०॥ main
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27 [१. मदनवती २. शशिलेखा ३. प्रभावती] editorial_bracket
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28 ४० अलघुगणोपेता [सा] मदनवती लघुगणेन शशिलेखा । editorial_bracket
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29 अलिलतनामोपेता annotation_inline
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30 गुरुगणबहुला [नित्यं]प्रभावती <sup>४१</sup>मालती तथा ललिता ॥ ४५१॥ editorial_bracket
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31 ....भवति रम्यतरा annotation_inline
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vol_I_p028 RIGHT — 28 lignes

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1 39 page_number
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2 TRANSLATION page_header
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3 (Anu.25) annotation_inline
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4 Now, upon anuvāditva being applicable to gāndhāra and niṣāda on account main
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5 of their being less45 by one śruti, vivāditva has been spoken of on account of the main
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6 interval of two (srutis) (pertaining to them). What is that vivāditva indeed? main
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7 Vivaditva is indeed the state of being the destroyer of the state of vadin, main
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8 samvādin and anuvādin of the rāga (concerned) attained by the svaras main
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9 (qualified as) vādin and the like. The vivādi-maņļala is thus - main
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10 şa annotation_inline
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11 ni annotation_inline
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12 ga annotation_inline
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13 dha annotation_inline
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14 ma annotation_inline
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15 pa annotation_inline
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16 Thus ends the vivādi-maṇḍala [ in ṣadjagrāma ]. editorial_bracket
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17 (Anu. 26) annotation_inline
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18 The use of the vivadins 44 is thus - gandhara being used in the place of main
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19 ṛṣabha and ṛṣabha being used in the place of gāndhāra brings about the loss of main
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20 jāti and rāga. Niṣāda being used in the place of dhaivata and dhaivata being main
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21 used in the place of niṣāda brings about the loss of jāti and rāga. main
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22 Thus it is for şadjagrāma. annotation_inline
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23 (Anu. 27) annotation_inline
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24 Now the state of being vādin, samvādin, anuvādin and vivādin is being shown main
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25 in madhyamagrāma. Out of them, vādins are the seven svaras beginning with main
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26 madhyama. Those ending at ninth and thirteenth (śrutis) are samvādins. main
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27 Anuvadins are so on account of being less by one sruti. The svaras having an main
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28 interval of two (śrutis) are vivādins. main
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vol_I_p023 RIGHT — 27 lignes

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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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vol_I_p102 RIGHT — 49 lignes

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1 VIMARŚA annotation_inline
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2 187 page_number
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3 75. If ekakala is related to phrasing then sarigā and each of the other units list_item
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4 will be taken to be forming one phrase each; if it is taken to be related to the list_item
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5 duration of kalā, then the duration of each phrase will have to be taken as two list_item
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6 mātrās; there also each kalā of time will be related to each phrase. list_item
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7 76,77. Identical with note 52 above. list_item
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8 78. All the four sa belong to the tāra-sthāna. list_item
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9 79. See note 47 above. list_item
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10 80. Samyuktam is used as an adverb, its implication is not very clear, most list_item
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11 probably it has been used because the units of phrases here are not equal, they list_item
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12 are 3+2+2=7. There is no other alankāra like this in BrD. list_item
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13 81. Here the traditional rule of having a shake only on svaras with three list_item
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14 <i>śrutis</i> seems to have been abandoned. list_item
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15 82. Kalā obviously means phrase-unit here. list_item
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16 83. Ekakula could not, perhaps, be understood as the first degree of kalā list_item
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17 being of the measure of 2 mātrās. It perhaps indicates that each svara will be of list_item
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18 the duration of one mātrā; that would make each phrase of the duration of list_item
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19 seven mātrās which would not fit into the ancient tāla system and could, list_item
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20 perhaps, be taken as the first indication of the advent of desi talas. list_item
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21 84. It is notable that BrD has not classified alankāras into varņas. list_item
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22 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) list_item
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23 but they have not been described. list_item
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24 It is notable that NS has the name dipta for tara and prasanna for mandra. main
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25 While BrD profusely uses prasanna for mandra, it does not even once use dipta main
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26 for <i>tāra</i>. main
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27 86. The seven gitakas are described in NS XXXI. They are - madraka, list_item
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28 aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, list_item
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29 āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are list_item
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30 outside the above seven, but are very important on account of special tala list_item
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31 patterns and association with dance. All these forms are prescribed in list_item
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32 pūrvaranga (preliminaries of drama). Since no dramatic situation is required list_item
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33 to be highlighted in Pūrvaranga, the music there could be autonomous and list_item
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34 hence the units of text of songs could be stretched by the melody through list_item
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35 alankāras, the comprehension of the meaning of the text of songs being not list_item
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36 important there. list_item
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37 87. In dhruvās (songs prescribed for highlighting different situations in list_item
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38 drama), as distinct from gîtaka, the comprehension of meaning of text by the list_item
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39 listener is very important and hence stretching of the syllables of the text is not list_item
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40 desirable. list_item
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41 88. The implication of this statement is not clear, because alankaras of the list_item
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42 sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ list_item
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43 XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in list_item
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44 dhruvās ); there is no restriction prescribed for them. list_item
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45 89. Brightening means movement towards high svaras. list_item
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46 90. Reverse order would mean proceeding from high to low. list_item
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47 (vide) annotation_inline
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48 e le par Alle annotation_inline
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49 and the second annotation_inline
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172 lignes a valider — change uniquement les roles incorrects.