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 21726). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p043 RIGHT — 51 lignes

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1 TRANSLATION page_header
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2 69 page_number
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3 rī rī gā sama mā mā pā pā table
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4 (8) table
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5 mā pā mā pariga gā gā gā gā table
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6 (9) table
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7 dhā nī pā mā dhā nī sā sā table
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8 (10) table
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9 nī nī nī nī ņī nī nī nī table
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10 (11) table
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11 mā mā dhā nī nī dhā pā pā table
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12 (12) table
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13 mā pā mā pariga gā gā gā gā table
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14 (13) table
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15 nī nī pā dhani gā gā gā gā table
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16 (14) table
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17 sā rī gā sā nī nī nī nī table
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18 (15) table
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19 nī nī dhā dhā pā pā pā pā table
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20 (16) table
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21 Thus ends Kārmāravī. section_header
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22 [7.Gāndhārapañcami] section_header
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23 Pañcama is the amsa in gandharapañcami. The wise should produce main
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24 concert (among svaras) here also as in gāndhārī and pancamī. main
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25 (19) annotation_inline
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26 Caccatpuța ( is the tāla), there are sixteen kalās here. The mūrchanā main
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27 beginning with gandhara obtains. Application is (prescribed) in the singing main
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28 of dhruvās pertaining to the fourth act. main
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29 (20) annotation_inline
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30 Gāndhārais the nyāsain this (jāti). Ŗṣabhaand pañcamaare apanyāsas. The main
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31 prastāra is thus - main
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32 mā mā pama dhanī dhapa mā dhā nī table
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33 (1) table
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34 sani dhā pā pā pā pā pā table
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35 (2) table
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36 dhā nī sā sā mā mā pā pā table
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37 (3) table
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38 ការី ការី ការី ការី ការី ការី ការី ការី table
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39 (4) table
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40 nī nī dhapa mā nidha nidha pā pā table
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41 (5) table
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42 pā pā rī rī rī rī pā pā table
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43 (6) table
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44 mā riga sā sadha nī nī nī nī table
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45 (7) table
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46 nī rī sā risa rī rī rī rī table
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47 (8) table
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48 ni gā sā niga sā nī nī nī table
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49 (9) table
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50 nī mā nī mā pā pā gā gā table
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51 (10) table
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vol_I_p097 RIGHT — 43 lignes

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1 177 page_number
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2 VIMARŚA annotation_inline
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3 85. Assigning a seer to each svara is, again, an extension of the Vedic main
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4 tradition. annotation_inline
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5 86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd- list_item
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6 105 ab. list_item
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7 87. The location of svaras in the human body as described here is quite list_item
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8 different from the seven sthanas discussed above in note No. 63. list_item
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9 88. 'Desi' here stands for the manifest realm of sound. list_item
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10 Section V ( Grāma-mūrchanā ) section_header
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11 1. Grāma is not just any group of svaras, it is a specific grouping which is the main
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12 basis of the perception of śruti and is also a fundamental categorisation of main
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13 melodies with the consonance of fifth between sa-pa and with the consonance main
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14 of fourth between ri-pa. annotation_inline
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15 2. The analogy of a village inherent in the word grāma is being made main
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16 explicit. BrD is the only text that has explained this point. main
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17 3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7) main
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18 do mention it; Dattilam clearly states that it is not to be found here in this world. main
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19 ( See glossary ) annotation_inline
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20 4. The statement that svaras are born of Sāmaveda should be viewed list_item
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21 alongwith the backdrop of the common belief and oft-repeated platitude that list_item
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22 Indian music is born of Sāmaveda. When something is said to be the origin of list_item
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23 another thing, the general impression is that the origin precedes in time the list_item
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24 thing born of it. But in the case of music this impression could not hold good. It list_item
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25 would be absurd to say that there was no music among the people before list_item
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26 Sāmaveda became formalised or codified. The balanced view would be that list_item
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27 Sāmavedic music was the first to be codified and the codification of the music list_item
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28 of the people came later and that the 'vision' that inspired or guided the Vedic list_item
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29 codification continued to guide the later codification. The statement of our list_item
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30 author that svaras are born of Sāmaveda matches the statement in NŚ (I,17) list_item
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31 that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text) list_item
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32 was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from list_item
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33 Atharvaveda. To go a step further it would be pertinent to say that the mention list_item
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34 of the Vedic origin of a thing need not be taken to imply Vedic anteriority in list_item
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35 time; it could be interpreted to mean that the Vedic world-view and 'vision' was list_item
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36 the guiding spirit. list_item
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37 5. The number 'two' given here for grāma indicates that the author, in spite main
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38 of mentioning gandhara-grama, does not subscribe to the theory of three gramas. main
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39 6. The objective of grāma, stated here as the systematisation of svara, śruti, list_item
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40 mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals list_item
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41 in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma list_item
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42 are strictly followed in murchana, the omission of svaras in tana is guided by the grama list_item
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43 (e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the list_item
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vol_II_p098 LEFT — 29 lignes

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1 BRHADDEŚĪ page_header
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2 178 page_number
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3 [११. अथ टककैशिके] section_header
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4 धैवताद्यन्तसंयुक्ता ज्ञेया <sup>१२२</sup>मालवपञ्चमी । main
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5 <sup>१२३</sup>षड्जर्षभसंवाद: स्यात् <sup>१२४</sup>षड्जधैवतयोस्तथा ॥ main
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6 बहुधैव तयोस्तथा annotation_inline
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7 <sup>१२५</sup>सम्पूर्णा सुस्वरा ह्येषा देशभाषा मनोहरा ॥ १३३॥ main
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8 उदाहरणम्-धैवत धापाधैवत धाधाधारिमामाधा । पामधाधापामागरिमाधापाधा। मालवा [१] editorial_bracket
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9 षड्जांशा धैवतन्यासा विज्ञेया <sup>१२६</sup>भित्रवालिका । main
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10 भित्रलालिका annotation_inline
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11 धैवतनिषादबाहुल्यं दृश्यते च परस्परम् ॥ १३४॥ main
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12 •बाहु<del>ल्</del>या annotation_inline
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13 क्वचिद् दृष्टं न दृष्टं च भित्रपञ्चमसंज्ञिता[?]। editorial_bracket
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14 किशिद् प्रष्टं annotation_inline
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15 एषा तु कथिता लोके भाषा सङ्कीर्णशोभना ॥ १३५॥ main
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16 उदाहरणम् - सासासागासाधा नीसासाधानीमधा निधाधाधा निधामाधा निमधापाधाधाधा main
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17 भित्रवालिका।[२] editorial_bracket
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18 भित्रलालिता annotation_inline
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19 <sup>१२७</sup>गान्धारांशा धैवतान्ता द्राविडी सम्प्रकीर्तिता । main
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20 द्विश्रुतीनां च गमनं षड्जधैवतयोस्तथा ॥ main
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21 द्राविडविषये होषा देशाख्या सुमनोहरा<sup>१२८</sup> ॥ १३६॥ main
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22 उदाहरणम्-[गा]धानिमधानिधाधाधानिधामधापाधाधा पामाधाधागामाधाधा सागासानि- editorial_bracket
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23 धाधा पामागाममनि[धा] । द्राविडी । [३] editorial_bracket
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24 ॥ एताष्ट्रक्ककैशिकभाषास्तिस्र: ॥ main
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25 [१२. अथ वेसरपाडवे ] editorial_bracket
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26 मध्यमाद्यन्तसंयुक्ता विज्ञेया बाह्यषाडवा । main
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27 ॰पाडवं annotation_inline
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28 १२९द्विश्रुत्यो: स्याच्च संवादो मध्यमर्पभयोस्तथा ॥ १३७॥ main
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29 वि? द्वित्र्तिभ्यां च annotation_inline
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vol_II_p105 RIGHT — 31 lignes

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1 <b>TRANSLATION</b> page_header
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2 193 page_number
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3 Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. main
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4 Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī main
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5 [v] editorial_bracket
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6 Gāndhārī has gāndhāra as amśa (and) pancama as the concluding note, is main
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7 complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) main
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8 ascending the top of a mountain. 16 annotation_inline
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9 (19) annotation_inline
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10 Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. main
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11 Sāgāsānidhāpāpā. Gāndhārī [vi] editorial_bracket
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12 Thus end the bhāṣās in mālavapañcama according to main
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13 the opinion of Sārdūla. annotation_inline
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14 [4. Now in bhinnaṣaḍja] section_header
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15 Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, main
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16 gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and main
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17 śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). main
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18 <math>(20-21)</math> annotation_inline
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19 Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and main
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20 is with sparse <i>şadja</i>. main
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21 (22) annotation_inline
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22 Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini main
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23 dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā main
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24 nidhāmāmadhā niniridhādhā. Trāvaņī [i] editorial_bracket
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25 Combined with dhaivata as the initial and concluding note, having sparse main
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26 sa (ṣadja), ṣadja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the main
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27 worship of deities.<sup>18</sup> annotation_inline
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28 (23) annotation_inline
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29 Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. main
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30 Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. main
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31 Ṣaḍjabhāṣā [ii] editorial_bracket
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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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183 lignes a valider — change uniquement les roles incorrects.