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 21112). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p054 LEFT — 28 lignes

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1 BŖHADDEŚĪ page_header
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2 90 page_number
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3 [अन्॰ १६७] editorial_bracket
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4 अस्यार्थ: -शुद्धसाधारितो राग: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेरुत्पत्रत्वात्। तारषड्जो main
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5 ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको main
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6 रसः । षड्जादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला main
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7 (ति ? दि) annotation_inline
parent ligne 6
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8 स्वरपदगीते चच्चत्पुटादिताल:। main
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9 [४. शुद्धकैशिकमध्यम:] section_header
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10 कैशिकीषड्जमध्याभ्यां शुद्धकैशिकमध्यमः। main
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11 ॰शुद्ध॰ annotation_inline
parent ligne 10
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12 षड्जांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ main
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13 ॰क (स्त्रि ? त्रि) त्रुतिपञ्चम: annotation_inline
parent ligne 12
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14 [अनु॰ १६८] editorial_bracket
parent ligne 12
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15 अस्यार्थ: - शुद्धकैशिकमध्यमो राग: षड्जग्रामसम्बन्ध: कैशिकीषड्जमध्याजातिभ्यां<sup>४२</sup> main
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16 ॰ जात्यो: annotation_inline
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17 समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत main
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18 (ननु ?) annotation_inline
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19 उभयग्रामता[ऽ]स्तीति भाव:।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे editorial_bracket
parent ligne 17
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20 ऋषभपञ्चमयोर्लोपो नास्तीति भाव: ।]<sup>४३</sup> तारषड्जोऽस्य ग्रहोंऽशश्च । मध्यमो न्यास: । editorial_bracket
parent ligne 17
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21 निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोप: । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य main
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22 काकलिपाडवश annotation_inline
parent ligne 21
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23 प्रयोग: । षड्जादिमूर्छना । रौद्रवीरादिको रस: । प्रसन्नान्तोऽलङ्कार: । ..... main
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24 [५. शुद्धकैशिक: ] section_header
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25 ४४षड्जांश: ४५पञ्चमन्यास: कैशिकीजातिसम्भव:। main
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26 पड्जांशै: annotation_inline
parent ligne 25
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27 पञ्चमो annotation_inline
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28 तथा कार्मारवीजाते: स्वरै: पूर्णेश्च कैशिक: ॥३०३॥ main
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vol_I_p036 RIGHT — 34 lignes

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1 55 page_number
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2 TRANSLATION page_header
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3 The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in main
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4 respective order,22 should be known by the adept ones as being spoken of by the main
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5 (91) annotation_inline
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6 word mürchanā. annotation_inline
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7 [ Anu. 36 ] editorial_bracket
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8 That murchanā again is twofold — one composed of seven svaras and the main
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9 other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 main
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10 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), main
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11 auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them main
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12 pūrņā is that which is sung with seven svaras, that which is sung with six svaras is main
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13 ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with main
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14 kākalī and antara svaras, is sādhāraņā. main
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15 (Anu. 37) annotation_inline
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16 Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for main
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17 mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the main
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18 same number of) squares (kosthakas), on account of the process that follows a main
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19 set path or order. annotation_inline
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20 That is thus— annotation_inline
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21 Forty-nine squares filled25 with svaras, have, indeed, to be made with eight main
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22 (92) annotation_inline
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23 horizontal and vertical lines. main
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24 (Anu. 38) annotation_inline
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25 There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha main
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26 - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - main
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27 dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in main
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28 the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - main
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29 į annotation_inline
parent ligne 28
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30 sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the main
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31 order) in madhyama-grāma. main
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32 Thus there are the fourteen sampūrņā (complete) mūrchanās of the two main
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33 grāmas. annotation_inline
parent ligne 32
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34 sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha main
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vol_I_p071 LEFT — 45 lignes

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1 124 page_number
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2 <b>BRHADDES!</b> main
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3 चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः। editorial_bracket
parent ligne 2
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4 .त्रे अना. main
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5 गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते। main
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6 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते। editorial_bracket
parent ligne 5
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7 अभिप्रवीं (?) ,प्रयोगः main
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8 गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः editorial_bracket
parent ligne 7
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9 सोऽधःपाणिरुच्यते । main
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10 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते । editorial_bracket
parent ligne 9
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11 न् main
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12 तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा चित्रे प्रयुज्यते, तदा पृथुला main
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13 •पा annotation_inline
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14 गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे editorial_bracket
parent ligne 12
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15 (मना ? मा) main
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16 प्रयुज्यते, तदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त । main
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17 मागधी सम्भाविताः annotation_inline
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18 यवा annotation_inline
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19 •पा main
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20 शब्दाः वादाव्या (?) annotation_inline
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21 क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे editorial_bracket
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22 .मो main
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23 •णा annotation_inline
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24 मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति । editorial_bracket
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25 ,र्गः main
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26 [ अनु॰ १११ ] editorial_bracket
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27 एवमुक्तं भवति। चित्रे च द्विमात्रा कला। [तद्भता च मागधी, ] editorial_bracket
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28 का. annotation_inline
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29 सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा editorial_bracket
parent ligne 25
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30 चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] editorial_bracket
parent ligne 25
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31 चिने main
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32 सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित editorial_bracket
parent ligne 31
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33 मागधी गीतिः सम्भाविताशब्दवाच्या main
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34 तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति। editorial_bracket
parent ligne 33
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35 त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधी। यथा देवमिति पदं गीत्वा प्रथमां कलां main
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36 नीनीत्रि, annotation_inline
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37 ,मा, main
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38 ∙मे annotation_inline
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39 निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन main
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40 •वयेन (?) unknown
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41 ,प्प, main
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42 .ला unknown
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43 या annotation_inline
parent ligne 41
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44 देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां unknown
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45 <b>यरदेन</b> unknown
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vol_I_p091 LEFT — 43 lignes

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1 BRHADDEŚI page_header
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2 164 page_number
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3 52. Abhivyañjakatā means the process of manifestation of something that is list_item
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4 already in existence. In Grammar Philosophy śabda is eternal and its subtle and list_item
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5 imperceptible element called sphota (lit. 'bursting' or flash on the mind) is list_item
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6 vyangya (object of vyanjanā). Matanga seems to be influenced by this line of list_item
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7 thought which later culminated in the dhvani theory in literature. list_item
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8 53. The visista dharma (specific quality or nature) i.e. the differentia of a list_item
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9 thing is svalakṣaṇa. This is understood at two levels, one is the specific nature of list_item
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10 a thing i.e. it is related to the <i>vyakti</i> or particular or individual, the other is the list_item
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11 dharma or nature that is common to many i.e. the generic nature or jāti. The list_item
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12 first one is according to the Bauddha system and the second one is according to list_item
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13 all those systems that accept jāti, e.g. Mīmāṃsā. Bauddha logic has given list_item
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14 elaborate treatment and discussion of svalakşana in the context of pratyakşa list_item
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15 (perception ). It does not seem probable that Matanga was influenced by this list_item
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16 system, because non-existence of a common quality or attribute or nature of a list_item
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17 thing accepted in majority of the schools of Bauddha logic could not perhaps be list_item
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18 congenial to the explanation of the perception of sruti and svara which would list_item
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19 require a 'continuity' of their common features. list_item
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20 54. Nabhaḥpuṣpa i.e. a flower grown in the sky is a classic example of an list_item
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21 absurdity or impossibility just like vandhyāputra, the son of a sterile woman. list_item
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22 55. Arthāpatti is one of the pramāņas i.e. means of valid knowledge list_item
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23 propounded specially by the mimāmsā system and accepted by Advaita Vedānta. list_item
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24 Nyāya includes it under anumāna. It has been defined as - list_item
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25 अर्थापतिरपि दृष्टः श्रुतो वाऽर्थः अन्यथा नोपपद्यते इत्यर्थकल्पना । main
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26 ( Śabarabhāṣya on Mīm Sū I, 1.5 ) main
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27 When a seen or heard thing is not proved right in another way, then the main
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28 imagination of something is known as arthāpatti. main
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29 For example, if Devadatta is alive and is not at home, it is imagined that he main
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30 is outside, or, the classic example is that if Devadatta is fat, but does not eat main
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31 during the day, then it is imagined that he eats at night, because his fatness that main
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32 is seen could not be explained or proved through non-consumption of food. main
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33 Hence arthāpatti is translated as negative inference. main
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34 56. All the systems of Indian philosophy except the Carvaka system, accept main
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35 anumāna as a pramāņa. The Nyāya system has given its elaborate treatment. It main
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36 has to be preceded by perception ( pratyaksa ). One who has not seen the main
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37 concomitance of smoke and fire, could not infer fire on the basis of the main
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38 perception of smoke. The classic example of anumana is — main
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39 पर्वतोऽयं विश्वमान् धूमवत्त्वात् । main
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40 This hill is fiery because of there being smoke. This inference presumes or main
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41 is preceded by vyāpti-graha (apprehension of universal concomitance) which is main
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42 thus expressed - main
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43 यत्र यत्र धूमस्तत्र तत्र बह्निः । unknown
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vol_I_p070 RIGHT — 34 lignes

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1 1 page_number
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2 123 page_number
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3 <b>TRANSLATION</b> page_header
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4 Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side main
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5 of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the main
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6 performer), and vartini is moved downwards, visarjitā is moved outwards main
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7 (farther from the performer), vikşiptā is curved26 or bent, and patākā moves main
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8 (179, 180) annotation_inline
parent ligne 7
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9 upwards, (and) patită reaches (touches) the ground. main
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10 Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next main
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11 two viz. kṛṣṇā and padmini27 are also (used). main
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12 In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). main
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13 (181) annotation_inline
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14 (Anu. 108) annotation_inline
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15 Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the main
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16 predominance of 'song' (melody, of both 'song' and instrument)29 and of main
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17 instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, main
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18 having the predominance of both is vitti vitti, (and) having the predominance main
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19 of instrument is citrā vṛtti. main
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20 (Anu. 109) annotation_inline
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21 Now he (the author) explains the changing<sup>50</sup> predominance (of different main
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22 temporal components in vittis) brought about by pāņi.51 It has been said — main
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23 The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become main
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24 manifestors35 (rather manifest) according to their own (form) in these (vyttis). main
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25 In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti main
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26 and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, main
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27 madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, main
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28 in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, main
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29 avapāņi,46 pṛthulā gīti and tattya is the limb. main
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30 (Anu. 110) annotation_inline
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31 The vādya (presentation on instruments) should be done with sama, atīta main
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32 and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti main
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33 (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination main
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34 110 page_number
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184 lignes a valider — change uniquement les roles incorrects.