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 21202). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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1 <b>TRANSLATION</b> page_header
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2 57 page_number
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3 dha - ni main
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4 - n annotation_inline
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5 - sa main
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6 - ga annotation_inline
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7 ma main
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8 - pa annotation_inline
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9 - annotation_inline
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10 - dha - ni main
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11 - sa annotation_inline
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12 n main
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13 - annotation_inline
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14 • - main
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15 ga annotation_inline
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16 рa main
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17 (vide) annotation_inline
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18 ma main
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19 dha - ni annotation_inline
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20 ni main
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21 sa annotation_inline
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22 - pa main
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23 - annotation_inline
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24 - main
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25 • annotation_inline
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26 - ga main
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27 ma annotation_inline
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28 - dha - main
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29 ni annotation_inline
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30 - pa main
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31 - ni annotation_inline
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32 - ma main
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33 sa annotation_inline
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34 - main
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35 ga main
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36 ŧ annotation_inline
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37 dha - main
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38 ni annotation_inline
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39 ni - sa main
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40 - ma - þa - annotation_inline
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41 - ga main
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42 Thus is in sadjagrāma. main
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43 - dha - ni - annotation_inline
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44 - pa main
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45 - 17 annotation_inline
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46 54 page_number
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47 ma main
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48 - ga annotation_inline
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49 - dha - main
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50 ni annotation_inline
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51 - pa main
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52 ma annotation_inline
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53 - main
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54 sa annotation_inline
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55 ฑ main
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56 ga annotation_inline
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57 • main
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58 dha - annotation_inline
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59 ni main
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60 ni - annotation_inline
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61 - pa main
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62 - ma annotation_inline
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63 sa main
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64 - ga annotation_inline
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65 - main
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66 dha - annotation_inline
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67 pa main
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68 ni annotation_inline
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69 - ni main
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70 - ma annotation_inline
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71 - ga main
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72 - annotation_inline
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73 - main
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74 sa annotation_inline
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75 dha main
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76 - pa annotation_inline
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77 ni main
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78 - n annotation_inline
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79 - ga main
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80 ma annotation_inline
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81 - sa main
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82 - annotation_inline
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83 - main
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84 ١ page_number
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85 dha - ni - sa main
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86 - ni annotation_inline
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87 ga main
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88 • annotation_inline
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89 - ma - pa main
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90 pa - dha - ni annotation_inline
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91 - sa main
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92 ni annotation_inline
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93 - main
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94 ga annotation_inline
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95 ma main
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96 - annotation_inline
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97 Thus is in madhyama-grāma. main
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98 ! unknown
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99 Mūrchanā-maņdala (cycle) section_header
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100 dha | pa table
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101 ni table
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102 ni table
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103 ma table
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104 ga table
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105 sa table
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106 dha| pa table
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107 ni table
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108 ni table
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109 ma table
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110 50 page_number
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111 ga table
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112 dha table
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113 ni table
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114 ni table
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115 þa table
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116 50 page_number
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117 ga table
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118 ma table
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119 1 page_number
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120 dha| pa table
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121 ni table
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122 ni table
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123 Sa table
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124 ga table
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125 ma table
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126 dha table
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127 ni table
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128 ni table
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129 pa table
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130 ma table
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131 sa table
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132 ga table
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133 dha table
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134 n table
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135 ni table
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136 pa table
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137 ma table
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138 ga table
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139 Sa table
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140 ni table
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141 ni table
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142 dha pa table
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143 ga table
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144 ma table
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145 sa table
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146 Thus is the mūrchanā-maṇḍala in ṣaḍja-grāma. main
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147 dha | pa table
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148 ni table
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149 ni table
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150 ma table
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151 sa table
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152 ga table
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153 <math>\pi^{i}</math> table
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154 dha| pa table
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155 ni table
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156 ma table
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157 ga table
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158 sa table
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159 ni table
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160 dha table
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161 ni table
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162 рa table
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163 ga table
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164 sa table
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165 ma table
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166 dha| pa table
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167 ni table
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168 ni table
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169 SA table
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170 ma table
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171 ga table
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172 dha table
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173 71 page_number
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174 ni table
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175 рa table
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176 sa table
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177 ma table
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178 ga table
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179 ni table
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180 dha table
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181 ni table
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182 þа table
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183 ma table
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184 ga table
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185 sa table
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186 ni table
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187 ni table
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188 dha pa table
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189 ma table
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190 ga table
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191 Sa table
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192 1 page_number
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193 Thus is the mūrchanā-maṇḍala in madhyama-grāma. main
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1 TRANSLATION page_header
via surya_layout
2 121 page_number
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3 and hāsya (rasas) and nirvahaṇa (sandhi). Vīra<sup>80</sup> and the like is the rasa. The main
via surya_layout
4 mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa. Prasannamadhya main
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5 is the <i>alankāra. The kalā</i> is formed in the <i>dakṣiṇa (mārga</i>), the <i>kalā</i> obtains main
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6 in the <i>vārtika (mārga</i>) and the <i>kalā</i> prevails in the <i>citra (mārga</i>). A <i>tāla</i> like main
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7 caccatputa obtains in the songs comprised of svara and pada. main
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8 [3. Kakubha] section_header
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9 Kakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama main
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10 as its nyāsa and is formed with dhaivata as the amśa. main
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11 (335) main
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12 [Anu. 206] section_header
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13 Its meaning is thus – Kakubha is related to şadjagrāma. How is it related main
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14 to şadjagrāma alone in spite of being born of madhyamā, pañcamī and main
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15 dhaivatī? On account of pañcama being comprised of four śrutis and main
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16 dhaivata of three śrutis. Dhaivata is its amśa and graha. Pañcama is the nyāsa main
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17 and this (rāga) is complete in svaras. Its application is prescribed in the medium state of karuṇa (rasa). Karuṇa is its main
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18 with dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. main
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19 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika main
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20 (mārga) and the kalā prevails in the citra(mārga). A tāla like caccatupṭa main
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21 obtains in the songs comprised of svara and pada. main
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22 [4. Bhammāṇapañcama] section_header
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23 Bhammāṇapañcama comes of ṣaḍjamadhyamā jāti, has ṣaḍja as its aṅiśa, main
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24 madhyama as nyāsa and treats as sparse the svaras comprised of two śrutis each. main
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25 (336) main
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26 [Anu. 207] section_header
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27 Its meaning is thus – Bhammāṇapañcama is related to madhyamagrāma on main
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28 account of being born of sadja-madhyamā jāti. Şadja is the graha and anisa, main
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29 madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda main
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30 is kākalī here and this (rāga) is complete in svaras. Its application is prescribed main
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31 in (the situation of ) travel on a path in summer, (by those) full of fatigue and main
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32 in (the depiction of) forests. Vīra and the like is the rasa<sup>83</sup>. The mūrchanā main
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33 beginning with ṣadjaobtains. Ārohinisthe varṇa. Prasannamadhya isthe alankāra. main
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34 The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) main
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35 and the kalāprevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs main
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36 comprised of svara and pada. main
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37 [5. Rūpasādhārita] section_header
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38 Rūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis). It has ṣadja as main
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39 its <i>amśa, madhyama</i> as <i>nyāsa</i> and is with sparse <i>pañcama</i> and <i>ṛṣabha.</i> main
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40 (337) main
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L#Texte OCRRole autoCorriger si incorrect
1 149 page_number
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2 VIMARŚA page_header
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3 As for the distinction between vowel and musical note, Abhinavagupta has main
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4 made a remarkable contribution in the conception of the autonomy of musical main
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5 note; this will be dealt with under the definition of svara in our text. main
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6 16. In language vyañjana, consonant ( lit. the act or instrument of mani- list_item
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7 festation ) is the phonetic unit that brings about specificity, but it can be list_item
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8 pronounced only with the help of vowel, otherwise it is impotent or ineffective. list_item
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9 Hence svara has been identified here with the śakti (supreme energy or power) list_item
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10 that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and list_item
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11 Garland of Letters, p. 260). The underlying idea is that Siva obtains His state list_item
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12 only from the association with Sakti, otherwise it is like Sava (a dead body). list_item
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13 Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in list_item
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14 Sabdakalpadruma Pt. V, p. 5) list_item
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15 17. Svarūpa (lit. own form) means the phonetic form of word and list_item
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16 sentence without reference to meaning. The whole world being a manifestation list_item
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17 of dhvani (sound), the very form of word and sentence without reference to list_item
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18 meaning, delineates or 'paints' the world because this form itself is a stage of list_item
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19 manifestation that in itself is the basis of further manifestation. list_item
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20 18. The sentence is the basic semantic unit, the 'word' becomes meaningful list_item
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21 when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa ) list_item
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22 which is mentioned here. list_item
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23 19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the list_item
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24 suffix sup or tin (nominal or verbal suffixes), it is not just a combination of list_item
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25 syllables. list_item
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26 20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing list_item
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27 about the action denoted by verb (Monier Williams), Kāraka is the hetu or list_item
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28 nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini, list_item
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29 viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha list_item
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30 (genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses list_item
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31 the relation of two nouns to each other, but not the relation of a noun and a list_item
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32 verb.' ( Monier Williams ) list_item
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33 The sentence is formed with padas that have sup or tin suffixes combined main
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34 with nouns and verbs respectively, standing, in turn, for kāraka and kriyā. main
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35 22. Mahāvākya has four primary connotations as follows - list_item
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36 (a) An aggregation of sentences where the apprehension of the meaning of list_item
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37 the individual components (sentences) leads to the apprehension of the total list_item
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38 meaning of the aggregate, just as in the aggregate of five components in the list_item
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39 nyāya-vākya used for inference. This is the view of nyāya. list_item
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40 (b) An aggregate of sentences where one sentence is primary and the others list_item
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41 are secondary. This is the view of Mimāmsā. list_item
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42 (c) A sentence that expresses deep philosophical meaning. This is the view list_item
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43 of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I list_item
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44 am brahman ) etc. are accepted as mahā-vākyas. list_item
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45 (d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any list_item
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46 literary composition. list_item
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1 (vide) annotation_inline
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2 176 page_number
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3 BRHADDEŚĪ page_header
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4 उदाहरणम् - धाधानिधासासानिधा धानिधाधाधापामागारिरिरिगामपापाधा main
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5 पगारिरिधमाधापा- annotation_inline
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6 पाधा पामरिगामानी annotation_inline
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7 धापाधाधा धामपाधापानिरिगरिसारिधा रिधारिधारिपाधाधाधाधानि। सासा- main
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8 প্ৰাণ annotation_inline
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9 रिगागामसामपमाधाधा धापाधासानिधैवतधाधा । धैवतभूषिता । [३] editorial_bracket
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10 विशाला पञ्चमांशा तु धैवतान्ता मनोहरा। main
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11 सुसम्पूर्णस्वरा होषा ११८ सञ्चार: सधयोर्हि च ॥ main
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12 शो धैवतस्तत: annotation_inline
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13 एषा भाषा तु विज्ञेया किन्नरैर्गीयते सदा ॥ १३०॥ main
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14 उदाहरणम् – पाधासासाधानी गासानिधाधा। पाधाधा। निसासानीधा पामागानिनिनिरिगामामा– main
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15 नीधानिसारिगारिसासानिधा रिगास निसानिधानि नीधापधधधपापामागारिरिधा- main
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16 गाममधा annotation_inline
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17 रिरिममध्यमगमापापापा निधधधधपामाधा निसासासारिरिरिमममपमपापाधा नीसानीधापाधा- main
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18 धा पानिनिनिसासामधापाधानिधा । विशाला । [४] editorial_bracket
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19 एता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषा:। main
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20 भित्रप(ञ्च)मभाषा(:) annotation_inline
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21 [९ अथ बोट्टरागे ] section_header
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22 पोट्ट annotation_inline
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23 पञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज्ज्वला । main
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24 <sup>११९</sup>धैवतनिषादसञ्चारो दृश्यते <sup>१२०</sup>बहुल: सदा ॥ १३१॥ main
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25 ॰निपाद: annotation_inline
parent ligne 24
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26 एषा बङ्गालभाषा तु बोट्टरागे प्रगीयते । main
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27 (तु) annotation_inline
parent ligne 26
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28 सर्वेषां मङ्गलानां च नायकैर्गीयते सदा ॥ main
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29 मङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता ॥ १३२ ॥ unknown
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30 उदाहरणम् - पाधापाधामा धापामा गारिरिरिगमपा धासागासानिधापापामा । मङ्गला । [१] editorial_bracket
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31 माङ्गाली annotation_inline
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32 [१०. अथ मालवपञ्चमे] section_header
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33 ······<sup>१२१</sup>[ भाविनी ] table
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1 14.00 annotation_inline
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2 TRANSLATION page_header
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3 111 page_number
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4 [Anu. 193] section_header
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5 This means - Sauvīraka is related to sadjagrāma on account of being born of main
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6 ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra main
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7 and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in main
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8 the context of entry and the like in the behaviour of those who perform domestic main
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9 sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the main
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10 like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. main
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11 Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains main
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12 in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains main
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13 in the songs comprised of svara and pada. main
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14 [3. Mālavapañcama] section_header
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15 Mālavapancamashould be known to have pancamaasits anistand concluding main
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16 note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that main
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17 are comprised of two śrutis (gāndhāra and niṣāda). main
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18 (322) main
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19 [Anu. 194] section_header
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20 This means-Mālavapañcamais related to madhyamagrāma on account of main
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21 being born of madhyamā and pañcamī jātis. Pañcama is the amśa, graha and main
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22 nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and main
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23 this (rāga) is complete in svaras. Its application is prescribed in vipralambha main
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24 śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the main
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25 female apartments). The mūrchanā beginning with pañcama obtains. main
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26 Śringāra<sup>67</sup> and hāsya are the rasas. Ārohin and the like are the varņas. main
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27 Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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28 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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29 like caccatputa obtains in the songs comprised of svara and pada. main
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30 [4. Vesarașādava] section_header
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31 Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause main
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32 and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). main
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33 (323) main
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34 [Anu. 195] section_header
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35 This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being main
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36 born of ṣaḍjamadhyamā. Madhyama is the graha, amśa and nyāsa. There is the main
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37 sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and main
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38 kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra<sup>68</sup> and main
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39 hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin main
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40 is the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa main
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41 (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra main
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42 (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada. main
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