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 21505). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p106 RIGHT — 35 lignes

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1 TRANSLATION page_header
via surya_layout
2 195 page_number
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3 ......Mālavī [iii] editorial_bracket
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4 .....Gūrjarī [iv] editorial_bracket
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5 Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, main
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6 devoid of rṣabha, that which is sung on the occasion of yajña<sup>19</sup> is said to be main
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7 bāhyaṣāḍavā. annotation_inline
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8 (24) main
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9 Illustration - Mādhā. Mānini pāmāpādhādhā. main
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10 Mādhāmāgā annotation_inline
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11 gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] editorial_bracket
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12 Having niṣāda as amsa (and ) dhaivata as the concluding note, being main
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13 hexatonic, omitting rşabha, kausalī is born of a region<sup>20</sup> (and) is sung in (the main
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14 context of ) the door-keepers. 21 main
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15 (25) annotation_inline
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16 Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. main
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17 Kausalī [vi] editorial_bracket
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18 Having gāndhāra as amśa, madhyama as the concluding note, gāndhārī is main
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19 based on madhyama (grāma?)<sup>22</sup>; it is sung by those living in solitude (and) main
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20 is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). main
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21 (26) annotation_inline
parent ligne 20
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22 Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. main
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23 Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] editorial_bracket
parent ligne 22
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24 Combined with dhaivata as the initial and concluding note, devoid of main
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25 rṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 main
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26 (27) annotation_inline
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27 Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā main
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28 pāpāgāmā · annotation_inline
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29 dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. main
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30 Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. main
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31 Svaravallitā [viii] editorial_bracket
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32 Having dhaivata as the initial and concluding note, lalitā is devoid of main
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33 pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent main
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34 in due order (?).<sup>24</sup> main
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35 (28) main
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vol_II_p073 RIGHT — 19 lignes

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1 TRANSLATION page_header
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2 129 page_number
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3 "Sometimes the aniśa, sometimes the nyāsa, sometimes ṣāḍava and auḍuvita main
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4 (becomes obvious). The wise should arrange (the melody) after knowing main
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5 the sparseness and abundance combined with graha and apanyasa and main
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6 similarly low and high (mandra-tāra). The grāma-rāgas should be used in main
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7 daśarūpaka 97 according to the prescribed rules. The gāna that is five-fold as main
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8 praveśa (entry), ākṣepa (sudden change in emotive state), niṣkrāma (exit), main
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9 prāsādika (pacifying) and āntara (filler of gaps) should be performed in main
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10 these rāgas." annotation_inline
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11 [The application of gītis] section_header
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12 In pūrvaraiga, the śuddhā should be there, the bhinnā is based on main
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13 prastāvanā, 98 the vesarā should be 'done ' in the two mukhas (mukha and main
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14 pratimukha sandhi),99 gauḍi is prescribed in the garbha (sandhi) and main
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15 similarly sādhārita should be there in avamarsa sandhi<sup>101</sup> and nirvahana main
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16 (sandhi). annotation_inline
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17 (344) annotation_inline
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18 Thus ends the third chapter entitled "Raga-laksana" in annotation_inline
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19 Bṛhaddeśi composed by Matanga Muni. main
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vol_II_p040 LEFT — 47 lignes

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1 BRHADDEŚĪ page_header
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2 62 page_number
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3 मा मा मा मा मा मा मा मा table
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4 (8) table
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5 धां नी पां मंपं धां नी पां पां table
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6 (4) table
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7 मां पां मां धंनिं पां पां पां पां table
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8 (ξ) table
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9 री गा मा पा पा पा मा पा table
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10 (৩) table
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11 री गा मा पा पा पा मा पा table
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12 (८) table
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13 पा पा पा पा पा पा पा table
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14 (९) table
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15 री गासासारी गागागा table
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16 (१०) table
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17 मा गा पा धंम धा निध पा पा table
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18 (११) table
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19 मों पी मी पेरिने भी भी भी गी table
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20 (१२) table
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21 ॥ [इति] रक्तगान्धारी॥ table
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22 1 411 annotation_inline
parent ligne 23
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23 [४. कैशिकी] section_header
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24 कैशिक्यामृषभान्येंऽशा, निधावंशौ यदा तदा । main
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25 ॰न्यां(न्येंऽ) annotation_inline
parent ligne 24
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26 (प?य) main
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27 न्यासः पञ्चम एव स्यादन्यदा द्विश्रुती मतौ ॥ main
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28 (वि ? द्वि) annotation_inline
parent ligne 27
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29 अन्ये तु निगपन्यासान्निधयोरंशयोर्विदु: ॥ ११॥ main
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30 ॰न्यासा(न्) निधयो ॰ annotation_inline
parent ligne 29
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31 रिलोपरिधलोपेन षाडवौडुवितं मतम्। main
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32 रिरल्पो निपबाहुल्यमंशानां सङ्गतिर्मिथ: ॥ १२॥ main
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33 षाडवौडुविते द्विष्ट: क्रमात् पञ्चमधैवतौ । main
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34 (दृ ? हि) annotation_inline
parent ligne 33
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35 षाङ्जीवत् पञ्चपाण्यादि गान्धारादिस्तु मूर्छना ॥ main
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36 पञ्चमप्रेक्षणगतं ध्रुवायां विनियोजनम् ॥ १३॥ main
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37 (प्रो?प्रे) annotation_inline
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38 <sup>१७४</sup>अस्यां गान्धारपञ्चमनिषादा न्यासा:। रिवर्ज्या: षट् सप्त वा स्वरा अपन्यासा:। <sup>१७५</sup>प्रस्तार:- main
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39 (गान्धा) annotation_inline
parent ligne 38
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40 पा धनि पा धनि गा गा गा गा main
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41 (१) unknown
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42 पा पा मा निध निध पा पा पा unknown
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43 (२) unknown
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44 (vide) annotation_inline
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45 . . . annotation_inline
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46 . . . . . . . . . . . . . . . . . . . . annotation_inline
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47 the control of the control of the control of the control of the control of the control of the control of the control of annotation_inline
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vol_I_p091 LEFT — 43 lignes

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1 BRHADDEŚI page_header
via surya_layout
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_p047 RIGHT — 37 lignes

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1 1 page_number
via heuristic_pagenum
2 77 page_number
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3 <b>TRANSLATION</b> page_header
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4 (Anu. 51) annotation_inline
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5 But if the indication of murchanas is done with the middle heptad, then why main
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6 has it been said to be (done) with madhyama svara? Truly has this been said. main
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7 The use of singular number is in relation with the jāti (species) of svara. The main
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8 purport is that the 'murchana' should be made in the kanthya svara (the tonal main
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9 range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) main
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10 (for svara) is in order to encompass the sthana (register or range) that could main
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11 not be described in the body (human voice). main
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12 (Anu. 52) annotation_inline
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13 But when the (process of) sādavita and auduvita is being undertaken, then main
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14 does the recognition of the (original) murchana exist or does it not exist? The main
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15 recognition of the (original) mūrchanā is certainly there. Similarly has said main
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16 Dattila - annotation_inline
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17 "When the tana is made in this manner (by omission of the prescribed main
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18 svaras), the knowledgeable one should ascertain, by counting the perishable main
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19 (omitted) (svara), that this murchana is this-manieth." main
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20 [ Dattilam 37 ] editorial_bracket
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21 (Anu. 53) annotation_inline
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22 But when şadja is omitted in the first and seventh mūrchanā, both take an main
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23 identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is main
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24 not evident. True, there is no difference. If the components are counted, there main
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25 surely is a difference; the difference is created by mandra and tara.47 main
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26 (Anu. 54) annotation_inline
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27 This distinction of murchana and tana has been spoken of merely for the main
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28 sake of the convenience of the performer and the listener.48 The objective of main
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29 tāna has also been said to be for the sake of the attainment of the three main
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30 registers. annotation_inline
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31 (Anu. 55) annotation_inline
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32 But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, main
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33 where are the tanas to be used? It is being answered. The tanas are useful for main
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34 the sake of bringing out the difference between jatis and ragas of both the main
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35 grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is main
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36 for the sake of the demonstration of the number of nașța (lit. lost) and uddișța main
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37 (lit. enumerated) (varieties of tānas).50 annotation_inline
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181 lignes a valider — change uniquement les roles incorrects.