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 21539). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p062 RIGHT — 36 lignes

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1 TRANSLATION page_header
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2 107 page_number
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3 [Anu. 188] editorial_bracket
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4 This means-gaudakaiśika rāga is related to madhyamagrāma and is born of main
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5 kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa. main
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6 Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On main
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7 account of pañcama being comprised of three śrutis, dhaivata being comprised main
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8 of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born main
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9 of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen main
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10 as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is main
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11 the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa, main
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12 prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā main
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13 obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla main
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14 like caccatputa obtains in the songs comprised of svara and pada. main
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15 [3. Gaudakaisikamadhyama] section_header
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16 Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its main
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17 nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. main
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18 (318) annotation_inline
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19 [Anu. 189] editorial_bracket
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20 This means – gaudakaišikamadhyama is related to şadjagrāma, on account main
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21 of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama main
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22 is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application main
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23 is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā main
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24 beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the main
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25 alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the main
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26 vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa main
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27 obtains in the songs comprised of svara and pada. main
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28 [The assignment of gaudaragas to gramas] section_header
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29 Now he (the author) has spoken of the assignment of gauda (ragas) to main
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30 grāmas- annotation_inline
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31 Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama. main
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32 Gaudakaisika, on the other hand, is based on madhyamagrāma. The three main
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33 gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining main
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34 to vesarā gīti). annotation_inline
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35 (319) main
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36 (vide) annotation_inline
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1 125 page_number
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2 TRANSLATION page_header
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3 [Anu. 210] editorial_bracket
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4 Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha main
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5 and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it main
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6 sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete. main
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7 Its application is prescribed in the passionate performance of cārīs, maṇḍalas and main
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8 (situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning main
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9 with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the main
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10 dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in main
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11 the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and main
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12 pada annotation_inline
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13 [9. Revagupta] section_header
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14 Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as main
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15 its amsa and madhyama as its concluding note and is with complete svaras. main
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16 (340) annotation_inline
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17 [Anu. 211] editorial_bracket
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18 Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born main
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19 of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of main
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20 pañcama being comprised of four śrutis. Rṣabha is its graha and amśa, main
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21 <math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he main
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22 svaras. Its application is prescribed in the passionate performance of cārīs, main
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23 mandalas and (situations of) combat. Vira and the like is the rasa. The main
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24 mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is main
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25 the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in main
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26 the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like main
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27 caccatputa obtains in the songs comprised of svara and pada. main
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28 [10. Takkasaindhava] section_header
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29 The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is main
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30 combined with sadja as amsa and nyāsa and is weak in pancama. main
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31 (341) annotation_inline
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32 [Anu. 212] editorial_bracket
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33 Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on main
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34 account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and main
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35 nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of main
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36 pañcama and this (rāga) is complete in svaras. Its application is prescribed main
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vol_I_p052 LEFT — 38 lignes

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1 BRHADDESI page_header
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2 86 page_number
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3 [ अनु₀ ६५ ] editorial_bracket
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4 यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन editorial_bracket
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5 निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः । main
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6 [ अनु₀ ६६ ] editorial_bracket
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7 यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते। main
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8 (वं ?) annotation_inline
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9 यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम main
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10 गरि पम annotation_inline
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11 मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा main
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12 इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही। main
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13 अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु। main
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14 स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥ unknown
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15 ब्दे तु annotation_inline
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16 ुन् annotation_inline
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17 पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम main
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18 प्र म्मि annotation_inline
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19 मध्यम annotation_inline
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20 निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर- main
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21 ध्(?) म्र नाद (?) annotation_inline
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22 द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्- main
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23 शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः। main
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24 म् annotation_inline
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25 ुगु annotation_inline
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26 अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5 main
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27 [ ना. शा. २९. १७ ] editorial_bracket
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28 [ अनु₀ ६७ ] editorial_bracket
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29 ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति main
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30 गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य main
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31 निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी main
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32 नी annotation_inline
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33 ्ता धध annotation_inline
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34 oर्णा ? main
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35 ুজা annotation_inline
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36 नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि main
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37 नी पधा annotation_inline
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38 पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः— main
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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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1 63 page_number
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2 TRANSLATION page_header
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3 mā mā mā mā mā mā mā mā table
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4 (4) table
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5 dhā nī pā mapa dhā nī pā pā table
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6 (5) table
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7 (6) table
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8 mā pā mā dhani pā pā pā pā table
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9 (7) table
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10 rî gā mā pā pā pā mā pā table
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11 (8) table
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12 rī gā mā pā pā pā mā pā table
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13 (9) table
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14 pā pā pā pā pā pā pā pā table
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15 (10) table
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16 rī gā sā sā rī gā gā gā table
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17 (11) table
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18 gã gã pã dhama dhã nidha pã pã table
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19 (12) table
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20 mā pā mā pariga gā gā gā gā table
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21 Thus ends raktagāndhārī. section_header
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22 [4. Kaiśikī] section_header
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23 In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the main
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24 amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis main
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25 (gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know main
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26 niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas. main
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27 (11) annotation_inline
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28 The hexatonic and pentatonic forms are known to come into being with main
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29 the omission of <i>rṣabha</i> and <i>rṣabha-dhaivata</i>. <i>Rṣabha</i> is sparse, there is the main
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30 abundance of niṣāda and pañcama. The amsas have mutual concert. main
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31 (12) annotation_inline
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32 Pañcama and dhaivata are averse to the hexatonic and pentatonic forms main
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33 respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā main
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34 beginning with gāndhāra obtains. main
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35 (13) annotation_inline
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36 The application is (prescribed) in the dhruvā pertaining to the fifth act. main
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37 Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting main
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38 rṣabha or seven svaras are apanyāsas. The prastāra is thus - main
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39 (1) table
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40 pā dhani pā dhani gā gā gā gā table
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41 pā pā mā nidha nidha pā pā pā table
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42 (2) table
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195 lignes a valider — change uniquement les roles incorrects.