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 21768). 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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1 235 page_number
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2 TRANSLATION page_header
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3 [7. Mohini] section_header
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4 Comprised of five padas, endowed with mūrchanā gamaka 74 (?) the main
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5 seventh varņailā should be known as mohinī, the auspicious one. main
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6 (466) annotation_inline
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7 [Thus end the seven varņailās described in a different manner.] editorial_bracket
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8 [ E. The Varieties of <i>Deśailā</i>] section_header
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9 The charming and systematic elās become distinct with the respective main
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10 languages of (regions like) Lāṭa, 75 Karnāṭa, 6 Gauda, 77 Āndhra 78 (and) Dravida. 79 main
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11 (467) main
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12 [1, Lāţailā] section_header
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13 Lāṭailā is said to have rhyme (antyaprāsa)80 and is devoid of middle main
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14 alliteration,81 being combined with rasas and bhāvas. main
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15 (468) main
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16 [2. Karņāţailā] section_header
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17 Karņāţikā elā is said to be comprised of charming sounds with beautiful main
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18 alliteration in the beginning, middle and end.82 main
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19 (469) main
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20 [3. Gauḍailā] section_header
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21 Having alliteration everywhere, devoid of gamakas and endowed with main
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22 nāda, bindu<sup>83</sup> and rasa, that is the elā born of gauḍadeśa. main
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23 (470) main
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24 [4. Āndhrailā] section_header
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25 The wise have known andhri to be brimming with many gamakas, mixed main
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26 with many sounds and blended with many rāgas.84 main
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27 (471) main
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28 And the second of the second of the second of the second of the second of the second of the second of the second of the annotation_inline
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29 . . . annotation_inline
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vol_I_p007 RIGHT — 81 lignes

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1 CONTENTS section_header
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2 ix table
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3 Foreword by Kapila Vatsyayan table
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4 XI table
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5 Introduction table
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6 xvii table
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7 <b>Abbreviations</b> table
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8 Brhaddesi of Śri Matanga Muni table
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9 3 page_number
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10 <b>Text and Translation</b> table
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11 3 page_number
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12 Section I: Deśī table
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13 3 page_number
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14 The desi nature of Dhvani table
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15 5 page_number
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16 The definition of desi and marga table
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17 7 page_number
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18 Section II: Nāda table
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19 7 page_number
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20 The glory, origin, definition and kinds of Nāda table
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21 9 page_number
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22 Section III: Sruti table
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23 9 page_number
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24 The definition of śruti and its numeration table
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25 Five alternatives in the relationship between sruti and svara table
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26 19 page_number
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27 The demonstration of visual representation of srutis by table
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28 25 page_number
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29 Mandala-prastāra table
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30 <b>29</b> table
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31 Section IV: Svara table
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32 29 page_number
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33 The laksana of svara table
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34 The fourfoldness of svaras according to kinds beginning table
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35 33 page_number
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36 with vādin table
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37 35 page_number
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38 The samvādi-mandala in sadjagrāma table
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39 37 page_number
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40 The anuvādi-maṇḍala in ṣaḍjagrāma table
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41 39 page_number
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42 The vivādi-maṇḍala in ṣaḍjagrāma table
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43 41 page_number
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44 The saṃvādi-maṇḍala in madhyama-grāma table
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45 41 page_number
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46 The anuvādi-maṇḍala in madhyama-grāma table
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47 43 page_number
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48 The vivādi-maṇḍala in madhyama-grāma table
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49 The sevenfold combination of svaras according to the table
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50 43 page_number
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51 types beginning with arcika table
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52 43 page_number
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53 The etymology of svara-names table
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54 45 page_number
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55 The castes of svaras table
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56 45 page_number
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57 The drawing out of svara signs as contained in agama table
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58 47 page_number
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59 Assignment of community, colour and the like to svaras table
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60 51 page_number
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61 Section V: Grāma-mūrchanā table
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62 51 page_number
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63 The treatment of grāma table
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64 <b>53</b> table
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65 The treatment of mūrchanā table
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66 57 page_number
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67 Mūrchanā-maṇḍala table
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68 67 page_number
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69 The distinction between Mürchanā and tāna table
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70 69 page_number
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71 The yajña-names of tanas table
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72 <b>73</b> table
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73 The performance of tanas table
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74 83 page_number
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75 The mūrchanā of twelve svaras table
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76 85 page_number
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77 Section VI: Varņas and Alankāras table
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78 85 page_number
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79 The Varnas table
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80 89 page_number
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81 The Alankaras table
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1 BRHADDEŚĪ page_header
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2 288 page_number
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3 प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: । main
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4 17. cf.(i) annotation_inline
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5 हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥ main
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6 Mānaso IV.16.332. annotation_inline
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7 हयलीलेन तालेन हयलीलाऽपि गीयते । main
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8 (ii) annotation_inline
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9 अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥ main
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10 छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥ main
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11 S Rāj II.4.3.111. annotation_inline
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12 यत्र पूर्वार्धमार्यायाः सतालं परिगीयते । main
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13 (iii) annotation_inline
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14 स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥ main
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15 Ra Kau III.117. annotation_inline
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16 18. Reconstruction in the first and second foot based on SR IV. main
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17 212c, 213b. annotation_inline
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18 हयलीलाप्रकारेण भवेद् या लक्षणान्विता । main
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19 <b>cf.(i)</b> annotation_inline
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20 तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥ main
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21 गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: । main
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22 गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥ main
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23 Mānaso IV.16,333,335. main
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24 आर्यैव यदि गीयेत तालेन गजलीलया । main
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25 (ii) annotation_inline
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26 गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥ main
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27 पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते । main
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28 स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥ main
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29 सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा । editorial_bracket
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30 पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥ main
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31 S Rāj 11.4.3.108-110. main
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32 स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥ main
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33 19. cf. annotation_inline
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34 सिंहलीलेन तालेन सिंहलील: स उच्यते । main
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35 SR IV.279,280. annotation_inline
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36 स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् । main
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37 20. cf. annotation_inline
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38 अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥ main
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39 पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे । main
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40 पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥ main
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41 Mānaso IV.16.336 -338. main
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42 स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा । main
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43 21. cf. annotation_inline
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44 एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥ main
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45 रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽 main
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46 यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥ main
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47 SR IV.283,284. main
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1 110 page_number
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2 BRHADDEŚĪ page_header
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3 [अनु॰ १९३] section_header
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4 अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य main
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5 ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां main
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6 संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:। main
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7 वास्य annotation_inline
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8 षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला । main
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9 स्वरपदगीते चच्चत्पुटादितालः। main
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10 [३. मालवपञ्चम:] section_header
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11 पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:। main
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12 स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥ main
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13 [अन्॰ १९४] section_header
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14 अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो main
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15 ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे main
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16 कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः । main
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17 प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:। main
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18 [४. वेसरपाडव:] section_header
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19 मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा । main
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20 अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥ main
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21 [अनु॰ १९५] section_header
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22 अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो main
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23 न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे main
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24 (गान्धारनिपादयोरल्पत्वम्) annotation_inline
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25 चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: । main
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26 दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: । main
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27 The state of the state of the state of the state of the state of the state of the state of the state of the state of the annotation_inline
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1 ٠. annotation_inline
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2 25 page_number
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3 TRANSLATION page_header
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4 Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita main
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5 (forms) come into being by the omission of sadja and (sadja) pañcama main
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6 respectively. annotation_inline
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7 (213) main
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8 In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. main
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9 These two alongwith madhyama are apanyāsas and the two(ṣāḍava and main
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10 auduvita) are, as spoken of before, (in ārṣabhī) through the respective main
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11 omission of (ṣadja and ṣadja-pañcama). main
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12 (214) annotation_inline
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13 In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, main
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14 niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa main
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15 is the svara (niṣāda) from which this jāti derives its name. main
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16 (215) annotation_inline
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17 In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves main
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18 are the apanyāsas, adding niṣāda and omitting gāndhāra. main
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19 (216) annotation_inline
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20 Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this main
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21 (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. main
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22 there is no omission). main
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23 (217) annotation_inline
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24 Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as main
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25 amśas, sadja and dhaivata should be known as two apanyāsas. main
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26 (218) annotation_inline
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27 It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid main
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28 also of pañcama. There is the abundance of mandra gandhara and madhyama main
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29 is the <i>nyāsa</i>. main
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30 (219) annotation_inline
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31 Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras main
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32 from which it derives its name (viz. şadja and madhyama). Nişāda and main
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33 gāndhāra are the two svaras that bring about hīnatva (the state of being bereft main
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34 i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, main
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35 gāndhāra, its audava form). main
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36 (220) annotation_inline
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37 The sañcara (to and fro movement of svaras) is left to one's will, it has to main
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38 be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the main
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39 remaining (eleven) are the jātis of madhyama (grāma). main
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40 (221) main
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224 lignes a valider — change uniquement les roles incorrects.