Calibration 2g.6

Role	Definition	Exemple Brihaddesi
main	Vers principal du texte (le contenu canonique de l'ouvrage)	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inline	Commentaire interligne en petits caracteres (variante manuscrite, glose)	मत्सरी / अङ्धी / ₹क
editorial_bracket	Ajout editorial entre crochets [...] OU note avec marqueur ° / ॰	[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnote	Note de bas de page (au bas de la page, separee du texte)	<sup>१३५</sup>षाडवा:
page_header	En-tete de page (titre du livre, en haut)	BRHADDESI
page_footer	Pied de page (texte au bas, sous le contenu)	(texte de pied de page)
page_number	Juste le numero de page, isole (en haut ou en bas)	181 / 70 / 46
section_header	Titre d'une section ou sous-section dans la page	[२. आर्षभी]
caption	Legende d'une figure ou tableau	Fig. 1 : svaramaṇḍala
list_item	Item d'une liste enumere	1. ... 2. ... 3. ...
table	Ligne d'un tableau de donnees	(colonnes alignees)
verse_number	Numero de verset isole (souvent entre dandas)	॥१९०॥ / ॥७८॥
unknown	Non classe (l'algo n'a pas su decider)	—

vol_II_p057 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	96	page_number via heuristic_pagenum
3	[१. भिन्नषड्जः]	section_header via surya_layout
4	धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः ।	main via surya_layout
5	षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥	main via surya_layout
6	(जमा?जातो)	annotation_inline parent ligne 5 via heuristic_height
7	[अनुः १७५]	editorial_bracket parent ligne 5 via heuristic_brackets
8	[अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो	editorial_bracket parent ligne 5 via heuristic_brackets
9	ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ।	main via surya_layout
10	सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य	main via surya_layout
11	विजातीयो निरणानियृत्तस्य (?)	annotation_inline parent ligne 10 via heuristic_height
12	विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः ।	main via surya_layout
13	दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
14	[२.भिन्नपञ्चमः]	section_header via surya_layout
15	[अन्॰ १७६]	editorial_bracket parent ligne 14 via heuristic_brackets
16	.असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा -	main via surya_layout
17	शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः।	main via surya_layout
18	स्वर(न्ग्रे?ई)	annotation_inline parent ligne 17 via heuristic_short
19	धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥	main via surya_layout
20	[अन्॰ १७७]	editorial_bracket parent ligne 19 via heuristic_brackets
21	अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात्	main via surya_layout
22	पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰	annotation_inline parent ligne 21 via heuristic_markers
23	ण्या(म)	annotation_inline parent ligne 21 via heuristic_height
24	भिन्न(सं?)पञ्चमो	annotation_inline parent ligne 21 via heuristic_height
25	ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण-	main via surya_layout
26	श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः ।	main via surya_layout
27	प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः ।	main via surya_layout

vol_II_p094 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	171	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Combined with dhaivata as the initial and concluding note, complete,	main via surya_layout
4	delightful to the people, having concert between dhaivata - niṣāda and ṣadja-	main via surya_layout
5	gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full	main via surya_layout
6	of rasa and is also dear to the deity. 50 In performance, it is characterised	main via surya_layout
7	by smoothness and continuity by the singers bedecked with svaras.	main via surya_layout
8	<math>(111-112)</math>	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā	main via surya_layout
10	dhādhārisāmādhānidhādhā. Bāṅgālī [vi]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having madhyama as amśa, dhaivata as the concluding note, being weak in	main via surya_layout
12	pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja-	main via surya_layout
13	gāndhāra, saindhavī has been known to be born of the Sindhu region and to	main via surya_layout
14	bear a regional name.	main via surya_layout
15	(113)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā	main via surya_layout
17	māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā	main via surya_layout
18	mādhādhādhā. Saindhavī [vii]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is	main via surya_layout
20	comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in	main via surya_layout
21	niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is	main via surya_layout
22	beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga).	main via surya_layout
23	<math>(114-115)</math>	annotation_inline parent ligne 22 via heuristic_height
24	Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā	main via surya_layout
25	dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama	main via surya_layout
27	being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja-	main via surya_layout
28	dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known	main via surya_layout
29	as pulindikā, is pentatonic and subsists in (bhinna) sadja.54	main via surya_layout
30	<math>(116-117)</math>	annotation_inline parent ligne 29 via heuristic_height

vol_II_p163 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	page_header via surya_layout
2	309	page_number via heuristic_pagenum
3	85. The gandhara and that too antara becomes the dhaivata of	list_item via surya_layout
4	madhyamagrāma. Perhaps this phenomenon is being indicated here.	list_item via surya_layout
5	86,87. Adbhuta and hasya on the one hand and karuna on the other	list_item via surya_layout
6	are incompatible.	list_item via surya_layout
7	88. The freedom of the performer is being indicated here.	list_item via surya_layout
8	89,90,91. The situations mentioned under viniyoga and the rasa vīra	list_item via surya_layout
9	are perfectly compatible.	list_item via surya_layout
10	92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.	list_item via surya_layout
11	93. The indication of murchana finds place in the description of jatis	list_item via surya_layout
12	for the first time. No rule is prescribed for assigning a particular mūrchanā to	list_item via surya_layout
13	a given jāti. Here it is said that the mūrchanā of jāti is known from the	list_item via surya_layout
14	'statements of authorities', which implies that there is no prescribed rule.	list_item via surya_layout
15	94. The import seems to be that the amsa that is predominant among	list_item via surya_layout
16	amsas (in the case of jātis with more than one amsa) determines the mūrchanā	list_item via surya_layout
17	of a <i>jāti</i>.	list_item via surya_layout
18	95. The four components of gita have been enumerated as svara, pada,	list_item via surya_layout
19	tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).	list_item via surya_layout
20	96. Dhruvāis a metrical text that is performed in pūrvaranga, where the	list_item via surya_layout
21	compositions in Sanskrit or in prescribed non-lexical syllables are used. The	list_item via surya_layout
22	dhruvā performed within the drama is invariably in Prākṛta and provides a	list_item via surya_layout
23	figurative and poetic commentary on the happenings in the drama. NS	list_item via surya_layout
24	XXXII gives numerous illustrations of <i>dhruvā</i> texts.	list_item via surya_layout
25	97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,	list_item via surya_layout
26	prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.	list_item via surya_layout
27	98. Prastāvanā(lit.introduction) is twofold, one occurring in the end	list_item via surya_layout
28	of the Pūrvaranga and the other in the beginning of the play immediately after	list_item via surya_layout
29	nāndī i.e. one is composed by the sūtradhāra known as director and the other	list_item via surya_layout
30	by the poet called playwright to-day.	list_item via surya_layout
31	99. Mukha and pratimukha are the first two among the five sandhis or	list_item via surya_layout
32	junctures of drama.	list_item via surya_layout
33	100,101. Garbha is the third sandhi and avamarsa (another name for	list_item via surya_layout
34	vimarsa) is the fourth one.	list_item via surya_layout
35	Chapter IV	section_header via surya_layout
36	(The description of bhāṣās)	section_header via surya_layout
37	[ A. Bhāṣās according to Yāṣṭika ]	section_header via surya_layout
38	1. This whole portion on bhāṣās according to Yāṣṭika seems to form	main via surya_layout
39	part of an independent text. We have retained it in our reconstructed text	main via surya_layout
40	as it embodies very valuable material, but we have numbered its verses	main via surya_layout

vol_II_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_I_p031 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	45	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	(That which) reaches the heart quickly from the other (svara) is known as	main via surya_layout
4	rṣabha. Just as the big bull seated (or standing) among the female gos (cows)	main via surya_layout
5	looks splendid, similar is this svara ṛṣabha 54 born in the svara-grāma (gamut).	main via surya_layout
6	(56, 57 ab)	annotation_inline parent ligne 5 via heuristic_height
7	That which holds the ganatmika vak (musical vak) is named as gandhara.55	main via surya_layout
8	<math>(57 \text{ cd})</math>	annotation_inline parent ligne 7 via heuristic_height
9	Madhyama svara is known to be so because of being the middle one among	main via surya_layout
10	svaras.56 Pañcama is that which measures the elaboration of svaras.57 (58)	main via surya_layout
11	Or, it is pañcama (fifth) in number in the order of pāṭha (lit. reading aloud	main via surya_layout
12	or recitation, here enumeration). Dhīvān is one who has got dhī (buddhi,	main via surya_layout
13	intellect), the one related to him (dhivan) is dhaivata.58	main via surya_layout
14	(59)	annotation_inline parent ligne 13 via heuristic_height
15	Or	annotation_inline parent ligne 13 via heuristic_height
16	It is known as dhaivata because it is held on the sixth sthana (location).	main via surya_layout
17	(60 ab)	annotation_inline parent ligne 16 via heuristic_height
18	The place of dhaivata is in the lalāţa (forehead), this is the meaning.59	main via surya_layout
19	Niṣāda is known as such because all the svaras rest upon it.60	main via surya_layout
20	<math>(60 \text{ cd})</math>	annotation_inline parent ligne 19 via heuristic_height
21	(Anu. 29)	annotation_inline parent ligne 19 via heuristic_height
22	But why is the rule that there are (only) seven svaras? It is being said	main via surya_layout
23	(answered) - (This rule is there) in the same way as (in the human body) seven	main via surya_layout
24	dhātus alone beginning with rasa61 are to be accepted in accordance with their	main via surya_layout
25	being dependent on seven dhātus62 (minerals). Similarly said Suśruta -	main via surya_layout
26	Tvak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen,	main via surya_layout
27	these are dhātus. Similarly, svaras are only seven on account of being dependent	main via surya_layout
28	on or dwelling in seven cakras 63 or seven dvipas 64 (lit. islands).	main via surya_layout
29	[ The castes of sveres ]	section_header via surya_layout
30	The svaras (comprised of) four śrutis are brāhmaņas,65 the ones (comprised	main via surya_layout
31	of) three śrutis are kṣatriyas,66 the ones with two śrutis should be known as	main via surya_layout
32	(61)	annotation_inline parent ligne 31 via heuristic_height
33	vaisyas 67 and the antara-svaras are śūdras.68	main via surya_layout
34	[ The drawing out of svara signs as contained in agama ]	editorial_bracket parent ligne 33 via heuristic_brackets
35	Having acquired the eight groups beginning with akara and ending with	main via surya_layout
36	ya-śa, one should draw out70 the heptad of svaras (their abbreviated names i.e.	main via surya_layout
37	solfa-syllables) combined with letters and mātrās (vowel-endings).	main via surya_layout
38	(62)	annotation_inline parent ligne 37 via heuristic_height

Legende des roles

vol_II_p057 LEFT — 27 lignes

vol_II_p094 RIGHT — 30 lignes

vol_II_p163 RIGHT — 40 lignes

vol_II_p057 RIGHT — 37 lignes

vol_I_p031 RIGHT — 38 lignes