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)	—

5 demi-pages random (seed 20624). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p064 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	110	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	[अनु॰ १९३]	section_header via surya_layout
4	अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य	main via surya_layout
5	ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां	main via surya_layout
6	संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:।	main via surya_layout
7	वास्य	annotation_inline parent ligne 6 via heuristic_height
8	षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला ।	main via surya_layout
9	स्वरपदगीते चच्चत्पुटादितालः।	main via surya_layout
10	[३. मालवपञ्चम:]	section_header via surya_layout
11	पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:।	main via surya_layout
12	स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥	main via surya_layout
13	[अन्॰ १९४]	section_header via surya_layout
14	अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो	main via surya_layout
15	ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे	main via surya_layout
16	कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः ।	main via surya_layout
17	प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:।	main via surya_layout
18	[४. वेसरपाडव:]	section_header via surya_layout
19	मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा ।	main via surya_layout
20	अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥	main via surya_layout
21	[अनु॰ १९५]	section_header via surya_layout
22	अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो	main via surya_layout
23	न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे	main via surya_layout
24	(गान्धारनिपादयोरल्पत्वम्)	annotation_inline parent ligne 23 via heuristic_height
25	चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: ।	main via surya_layout
26	दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
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 parent ligne 26 via heuristic_height

vol_II_p161 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	٠	page_number via heuristic_pagenum
2	<b>VIMARŚA</b>	page_header via surya_layout
3	305	page_number via heuristic_pagenum
4	central part of present Madhya Pradesh. The special preference for Mālavā	main via surya_layout
5	requires further investigation.	annotation_inline parent ligne 4 via heuristic_height
6	29. The word gamaka is used here in the sense of vocal embellishments	list_item via surya_layout
7	including shakes; it is not restricted to shake.	list_item via surya_layout
8	30. See note 22.	list_item via surya_layout
9	31. Each grāmarāga is said to be born of one or more jātis.	list_item via surya_layout
10	32. Pūrvaranga has been described in NS IV and V; it embodies	list_item via surya_layout
11	instrumental rendering, song, dance, dialogue etc. presented as a preliminary	list_item via surya_layout
12	to drama. It has both ritualistic and psychological value as it ensures the	list_item via surya_layout
13	success of drama by propitiating the gods and prepares the audience for	list_item via surya_layout
14	being receptive to drama.	list_item via surya_layout
15	33. Kākalī and antara are always prescribed to be sparse, but here only	list_item via surya_layout
16	the sparseness of gandhara is prescribed, although both antara and kakali are	list_item via surya_layout
17	present. It could be construed that gandhara stands for the original	list_item via surya_layout
18	gāndhāra and not antara. See note 91.	list_item via surya_layout
19	•	annotation_inline parent ligne 18 via heuristic_height
20	34,35. The prescription of a specific varņa and alankāra in a rāga is	list_item via surya_layout
21	not easy to comprehend. It could only be surmised that the peculiar form	list_item via surya_layout
22	of a raga in some cases becomes manifest in ascent, in other cases in descent	list_item via surya_layout
23	and similarly a specific alankāra could be assigned to a rāga on account of	list_item via surya_layout
24	having a special role in establishing the same.	list_item via surya_layout
25	36. Mārga literally means path; it stands for the span of a tāla. NŠ	list_item via surya_layout
26	describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti	list_item via surya_layout
27	being its double and dakṣiṇa again being its double. Our text describes two	list_item via surya_layout
28	additional mārgas viz. dhruva being half of the length of citra and śūnya	list_item via surya_layout
29	being half of dhruva. (See Vol.I. Anu.113)	list_item via surya_layout
30	37. Kalā has many meanings; the main ones are-firstly, the time-unit	list_item via surya_layout
31	that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in	list_item via surya_layout
32	tāla, sounded or unsounded and thirdly, the unsounded action. Here the	list_item via surya_layout
33	first meaning is relevant because the length of kalā depends on the mārga in	list_item via surya_layout
34	use at a given time.	list_item via surya_layout
35	38. Caccatpuța is the first among the five tālas described in NŠ XXXI.	list_item via surya_layout
36	This is the only caturasra (lit. square) tala, being composed of four kalas or	list_item via surya_layout
37	eight mātrās.	list_item via surya_layout
38	39. Garbha-sandhi is the third among the five sandhis or junctures in	list_item via surya_layout
39	drama described in NŚ XIX; the first two being mukha and pratimukha and	list_item via surya_layout
40	the last two being vimarsa and nirvahana. Garbha literally means 'womb',	list_item via surya_layout
41	the inside or interior of something. In drama garbha-sandhi stands for that	list_item via surya_layout
42	juncture where the 'sprouting' of the 'seed' has taken place, but the fruit	list_item via surya_layout
43	is still enshrouded in the 'garbha'.	list_item via surya_layout
44	40. Our text does not uphold the relationship of any raga to both the	list_item via surya_layout
45	grāmas; the decision always rests with the interval of pañcama, if it is	list_item via surya_layout
46	composed of four śrutis, then relationship with ṣadjagrāma is confirmed and	list_item via surya_layout

vol_I_p084 RIGHT — 51 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	Ė	annotation_inline parent ligne 6 via heuristic_height
3	151	page_number via heuristic_pagenum
4	VIMARŚA	page_header via surya_layout
5	ì	annotation_inline parent ligne 6 via heuristic_height
6	2. Gita (lit. song or the act of singing) stands for the melodic aspect of	main via surya_layout
7	music which is rendered through the voice or stringed and wind instruments.	main via surya_layout
8	BṛD does not mention vādya along with gīta here, nor in verse 14 where desī	main via surya_layout
9	music is defined as 'that which is sung.' Since voice sets the model followed by	main via surya_layout
10	stringed and wind instruments, gita is the word for the melodic aspect of music	main via surya_layout
11	and the content of the above instruments is included in it. This extension of the	main via surya_layout
12	meaning of gita gets established when the word vādya is juxtaposed with it,	main via surya_layout
13	because in that case vādya gets restricted to drums. But here, in absence of that	main via surya_layout
14	juxtaposition, gita would acquire a further extension by way of also including	main via surya_layout
15	vādya in its orbit. Hence gīta stands here for the totality of music. It is notable	main via surya_layout
16	that gita is followed by svara in this verse. This looks like a repetition because	main via surya_layout
17	svara is the main constituent of gita. This could be construed as an emphasis on	main via surya_layout
18	'svara' through an independent reference to it.	main via surya_layout
19	3. Nrtta generally stands for pure dance where the delineation of artha	main via surya_layout
20	(meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263).	main via surya_layout
21	Nṛtta is dependent on nāda, because it has to be accompanied on instruments,	main via surya_layout
22	specially drums.	annotation_inline parent ligne 21 via heuristic_height
23	4. The statement that the world is made up of nāda seems to be somewhat	main via surya_layout
24	out of place here, because the context is that of nada being the essence of	main via surya_layout
25	music and dance. But if one recalls the exposition of the order of manifestation	main via surya_layout
26	or formation of gandharva beginning from bindu and moving forward through	main via surya_layout
27	nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its	main via surya_layout
28	auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva)	main via surya_layout
29	incorporates all the stages upto gandharva and hence the fundamental nature	main via surya_layout
30	of nāda as established in gīta could be logically extended to the 'world' because	main via surya_layout
31	the world or phenomenon itself is a manifestation of nāda through the above	main via surya_layout
32	stages. SR expresses the same idea in the following manner -	main via surya_layout
33	"Nāda manifests the letters ( of alphabet ), letters constitute the word and	main via surya_layout
34	words make a sentence; so, the entire business of life is carried on through	main via surya_layout
35	language and therefore, the whole phenomenon (i.e. the world) is based on	main via surya_layout
36	nāda". (SR1, 2.2)	annotation_inline parent ligne 35 via heuristic_height
37	Just as SR has related the business of life with nāda through verbal	main via surya_layout
38	communication that is based on the same, BrD has used gita in an extended	main via surya_layout
39	meaning, including in it all the manifestations of nada and has expounded nada	main via surya_layout
40	to be the essence of the whole world.	annotation_inline parent ligne 39 via heuristic_height
41	It would be interesting to note here that S R also speaks of nāda being the	main via surya_layout
42	essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in	main via surya_layout
43	that context.	annotation_inline parent ligne 42 via heuristic_height
44	"Nāda is the very essence of vocal music, instrumental music is enjoyable as	main via surya_layout
45	it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental	main via surya_layout
46	music); therefore, all the three together depend on nāda". (SRI, 2.1)	main via surya_layout
47	5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva	main via surya_layout
48	(three gods), representing three aspects of the manifestation of the Ultimate	main via surya_layout
49	Reality into the phenomenon of the universe, viz. creation, preservation and	main via surya_layout
50	destruction. Although the three of them occur in Vedic literature, yet the idea	main via surya_layout
51	(vide)	annotation_inline parent ligne 50 via heuristic_height

vol_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_II_p118 LEFT — 26 lignes

L#	Texte OCR	Role auto
1	3	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	218	page_number via heuristic_pagenum
4	[२६. कलहंस:]	section_header via surya_layout
5	एकं पादं पुरो गीत्वा गीयन्ते च स्वरास्तत:।	main via surya_layout
6	झम्पादितालसंयुक्त: स भवेत् कलहंसक:<sup>२३</sup>॥४०७॥	main via surya_layout
7	[ २७. घट:]	section_header via surya_layout
8	यत्रार्धं तेनकोपेतं द्विपदीवद् भवेद् घट:<sup>२४</sup>॥४०८॥	main via surya_layout
9	तेन्तकोपेत	annotation_inline parent ligne 8 via heuristic_height
10	भवेद्धल:	annotation_inline parent ligne 8 via heuristic_height
11	[२८. चक्रवाल:]	section_header via surya_layout
12	पदमन्त्यं गृहीत्वा तु यमकस्थितिभूषित: ।	main via surya_layout
13	आवृत्या गीयते योऽसौ चक्रवालः प्रकीर्तितः १५॥ ४०९॥	main via surya_layout
14	[२९. त्रिपदी, षट्पदी वा]	section_header via surya_layout
15	तालेन येन केनापि बिरुदै: केवलैरपि।	main via surya_layout
16	बिरुतै:	annotation_inline parent ligne 15 via heuristic_height
17	यद्यदापि [?] तथाभूता या[ऽऽ]वृत्त्या गीयते द्विधा ॥ ४१०॥	editorial_bracket parent ligne 15 via heuristic_brackets
18	[३०. बन्धकरणम् ]	section_header via surya_layout
19	तालेन करणेनैव स्वरै: समुरजाक्षरै:।	main via surya_layout
20	गन्धर्वेर्गीयते यतु तद् बन्धकरणं पुनः १६॥ ४११॥	main via surya_layout
21	[३१. पाटकरणम् ]	section_header via surya_layout
22	पाटाख्यं करणं प्रोक्तं हस्तपाटस्वरान्वितम् ॥ ४१२॥	main via surya_layout
23	पादा॰	annotation_inline parent ligne 22 via heuristic_markers
24	[३२. कैवाट:]	section_header via surya_layout
25	अक्षरैर्गीयते सम्यक् पाटैरेव हि केवलै:।	main via surya_layout
26	कैवाट इति स ज्ञेयो गन्धर्वेस्तालसंयुतः १७॥४१३॥	main via surya_layout

216 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p064 LEFT — 27 lignes

vol_II_p161 RIGHT — 46 lignes

vol_I_p084 RIGHT — 51 lignes

vol_I_p104 RIGHT — 66 lignes

vol_II_p118 LEFT — 26 lignes