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_p157 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	297	page_number via heuristic_pagenum
3	35. Lack of regulation i.e. scope for free will in rendering is a	main via surya_layout
4	characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps,	main via surya_layout
5	stand for 'aural appearance'.	main via surya_layout
6	36. See citation in the name of Nărada under Anu. 28 in chapter one	list_item via surya_layout
7	of our text Vol. I. 'Svarāntara' literally means a different svara; its relation	list_item via surya_layout
8	with the number four of svaras could thus be explained. The first three svaras	list_item via surya_layout
9	are repeated as the last three of a heptad. The fourth known as madhyama	list_item via surya_layout
10	comes in-between these two triads. Hence the fourth adds a 'different or	list_item via surya_layout
11	new svara'. This could be the reason for giving the name svarantara to a	list_item via surya_layout
12	group of four svaras. This name is relevant only for the first triad + the	list_item via surya_layout
13	fourth, but its secondary application could be related to any group of four	list_item via surya_layout
14	svaras.	list_item via surya_layout
15	37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157,	list_item via surya_layout
16	158 of the supplement (variant reading) to the said chapter. The description	list_item via surya_layout
17	' (in terms of upohana or introductory portion and metre) is given below -	list_item via surya_layout
18	"Five dhruvās should be performed in Pūrvaranga (preliminaries of	main via surya_layout
19	drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and	main via surya_layout
20	<i>vikşiptă”</i> (p. 251).	annotation_inline parent ligne 19 via heuristic_height
21	"The upohana in avakṛṣṭā dhruvā should be done in five kalās (time-	main via surya_layout
22	units) with the syllabic units dingle dingle, two units of four short syllables	main via surya_layout
23	each and jhantum in the end. Each foot of the dhruva is composed of sixteen	main via surya_layout
24	syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru	main via surya_layout
25	(long) and the rest being laghu (short)." The illustration is as follows-	main via surya_layout
26	Varadam saganam tripurāntakam vṛṣabhaketum/	main via surya_layout
27	Gajacarmapaṭamviṣamekṣaṇambhuvananātham/	main via surya_layout
28	Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/	main via surya_layout
29	Praṇato'smi bhavantamumāpatim tvasitakantham/	main via surya_layout
30	38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding	main via surya_layout
31	verse 74 and in verse 75). The context is the same as that in our text, viz.	main via surya_layout
32	alpatva-bahutva. The manipulation of sparseness and abundance of svaras	main via surya_layout
33	in jātis on account of which a non-amsa svara also becomes abundant in a	main via surya_layout
34	special context is antara-mārga.	main via surya_layout
35	The literal meaning of this word is 'search for the inner path'. The root	main via surya_layout
36	'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search	main via surya_layout
37	of the inner is antara-marga. What is this inner? This has to be understood	main via surya_layout
38	in two ways. The first is in relation to the seven jātis named after svaras, which	main via surya_layout
39	assume a two-fold form viz. śuddha and vikṛta. The second is in the context	main via surya_layout
40	of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above	main via surya_layout

vol_I_p010 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	(朝:)	page_header via surya_layout
2	श्रीमतङ्गमुनिप्रणीता	section_header via surya_layout
3	बृहद्देशी	section_header via surya_layout
4	प्रथमोऽध्यायः	table via surya_layout
5	[देशी-प्रकरणम्]	table via surya_layout
6	..............	table via surya_layout
7	---------------------------------------	table via surya_layout
8	- 11	table via surya_layout
9	[ तत्र ध्वनेर्देशीत्वम् ]	table via surya_layout
10	[ मतङ्ग उवाच ]	table via surya_layout
11	नानाविधेषु देशेषु जन्तूनां सुखदो भवेत्	table via surya_layout
12	- 1	table via surya_layout
13	ततः प्रभृति लोकानां नरेन्द्राणां यदृच्छया ॥१॥	table via surya_layout
14	देशे देशे प्रवृत्तोऽसौ ध्वनिर्देशीति संज्ञितः ।	table via surya_layout
15	[ ग्रन्थकृत्वचनम् ]	table via surya_layout
16	मतङ्गस्य वचः श्रुत्वा नारदो मुनिरब्रवीत् ॥२॥	table via surya_layout
17	[ नारद उवाच ]	table via surya_layout
18	ननु ध्वनेस्तु देशीत्वं कथं जातं महामुने ।	table via surya_layout
19	अमूर्तत्वाच्च तस्येति सत्यं मे वक्तुमर्हसि ॥३॥	table via surya_layout
20	2 तेषां हि इति	table via surya_layout
21	मतङ्ग उवाच	table via surya_layout
22	यथादेशानुभूतत्वाद् ध्वनेः स्थानानुगत्वतः ॥४॥	table via surya_layout
23	<sup>3</sup> ₀नुभूतदेशाञ्च	table via surya_layout
24	³<sub>०</sub>गादपि	table via surya_layout
25	---------------------------------------	table via surya_layout
26	11	page_number via heuristic_pagenum
27	-------	table via surya_layout
28	ततो बिन्दुस्ततो नादस्ततो मात्रास्त्वनुक्रमात् ॥५॥	table via surya_layout
29	वर्णास्तु मातृकोद्भूता मातृका द्विविधा मताः ।	table via surya_layout
30	स्वर-व्यञ्जनरूपेण जगज्ज्योतिरिहोच्यते ॥६॥	table via surya_layout
31	इ्वर्यते देशभाषायां कादिक्षान्तं यथाविधि ।	table via surya_layout
32	५ यामादि,	table via surya_layout
33	तेन स्वराः समाख्याता अन्ये षड्जादयः स्वराः ॥७॥	table via surya_layout

vol_II_p166 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	315	page_number via heuristic_pagenum
3	a bhāṣā is something that deserves special notice.	main via surya_layout
4	31. 'Pārvatī' is associated with parvata or mountains; whether or not	main via surya_layout
5	a particular mountainous region is implied, is hard to confirm. "Parvata is	main via surya_layout
6	1. a country in the Panjab to the north-west of Multan between the Ravi and	main via surya_layout
7	Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether	main via surya_layout
8	the mountains in general or a particular mountainous region or either of	main via surya_layout
9	the two identifications cited above is intended.	main via surya_layout
10	Chapter V	section_header via surya_layout
11	(Desī rāgas)	section_header via surya_layout
12	1. This verse bears a distinct stamp of the Tantric stream and is	list_item via surya_layout
13	significant on account of being placed in the beginning of the chapter on	list_item via surya_layout
14	desī rāgas. It could be conjectured on the evidence of this verse and on other	list_item via surya_layout
15	evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III).	list_item via surya_layout
16	2. Deśī rāgas are contradistinct to grāmarāgas.	list_item via surya_layout
17	3. Reference to laksya in the context of desi rāgas points to the fact that	list_item via surya_layout
18	they must have been in vogue in the author's time.	list_item via surya_layout
19	4. The citation in the name of Matanga given by Kalli, in his	list_item via surya_layout
20	commentary on SR II.2.1. also mentions these three types of desī-rāgas, but	list_item via surya_layout
21	Sārngadeva has added a fourth category named upānga.	list_item via surya_layout
22	5. 'Chāyā' is subtle similarity.	list_item via surya_layout
23	6. The special mention of panegyric in the context of bhāṣāṅga rāgas	list_item via surya_layout
24	is worth noticing.	list_item via surya_layout
25	7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā.	list_item via surya_layout
26	8. 'Kriyā' seems to stand for expressive rendering.	list_item via surya_layout
27	9. Karuņā and utsāha are two pervasive names that symbolise mādhurya	list_item via surya_layout
28	and ojas respectively (See Vol. III).	list_item via surya_layout
29	10. The text is mutilated at this point and a small portion on bhāṣāṅga	list_item via surya_layout
30	rāgas seems to have survived.	list_item via surya_layout
31	11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was	list_item via surya_layout
32	called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal	list_item via surya_layout
33	De).	list_item via surya_layout
34	12. Māngalī has been described as a bhāṣā in the preceding section.	list_item via surya_layout
35	13. Bhammāṇa is not known as a region.	list_item via surya_layout
36	14. 'Pulindikā' refers directly to the ethnic group known as the	list_item via surya_layout
37	pulindas.	list_item via surya_layout
38	15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj	list_item via surya_layout
39	II.2.3.203, but is said to be out of vogue and is not, therefore, described.	list_item via surya_layout
40	16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are	list_item via surya_layout
41	different.	list_item via surya_layout

vol_I_p070 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	123	page_number via heuristic_pagenum
3	<b>TRANSLATION</b>	page_header via surya_layout
4	Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side	main via surya_layout
5	of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the	main via surya_layout
6	performer), and vartini is moved downwards, visarjitā is moved outwards	main via surya_layout
7	(farther from the performer), vikşiptā is curved26 or bent, and patākā moves	main via surya_layout
8	(179, 180)	annotation_inline parent ligne 7 via heuristic_height
9	upwards, (and) patită reaches (touches) the ground.	main via surya_layout
10	Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next	main via surya_layout
11	two viz. kṛṣṇā and padmini27 are also (used).	main via surya_layout
12	In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used).	main via surya_layout
13	(181)	annotation_inline parent ligne 12 via heuristic_height
14	(Anu. 108)	annotation_inline parent ligne 12 via heuristic_height
15	Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the	main via surya_layout
16	predominance of 'song' (melody, of both 'song' and instrument)29 and of	main via surya_layout
17	instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti,	main via surya_layout
18	having the predominance of both is vitti vitti, (and) having the predominance	main via surya_layout
19	of instrument is citrā vṛtti.	main via surya_layout
20	(Anu. 109)	annotation_inline parent ligne 19 via heuristic_height
21	Now he (the author) explains the changing<sup>50</sup> predominance (of different	main via surya_layout
22	temporal components in vittis) brought about by pāņi.51 It has been said —	main via surya_layout
23	The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become	main via surya_layout
24	manifestors35 (rather manifest) according to their own (form) in these (vyttis).	main via surya_layout
25	In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti	main via surya_layout
26	and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati,	main via surya_layout
27	madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly,	main via surya_layout
28	in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya,	main via surya_layout
29	avapāņi,46 pṛthulā gīti and tattya is the limb.	main via surya_layout
30	(Anu. 110)	annotation_inline parent ligne 29 via heuristic_height
31	The vādya (presentation on instruments) should be done with sama, atīta	main via surya_layout
32	and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti	main via surya_layout
33	(vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination	main via surya_layout
34	110	page_number via heuristic_pagenum

vol_II_p059 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	101	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 180]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-leaving the other jāti and taking up its own root i.e. bedecked	main via surya_layout
5	with its own jāti and kula (is formed the śuddhabhinna).54	main via surya_layout
6	[4. Bhinnakaisika]	section_header via surya_layout
7	[Anu. 181]	editorial_bracket parent ligne 6 via heuristic_brackets
8	The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika.	main via surya_layout
9	What is then the difference? The difference is formed by gīti. Śuddhakaiśika	main via surya_layout
10	is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung	main via surya_layout
11	This is being said -	annotation_inline parent ligne 10 via heuristic_height
12	The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in	main via surya_layout
13	śuddhakaiśika, the rāga is not elaborated with the same svasthāna in	main via surya_layout
14	bhinnakaisika. And its description is thus -	main via surya_layout
15	Bhinnakaiśika is known by the knowledgeable ones in svara to have a form	main via surya_layout
16	similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa	main via surya_layout
17	(and) is complete with the seven svaras.	main via surya_layout
18	(311)	annotation_inline parent ligne 17 via heuristic_height
19	[Anu. 182]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means - bhinnakaiśika is related to madhyamagrāma on account of being	main via surya_layout
21	born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the	main via surya_layout
22	nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like	main via surya_layout
23	śuddhakaiśika, yet there is a difference. This has abundance of mandra (low	main via surya_layout
24	notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in	main via surya_layout
25	śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that	main via surya_layout
26	svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and	main via surya_layout
27	thus it becomes distinct on account of difference in form. Its application is	main via surya_layout
28	prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas.	main via surya_layout
29	The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is	main via surya_layout
30	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
31	vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains	main via surya_layout
32	in the songs comprised of svara and pada.	main via surya_layout
33	(Śruti-bhinna)	section_header via surya_layout
34	Now he (the author) has spoken of the definition of śruti-bhinna -	main via surya_layout
35	Where the svara comprised of four śrutis is modified by the one comprised of two	main via surya_layout
36	śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.	main via surya_layout
37	(312)	annotation_inline parent ligne 36 via heuristic_height

Legende des roles

vol_II_p157 RIGHT — 40 lignes

vol_I_p010 LEFT — 33 lignes

vol_II_p166 RIGHT — 41 lignes

vol_I_p070 RIGHT — 34 lignes

vol_II_p059 RIGHT — 37 lignes