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 20686). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p101 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	185	page_number via heuristic_pagenum
2	<b>VIMARŠA</b>	page_header via surya_layout
3	45. In the absence of any notational sign, all the three viz. kampita, kuharita	main via surya_layout
4	and recita are identically illustrated.	main via surya_layout
5	46. Here kalā stands not only for a phrase, but for a component unit of a	main via surya_layout
6	phrase, if sani risa these two are taken to complete a phrase.	main via surya_layout
7	47. The word 'amsa' means the initial note of a phrase and this is a limited	list_item via surya_layout
8	meaning because amsa stands for the fundamental svara of a jāti or rāga which	list_item via surya_layout
9	is a much bigger and much more complex structure.	list_item via surya_layout
10	48. The name tāra-mandra-prasanna is interesting because it uses both mandra	list_item via surya_layout
11	and prasanna which individually stand for 'low'.	unknown via fallback
12	49. The sa belongs to the tāra-sthāna.	list_item via surya_layout
13	50. The second sa here belongs to the tāra-sthāna.	list_item via surya_layout
14	51. The sthāyin varņa spoken of here could be understood only in the sense	list_item via surya_layout
15	that the phrase begins and ends at the same svara all throughout.	list_item via surya_layout
16	52. The sa at the end of the preceding phrase and at the beginning of the	list_item via surya_layout
17	succeeding one belongs to tāra-sthāna.	list_item via surya_layout
18	53. The ascent operates upto nisa and descent starts with sani.	list_item via surya_layout
19	54. Identical with note 52 above.	list_item via surya_layout
20	55. The word sthāyin is used here as a synonym of amsa. BrD is the first	list_item via surya_layout
21	extant text to introduce this word. S R (III, 191, 193) uses it in the decription	list_item via surya_layout
22	of Rāgālapti.	list_item via surya_layout
23	56. Different names for identical forms are also found in abundance in desi	list_item via surya_layout
24	tālas. (cf. deśī-tāla section of SRV)	list_item via surya_layout
25	57. Identical with note 52 above.	list_item via surya_layout
26	58. The word kalā is used here both as a time-unit and a phrase-unit.	list_item via surya_layout
27	59. sa in the beginning of the three phrase-units belongs to tāra-sthāna.	list_item via surya_layout
28	60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would	list_item via surya_layout
29	mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a	list_item via surya_layout
30	mālrā.	list_item via surya_layout
31	61. The sa belongs to tāra-sthāna.	list_item via surya_layout
32	62. Here kalā stands both for a time-unit and phrase because there are eight	list_item via surya_layout
33	phrases and each phrase is of the duration of one kalā (two-mātrā-unit).	list_item via surya_layout
34	63. Identical with note 52 above.	list_item via surya_layout
35	64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of	list_item via surya_layout
36	rāga. That is a kind of gamaka, but here in the description of the alankāra there	list_item via surya_layout
37	is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī	list_item via surya_layout
38	comes in which is hard to comprehend; at the most it could be understood to	list_item via surya_layout
39	¥	unknown via fallback
40	indicate special voice-production similar to ohāţī, which could be identified with	list_item via surya_layout
41	1	page_number via heuristic_pagenum
42	the hudaka of present-day oral tradition of dhrupad which also is associated with	list_item via surya_layout
43	the 'ha' sound (cf. DA I, p. 46).	list_item via surya_layout
44	(vide)	unknown via fallback
45	65,66. Identical with note 52 above.	list_item via surya_layout
46	7	page_number via heuristic_pagenum
47	67. There are twelve phrases in this alankara. From the way they are notated,	list_item via surya_layout
48	the duration of each of them could be taken to be either a kalā composed of	list_item via surya_layout
49	two mātrās or four mātrās, as follows-	list_item via surya_layout

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_p062 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	107	page_number via heuristic_pagenum
3	[Anu. 188]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-gaudakaiśika rāga is related to madhyamagrāma and is born of	main via surya_layout
5	kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa.	main via surya_layout
6	Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On	main via surya_layout
7	account of pañcama being comprised of three śrutis, dhaivata being comprised	main via surya_layout
8	of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born	main via surya_layout
9	of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen	main via surya_layout
10	as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is	main via surya_layout
11	the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa,	main via surya_layout
12	prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā	main via surya_layout
13	obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla	main via surya_layout
14	like caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
15	[3. Gaudakaisikamadhyama]	section_header via surya_layout
16	Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its	main via surya_layout
17	nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras.	main via surya_layout
18	(318)	annotation_inline parent ligne 17 via heuristic_short
19	[Anu. 189]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means – gaudakaišikamadhyama is related to şadjagrāma, on account	main via surya_layout
21	of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama	main via surya_layout
22	is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application	main via surya_layout
23	is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā	main via surya_layout
24	beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the	main via surya_layout
25	alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
26	vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa	main via surya_layout
27	obtains in the songs comprised of svara and pada.	main via surya_layout
28	[The assignment of gaudaragas to gramas]	section_header via surya_layout
29	Now he (the author) has spoken of the assignment of gauda (ragas) to	main via surya_layout
30	grāmas-	annotation_inline parent ligne 29 via heuristic_short
31	Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama.	main via surya_layout
32	Gaudakaisika, on the other hand, is based on madhyamagrāma. The three	main via surya_layout
33	gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining	main via surya_layout
34	to vesarā gīti).	annotation_inline parent ligne 33 via heuristic_short
35	(319)	main via surya_layout
36	(vide)	annotation_inline parent ligne 35 via heuristic_height

vol_I_p035 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	53	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	This has been said—	annotation_inline parent ligne 4 via heuristic_height
4	"Two grāmas named şadja and madhyama are well-known in the world."10	main via surya_layout
5	(Anu. 33)	annotation_inline parent ligne 4 via heuristic_height
6	But why are there only two grāmas? It is being answered; here two grāmas	main via surya_layout
7	have been formulated on account of (musical) performance being rooted in	main via surya_layout
8	the usage of two svaras.11	main via surya_layout
9	"The svaras have attained the state of grāma through jātis and śrutis."12	main via surya_layout
10	(Anu. 34)	annotation_inline parent ligne 9 via heuristic_height
11	"Through the jātis" means through śuddhās and vikṛtās (both types of jātis)	main via surya_layout
12	and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā	main via surya_layout
13	jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and	main via surya_layout
14	diminution and mixing up,15 (these) svaras have attained the state of grāma.	main via surya_layout
15	ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās	main via surya_layout
16	and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is	main via surya_layout
17	born rāga.17 On account of the change 18 of grāma the change in the jāti and	main via surya_layout
18	rāga occurs.	annotation_inline parent ligne 17 via heuristic_height
19	[ Thus ends the treatment of grāma ].	editorial_bracket parent ligne 17 via heuristic_brackets
20	[ The treatment of Mürchanā ]	section_header via surya_layout
21	(Anu. 35)	annotation_inline parent ligne 20 via heuristic_height
22	Now the murchanas that befit the occasion or context are being spoken of.	main via surya_layout
23	But what is the etymology of the word murchana and what is its lakşana	main via surya_layout
24	(definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the	main via surya_layout
25	root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation)	main via surya_layout
26	and samucchrāya 19 (increase, growth).	main via surya_layout
27	That through which raga 20 (colour, delightfulness) grows or increases, is	main via surya_layout
28	(90)	annotation_inline parent ligne 27 via heuristic_height
29	called mūrchanā.	annotation_inline parent ligne 27 via heuristic_height

vol_II_p049 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	81	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[The opinion of Bharata]	section_header via surya_layout
4	"The first one should be known as māgadhī and the second one as	main via surya_layout
5	ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā."	main via surya_layout
6	(NŚ Chau. XXIX. 77)	main via surya_layout
7	[Thus ends the opinion of Bharata]	section_header via surya_layout
8	[The opinion of Yāṣṭika]	section_header via surya_layout
9	Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by	main via surya_layout
10	the noble Yāstika.	annotation_inline parent ligne 9 via heuristic_short
11	(272)	main via surya_layout
12	Thus ends the opinion of Yāṣṭika.	section_header via surya_layout
13	[ The opinion of Kasyapa and Śārdūla]	section_header via surya_layout
14	Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly,	main via surya_layout
15	bhāṣāgīti alone is accepted in the opinion of Śārdūla.	main via surya_layout
16	(273)	main via surya_layout
17	[ The description of gītis]	section_header via surya_layout
18	Now I shall speak of the proper definition of giti.	main via surya_layout
19	(274)	main via surya_layout
20	[1. Šuddhā gīti]	section_header via surya_layout
21	The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra	main via surya_layout
22	(low), amandra (not low, medium), tāra (high)straight, attractive, equal	main via surya_layout
23	svaras and śrutis.	annotation_inline parent ligne 22 via heuristic_short
24	(275)	main via surya_layout
25	[2. Bhinnāgīti]	section_header via surya_layout
26	Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved,	main via surya_layout
27	ullāsita (made to shine upwards), prasārita (spread out), attractive, high and	main via surya_layout
28	low (svaras).	annotation_inline parent ligne 27 via heuristic_short
29	(276)	main via surya_layout

183 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p101 RIGHT — 49 lignes

vol_II_p163 RIGHT — 40 lignes

vol_II_p062 RIGHT — 36 lignes

vol_I_p035 RIGHT — 29 lignes

vol_II_p049 RIGHT — 29 lignes