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 20731). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p093 RIGHT — 44 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	main via surya_layout
2	169	page_number via heuristic_pagenum
3	6, 7. The author seems to be speaking of svara at the same level at which	list_item via surya_layout
4	sabda has been treated as eternal and vibhu (all-pervading) by several systems	list_item via surya_layout
5	of philosophy, e.g. grammar, mimāmsā.	list_item via surya_layout
6	8. The infinity of svara, as propounded here, could be understood in two	list_item via surya_layout
7	layers viz. (i) the infinite melodic combinations and permutations of the seven	list_item via surya_layout
8	svaras (ii) the multi-farious shades of intervals coming into usage on account of	list_item via surya_layout
9	various relationships between svaras established on account of variety of	list_item via surya_layout
10	melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of	list_item via surya_layout
11	melodic configuration and bhāṣā, the derived form of rāga have been	list_item via surya_layout
12	mentioned here for indicating the infinity of variety in melodic phrasing that	list_item via surya_layout
13	brings about the infinity of svara. Raga has been omitted here, but its relevance	list_item via surya_layout
14	could be inferred on the basis of its derivative bhāṣā.	list_item via surya_layout
15	9. The statement that svaras are combined with padas means that syllabic	list_item via surya_layout
16	units are combined with svaras when the latter are rendered. These (units)	list_item via surya_layout
17	could be meaningful linguistic units or non-sensical so far as linguistic meaning	list_item via surya_layout
18	is concerned. Pada has been thus defined by Bharata -	list_item via surya_layout
19	यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् ।	main via surya_layout
20	( NŚ XXXII, 28 ab )	annotation_inline parent ligne 19 via heuristic_short
21	"Whatever is formulated with syllables, all that is called pada".	main via surya_layout
22	Thus meaningfulness is not a condition for pada in music. Tonal rendering	main via surya_layout
23	with the voice is usually combined with syllabic units, e.g. in the ālāpa in	main via surya_layout
24	dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the	main via surya_layout
25	following (and a few more) syllabic units known as padas spoken of by Brahmā	main via surya_layout
26	for nirgita (music devoid of meaningful text, rendered mainly on stringed and	main via surya_layout
27	wind instruments, accompanied by voice )-	main via surya_layout
28	झण्दु जगतिय दिगिनिगि तितिझल कुचझल	main via surya_layout
29	( NŚ XXXI, 104 )	annotation_inline parent ligne 28 via heuristic_short
30	It will be seen that these are formulated units of four-matras (time-units)	main via surya_layout
31	each. If the voice renders svaras without padas (meaningful or non-sensical	main via surya_layout
32	syllabic units) then it is combined with vowels like a, i, u etc. which themselves	main via surya_layout
33	are primary units of pada. Hence the combination of svara with pada is spoken	main via surya_layout
34	of.	main via surya_layout
35	10. In Indian music svaras are not used in a plain or unornamented way;	list_item via surya_layout
36	hence alankāra is mentioned here. The concept of alankāra will be discussed in	list_item via surya_layout
37	the respective section.	list_item via surya_layout
38	11. The prescription of the use of specific svaras in the context of different	list_item via surya_layout
39	rasas dates back to NS. It will be discussed under the reproduction of this	list_item via surya_layout
40	prescription in our text later in this section.	list_item via surya_layout
41	12,13. Pāršyadeva refutes the view that svaras are indestructible and all-	list_item via surya_layout
42	pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in	list_item via surya_layout
43	a limited time and space and not for all times or everywhere, it could not be	list_item via surya_layout
44	said to be indestructible or all-pervading.	list_item via surya_layout

vol_II_p158 RIGHT — 48 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	299	page_number via heuristic_pagenum
3	Sixth or third below	table via surya_layout
4	<b>Gändhāra</b>	table via surya_layout
5	Şadja	table via surya_layout
6	Madhyama	table via surya_layout
7	Fifth or fourth below	table via surya_layout
8	Şadja	table via surya_layout
9	Fourth or fifth below	table via surya_layout
10	Pañcama	table via surya_layout
11	Şadja	table via surya_layout
12	Dhaivata	table via surya_layout
13	Third or sixth below	table via surya_layout
14	Şadja	table via surya_layout
15	It is obvious that when a svara other than sadja becomes the amsa, then	main via surya_layout
16	it will be necessary to search a path for sparseness and abundance. The	main via surya_layout
17	identity of sadjī will establish with this path and with nyasa. The paryayamsas	main via surya_layout
18	of ṣāḍjī also become amsás in many other jātis. In view of this, the distinct	main via surya_layout
19	identity of each jāti cannot be established on the basis of amśa because one	main via surya_layout
20	and the same intervals will obtain in many jātis. Hence, the distinct identity	main via surya_layout
21	of each jāti will depend on sparseness and abundance alone.	main via surya_layout
22	The above is true of the seven jātis bearing svara names. In samsargajā	main via surya_layout
23	vikṛtā jātis, the situation would be all the more complex because they involve	main via surya_layout
24	the mixture of more than one jāti in each case. The sparseness-abundance	main via surya_layout
25	of the jātis that are mixed in a given combination would emerge from time	main via surya_layout
26	to time. This is a more complex form of antara-mārga.	main via surya_layout
27	Abhi adds with regard to antara-mārga that sometimes a non-amśa svara	main via surya_layout
28	also is not sparse. For example, in kārmāravī, gāndhāra has concert (sangati)	main via surya_layout
29	with all svaras and thus, it has profuse usage in antara-mārga.	main via surya_layout
30	The citation from Bharata occurring after Anu. 129 says that nyāsa and	main via surya_layout
31	antara-mārga, the special use of sparseness and abundance, is responsible for	main via surya_layout
32	manifesting the identity of jātis. This statement appears to apply only to	main via surya_layout
33	samsargajā jātis. The weakness (abala) of a sparse svara and the abundance	main via surya_layout
34	of the balavan(strong) svara has also been mentioned in the description of	main via surya_layout
35	sparseness and abundance.	main via surya_layout
36	39. The description of kārmāravī is available only in the interpolated	main via surya_layout
37	portion (from SR) in our text. The line cited here occurs in NS XXVIII. as	main via surya_layout
38	the second half of verse 136. The interpolated portion from SR says -	main via surya_layout
39	"Many(svaras) are said to be non-amsas on account of antara-marga.	main via surya_layout
40	Gāndhāra is excessively abundant......	main via surya_layout
41	(17)	annotation_inline parent ligne 40 via heuristic_short
42	Thus gāndhāra is said to be abundant, inspite of its being non-amśa, on	main via surya_layout
43	account of antaramārga.	main via surya_layout
44	The use of future tense in our text, in relation to the description of	main via surya_layout
45	kārmāravī in NS is apparently somewhat queer, as it befits a commentary on	main via surya_layout
46	NS rather than an independent work. Incidentally, this line of our text	main via surya_layout
47	containing the use of future tense is found in Abhi Bhā on NŚ referred to	main via surya_layout
48	in note 38.	main via surya_layout

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_p005 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	INTRODUCTION	section_header via surya_layout
2	Bṛhaddeśi and more so its Puranic author Matanga Muni have been well	main via surya_layout
3	known in Sangītasāstra for more than one millenium. The text has been	main via surya_layout
4	profusely quoted in texts of Sangītaśāstra upto the 17th century. But for two or	main via surya_layout
5	three centuries it had gone into oblivion. There was no access to it in the	main via surya_layout
6	nineteenth century and the first quarter of the present century, until Pt. K.	main via surya_layout
7	Sāmbaśiva Śāstrī edited and published it in the Anantaśayana Granthāvalī No. 94	main via surya_layout
8	(Trivandrum Sanskrit Series) in 1928. The following excerpts from his	main via surya_layout
9	introduction would throw light on the MSS retrieved by him.	main via surya_layout
10	"I would add, before concluding, that the present work though incomplete	main via surya_layout
11	has been published on account of its rare merit and that the manuscript of this	main via surya_layout
12	work was Travancore's contribution to the exhibition held at the All India	main via surya_layout
13	Conference of Scholars and Artists at Indore in 1921.	main via surya_layout
14	"The edition of the work is based on two palm-leaf manuscripts in Malayalam	main via surya_layout
15	characters obtained from the poonjar Raja, North Travancore. One of these	main via surya_layout
16	manuscripts marked as ka is exceedingly worn out; it is about four centuries old	main via surya_layout
17	and wanting in the first leaf as well as four leaves from the 41st. The other	main via surya_layout
18	manuscript marked as kha is fragmentary, ending with a portion of the	main via surya_layout
19	Jātiprakaraņa*.	annotation_inline parent ligne 18 via heuristic_height
20	"The work ends abruptly saying इदानीं कथियध्यामि बाह्यस्य निर्णयो यथा (p. 154) and so we	main via surya_layout
21	conclude that there are subsequent parts of the text yet to be discovered."	main via surya_layout
22	The text, available to Pt. K. Sāmbaśiva Śāstrī, is incomplete and it has not	main via surya_layout
23	been possible to discover another manuscript in the last seventy years, that	main via surya_layout
24	could accord access to the complete text.	main via surya_layout
25	In 1980 I suggested to my student Sri Anil Bihari Beohar to take up a critical	main via surya_layout
26	study of Brhaddesi including reconstruction of the text on the basis of citations	main via surya_layout
27	or references available in various texts from Abhinava-Bhāratī of Abhinavagupta	main via surya_layout
28	to Rāga-Vibodha of Somanātha. He took up this subject for his doctoral research	main via surya_layout
29	and started collecting and collating citations and references. As his supervisor,	main via surya_layout
30	I continued to struggle and grapple with the problems of reconstruction of the	main via surya_layout
31	text on the basis of the material collected by him, in collation with the	main via surya_layout
32	Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost	main via surya_layout
33	immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira	main via surya_layout
34	Gandhi National Centre for the Arts, New Delhi, conceived the publication of	main via surya_layout
35	a series of Kalāmūlaśāstra (Fundamental Texts on the Arts). It was decided that	main via surya_layout
36	so far as Sangītasāstra was concerned, Dattilam and Brhaddesī should be in the	main via surya_layout
37	first priority.	annotation_inline parent ligne 36 via heuristic_height
38	*We have recorded the reading of these two MSS on the testimony of the editor of the	footnote via surya_layout
39	Trivandrum edition referring to them as MS A and MS B for ka and kha respectively.	footnote via surya_layout

vol_I_p052 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	86	page_number via heuristic_pagenum
3	[ अनु₀ ६५ ]	editorial_bracket parent ligne 5 via heuristic_brackets
4	यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन	editorial_bracket parent ligne 5 via heuristic_brackets
5	निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः ।	main via surya_layout
6	[ अनु₀ ६६ ]	editorial_bracket parent ligne 5 via heuristic_brackets
7	यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते।	main via surya_layout
8	(वं ?)	annotation_inline parent ligne 7 via heuristic_short
9	यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम	main via surya_layout
10	गरि पम	annotation_inline parent ligne 9 via heuristic_height
11	मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा	main via surya_layout
12	इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही।	main via surya_layout
13	अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु।	main via surya_layout
14	स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥	unknown via fallback
15	ब्दे तु	annotation_inline parent ligne 13 via heuristic_height
16	ुन्	annotation_inline parent ligne 13 via heuristic_height
17	पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम	main via surya_layout
18	प्र म्मि	annotation_inline parent ligne 17 via heuristic_height
19	मध्यम	annotation_inline parent ligne 17 via heuristic_height
20	निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर-	main via surya_layout
21	ध्(?) म्र नाद (?)	annotation_inline parent ligne 20 via heuristic_short
22	द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्-	main via surya_layout
23	शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः।	main via surya_layout
24	म्	annotation_inline parent ligne 23 via heuristic_height
25	ुगु	annotation_inline parent ligne 23 via heuristic_height
26	अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5	main via surya_layout
27	[ ना. शा. २९. १७ ]	editorial_bracket parent ligne 26 via heuristic_brackets
28	[ अनु₀ ६७ ]	editorial_bracket parent ligne 26 via heuristic_brackets
29	ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति	main via surya_layout
30	गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य	main via surya_layout
31	निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी	main via surya_layout
32	नी	annotation_inline parent ligne 31 via heuristic_height
33	्ता धध	annotation_inline parent ligne 31 via heuristic_height
34	oर्णा ?	main via surya_layout
35	ুজা	annotation_inline parent ligne 34 via heuristic_height
36	नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि	main via surya_layout
37	नी पधा	annotation_inline parent ligne 36 via heuristic_height
38	पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः—	main via surya_layout

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