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 20746). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_II_p156 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	295	page_number via heuristic_pagenum
3	becoming an adjective of vidhi and the total meaning being 'general rule'.	main via surya_layout
4	Utsarga and apavāda is another pair that is commonly used in Pūrva	main via surya_layout
5	Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga'	main via surya_layout
6	has been used in isolation, the compound utsarga-vidhi being implicit.	main via surya_layout
7	'Vidhi' meaning rule or injunction has been used with the adjective samvādī	main via surya_layout
8	-anuvādī in a compound, meaning the rule pertaining to the samvādin and	main via surya_layout
9	anuvādin svaras.	annotation_inline parent ligne 8 via heuristic_height
10	14. This phrase or piece of notation does not occur in SR in the	list_item via surya_layout
11	prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī.	list_item via surya_layout
12	15. 'Svasthāna' is known to stand for a section of 'ālapti' or	list_item via surya_layout
13	improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here	list_item via surya_layout
14	in jāti which is a prototype of rāga. It is not improbable that our text is using	list_item via surya_layout
15	this word in a different meaning, which could, perhaps, be graha.	list_item via surya_layout
16	16. The purport is that amsa is the regulator of graha, apanyasa,	list_item via surya_layout
17	vinyāsa, samnyāsa and nyāsa on account of being the point of reference both	list_item via surya_layout
18	in intervallic and melodic organisation.	list_item via surya_layout
19	17,18. Gīta is melodic rendering and pada is a unit of text or melody	list_item via surya_layout
20	or text-cum-melody, as the case may be, i.e., gīta could stand for melodic	list_item via surya_layout
21	rendering with or without text and 'pada' could stand for self-contained	list_item via surya_layout
22	units of text (meaningful or otherwise) or of melody or of text-cum-melody.	list_item via surya_layout
23	Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the	list_item via surya_layout
24	pause between one vidārī and another.	list_item via surya_layout
25	19. 'Pāda', literally meaning foot is used both in the context of	list_item via surya_layout
26	textual metre and musical composition.	list_item via surya_layout
27	20. 'Peśī', literally meaning muscle suggests the conception of the	list_item via surya_layout
28	'body' of a musical structure on the model of the human body. SR IV. 12a	list_item via surya_layout
29	speaks of the dhātus (lit. humours) of prabandha that are so called because	list_item via surya_layout
30	of upholding the 'body' of prabandha and again in 13b speaks of the	list_item via surya_layout
31	'prabandha-puruşa' that has six angas or limbs. The word peśī has also been	list_item via surya_layout
32	used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going	list_item via surya_layout
33	much earlier than our text.	list_item via surya_layout
34	21. NS. XXVIII.68, 69 has reading variants in all the editions; the	list_item via surya_layout
35	citation in our text has proximity to c.r. in Kalā. It is notable that the name	list_item via surya_layout
36	of Bharata does not occur in the introduction to the citation.	list_item via surya_layout
37	22. The octave of the amsa is implied here; that is the beginning of	list_item via surya_layout
38	tāra (high).	list_item via surya_layout
39	23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī	list_item via surya_layout
40	in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās'	list_item via surya_layout
41	indicating their tara position.	list_item via surya_layout

vol_I_p061 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	105	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	(Anu. 102)	annotation_inline parent ligne 4 via heuristic_height
4	Like hunkāra one should ascend (with) three solfa syllables without a gap	main via surya_layout
5	(and) in a combined80 (manner), thence two lower svaras (forming two phrase-	main via surya_layout
6	units each) should be made (pronounced) with shake81 and verily in	main via surya_layout
7	combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa,	main via surya_layout
8	because of the combination or formulation of ekakala 83 svaras (forming	main via surya_layout
9	temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani	main via surya_layout
10	dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri,	main via surya_layout
11	(33)	annotation_inline parent ligne 10 via heuristic_height
12	sariga riri sasa. Thus is (ends) gatravarna.	main via surya_layout
13	[ The treatment of Alankaras according to Bharata's opinion ]	section_header via surya_layout
14	I shall now speak of the varnas 84 in which the charming alankāras are	main via surya_layout
15	'seated' (formed), according to the prescription of Bharata.	main via surya_layout
16	(121)	annotation_inline parent ligne 15 via heuristic_height
17	Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama,	main via surya_layout
18	recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras	main via surya_layout
19	(122, 123)	annotation_inline parent ligne 18 via heuristic_short
20	should be known according to their respective definition.	main via surya_layout
21	After this, please understand (the alankāras) born of the sancārin (varņa), as	main via surya_layout
22	they are again and again being described (lit. glorified). Mandratāraprasanna,	main via surya_layout
23	bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita,	main via surya_layout
24	upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of	main via surya_layout
25	<math>(124 - 126)</math>	annotation_inline parent ligne 24 via heuristic_height
26	the sancarin (varna).	annotation_inline parent ligne 24 via heuristic_height
27	Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita,	main via surya_layout
28	hrādamāna, sampradāna, sandhipracchādana, prasannādi and	main via surya_layout
29	prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128)	main via surya_layout

vol_I_p016 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	15	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	"Some who are adept in the knowledge of śrutis, speak of twenty-two śrutis;	main via surya_layout
4	some (speak of them) as being differentiated into sixty-six. Others propound	main via surya_layout
5	their infinity itself."	annotation_inline parent ligne 4 via heuristic_height
6	(Anu. 7)	annotation_inline parent ligne 4 via heuristic_height
7	But then, what is the measure of śruti? It is being explained. Pañcama is	main via surya_layout
8	known as being seated in the two grāmas.19 The difference of that (pañcama)	main via surya_layout
9	through utkarşa 20 (augmentation) and apakarşa 21 (diminution) through	main via surya_layout
10	mārdava 22 (lit. softness) and āyatatva 23 (lit. the state of being stretched or	main via surya_layout
11	extended) is the measure of śruti (lit. śruti is of that measure).	main via surya_layout
12	(Anu. 8)	annotation_inline parent ligne 11 via heuristic_height
13	Now the nidarsana 24 (demonstration) of the twenty-two-fold nature of srutis	main via surya_layout
14	is thus (being given). Having made two viņās equal in measure,25 string,26	main via surya_layout
15	upavādana 27 (the place where the strings are tied up at the lower end of the	main via surya_layout
16	viņā), daņļa28 (rod or board) and mūrchanā29 (tuning), they (two viņās) should	main via surya_layout
17	be established in şadjagrāma.50 On one of these, having made the śruti	main via surya_layout
18	madhyamagrāmiki31 (belonging to madhyama-grāma) on account of the apakarşa	main via surya_layout
19	(lowering) of pañcama, (one) should make the same śruti şadjagrāmikī 32	main via surya_layout
20	(belonging to sadjagrāma) on account of pañcama.35 Thus (the vinā) becomes	main via surya_layout
21	lowered by (one) śruti, but there is no special gain,34 because of there being	main via surya_layout
22	only the perception of high and low. Again one should lower in the same	main via surya_layout
23	manner<sup>35</sup> so that gāndhāra and niṣāda that are the subjects (kartṛ in dual no.)	main via surya_layout
24	on one viņā will 'enter' the rabha-dhaivata 36 that have attained objectification	main via surya_layout
25	(karmatā) on the unchanged (sthirā) viņā on account of their (of gāndhāra-	main via surya_layout
26	niṣāda) being 'more's7 (higher) by two śrutis (each, in relation to ṛṣabha-	main via surya_layout
27	dhaivata). Again also, the dhaivata-ṛṣabha on the cala (mobile) viṇā that is	main via surya_layout
28	lowered in the same manner, will enter the pañcama-şadja on the other (viņā),	main via surya_layout
29	on account of their being 'more's8 (higher) (than the latter) by three śrutis	main via surya_layout
30	(each). Again also, on the (cala) viņā that is lowered in the same way, pañcama,	main via surya_layout
31	madhyama and şadja enter madhyama, gandhara and nişada respectively on the	main via surya_layout
32	other on account of their being 'more'39 (higher) (than the latter) by four	main via surya_layout
33	śrulis.	annotation_inline parent ligne 32 via heuristic_height

vol_II_p026 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŠĪ	page_header via surya_layout
2	34	page_number via heuristic_pagenum
3	पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:।	editorial_bracket parent ligne 4 via heuristic_brackets
4	आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥	main via surya_layout
5	र्गद	annotation_inline parent ligne 4 via heuristic_height
6	<b>ल्कं</b> वा॰	annotation_inline parent ligne 4 via heuristic_markers
7	स्वराणामङ्गहारैर्यत एवासारितक्रमै:।	main via surya_layout
8	वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥	main via surya_layout
9	[८. जातीनां षाडवौडुवविधि:]	section_header via surya_layout
10	८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् ।	main via surya_layout
11	प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥	main via surya_layout
12	(॰वो?वौ)	annotation_inline parent ligne 11 via heuristic_markers
13	॰पोद्यते	annotation_inline parent ligne 11 via heuristic_markers
14	[अनु॰ १३४]	editorial_bracket parent ligne 11 via heuristic_brackets
15	त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां]	editorial_bracket parent ligne 11 via heuristic_brackets
16	परिकल्प्य	annotation_inline parent ligne 11 via heuristic_height
17	षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति -	main via surya_layout
18	न्छते	annotation_inline parent ligne 17 via heuristic_height
19	अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा ।	main via surya_layout
20	गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥	main via surya_layout
21	(तं?त:)	annotation_inline parent ligne 20 via heuristic_height
22	[अनु॰ १३५]	editorial_bracket parent ligne 20 via heuristic_brackets
23	अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ	main via surya_layout
24	गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो	main via surya_layout
25	(संचा?संवा)	annotation_inline parent ligne 24 via heuristic_short
26	...याः	annotation_inline parent ligne 24 via heuristic_height
27	लोपाभावात्।	section_header via surya_layout
28	कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे ।	main via surya_layout
29	तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥	main via surya_layout
30	॰ता तदा॰	annotation_inline parent ligne 29 via heuristic_markers

172 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p005 RIGHT — 39 lignes

vol_II_p156 RIGHT — 41 lignes

vol_I_p061 RIGHT — 29 lignes

vol_I_p016 RIGHT — 33 lignes

vol_II_p026 LEFT — 30 lignes