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_p030 RIGHT — 31 lignes

L#	Texte OCR	Role auto
1	43	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The omission of all notes is prescribed in all <math>j\bar{a}tis</math>, but the omission of	main via surya_layout
4	madhyama should never be made. The svara madhyama is the chief among	main via surya_layout
5	all the svaras and is indispensable both in the kalpa (practice and precept)	main via surya_layout
6	of gāndharva and also in sāmans."	main via surya_layout
7	(NŚ XXVIII. 58-65)	main via surya_layout
8	[ Anu. 142 ]	section_header via surya_layout
9	Now the prescription of sadava and auduvita as well as the prescription	main via surya_layout
10	according to utsarga<sup>55</sup> (general view) and apavāda<sup>56</sup> (exception) should be	main via surya_layout
11	known only in vikṛtā jātis, not in the śuddhā jātis, because the śuddhās become	main via surya_layout
12	the root of the coming into existence of other jātis. These śuddhās themselves	main via surya_layout
13	become vikṛtās. How-	main via surya_layout
14	[9. A repeated definition of śuddhā jāti]	section_header via surya_layout
15	When a jāti has the same graha, the same apanyāsa and the same aniśa, has	main via surya_layout
16	nyāsa in the mandra (lower register) and is complete, then it is known as	main via surya_layout
17	śuddhā jāti.	annotation_inline parent ligne 16 via heuristic_short
18	(259)	annotation_inline parent ligne 16 via heuristic_height
19	Thus has been said the definition of śuddhā.	main via surya_layout
20	[10. The vikṛtā state of śuddhā jātis]	section_header via surya_layout
21	[Anu. 143]	section_header via surya_layout
22	Out of these characteristics, the jātis become vikṛtā (modified) by (the	main via surya_layout
23	violation of) one, two or many characteristics, excepting the nyāsa. The	main via surya_layout
24	statement 'excepting the nyāsa' means that there is no vikṛtā state that comes	main via surya_layout
25	about by (a change in) the nyāsa.	main via surya_layout
26	[ The illustration of sadji ]	section_header via surya_layout
27	[ Anu. 144 ]	section_header via surya_layout
28	Vikṛtā ṣādjī is two-fold – one that is always complete and the other that is	main via surya_layout
29	ṣāḍavā. Ṣāḍjī is śuddhā with the aṁśa that bestows its name (viz. ṣaḍja). Vikṛtā	main via surya_layout
30	ṣāḍjī is complete when gāndhāra is its aṁśa because of the non-omission of	main via surya_layout
31	----	annotation_inline parent ligne 30 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_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_II_p036 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	55	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[8. Gändhārī]	section_header via surya_layout
4	Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas,	main via surya_layout
5	the same are amsas of gandhari. The tara extends upto five svaras. The mandra	main via surya_layout
6	, extends upto the nyāsa or upto the svara next to it. The sādava state is devoid	main via surya_layout
7	of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete	main via surya_layout
8	state there is sparseness of rṣabha-dhaivata, and abundance of the remaining	main via surya_layout
9	ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara,	main via surya_layout
10	gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is	main via surya_layout
11	sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That	main via surya_layout
12	is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}<	main via surya_layout
13	prayoga (performance).	main via surya_layout
14	Thus is the performance. When it is sung with the omission of rṣabha then	main via surya_layout
15	while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch)	main via surya_layout
16	mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic	main via surya_layout
17	form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the	main via surya_layout
18	performance. Mā-pa-ri-dhā is never to be performed.	main via surya_layout
19	[Anu. 161]	editorial_bracket parent ligne 18 via heuristic_brackets
20	This is eleven-fold. There are eleven ainsas - there is one in the suddhā	main via surya_layout
21	state, five in the vikṛtā complete state, four are hexatonic (and) one is	main via surya_layout
22	pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța	main via surya_layout
23	is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala	main via surya_layout
24	vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there	main via surya_layout
25	is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā	main via surya_layout
26	in the third act of a drama.	annotation_inline parent ligne 25 via heuristic_height
27	[9. Raktagāndhāri]	section_header via surya_layout
28	[Anu. 162]	editorial_bracket parent ligne 27 via heuristic_brackets
29	Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas	main via surya_layout
30	of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra	main via surya_layout
31	extends up to the nyāsa or the svara next to it. The hexatonic form is devoid	main via surya_layout
32	of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the	main via surya_layout
33	paucity of rṣabha and dhaivata in the complete form. The remaining (svaras)	main via surya_layout
34	have abundance. On account of niṣāda being the amśa, its abundance is	main via surya_layout
35	indicated. Its non-abundance comes about on account of the stated	main via surya_layout
36	prescription. Dhaivata being non-aniśa, its sparseness is indicated, its	main via surya_layout

vol_I_p072 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	127	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	mā mā sā sā	annotation_inline parent ligne 10 via heuristic_height
4	de - vam -	annotation_inline parent ligne 10 via heuristic_height
5	mā sā sā mā	annotation_inline parent ligne 10 via heuristic_height
6	de vam sa rvam	annotation_inline parent ligne 10 via heuristic_height
7	sasa masa mama nn	annotation_inline parent ligne 10 via heuristic_height
8	devam sarvam vande	annotation_inline parent ligne 10 via heuristic_height
9	(Anu. 112)	annotation_inline parent ligne 10 via heuristic_height
10	Māgadhī is (known as such) because of its origin in the magadha deśa (south	main via surya_layout
11	Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated').	main via surya_layout
12	Ardhamāgadhi is (called so) because of there being the state of half 'pada',56	main via surya_layout
13	thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to	main via surya_layout
14	'pada'. In the repetition of half a pada the verbal meaning should not be	main via surya_layout
15	construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or	main via surya_layout
16	acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is	main via surya_layout
17	predominantly musical, the verbal meaning is not cared for in the repetitions. It	main via surya_layout
18	has been said - the word jātavedasam (fire) that is repetitive, here (in the	main via surya_layout
19	context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī,	main via surya_layout
20	on the other hand, is based on the predominance of laghu (short syllables);	main via surya_layout
21	on account of the profusion of the grouping (grāma) of padas (syllabic units) it	main via surya_layout
22	is called pṛthulā (lit. broad or large).	main via surya_layout
23	(Anu. 113)	annotation_inline parent ligne 22 via heuristic_height
24	In the three margas in the prescription about gitis, the use of laya should be	main via surya_layout
25	seen to be ninefold.	annotation_inline parent ligne 24 via heuristic_height
26	He (the author) shows the use of laya as - daksina marga, vartika marga and	main via surya_layout
27	citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina	main via surya_layout
28	mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas	main via surya_layout
29	in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus	main via surya_layout
30	are the three layas in the operation of citra-marga. Thus has been propounded	main via surya_layout
31	in the chapter on gitis. As - in the daksina marga there are four gurus (long	main via surya_layout
32	units) two gurus and one guru. In vārtika mārga there are two gurus, one guru	main via surya_layout
33	and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half	main via surya_layout
34	- mātrā unit).	annotation_inline parent ligne 33 via heuristic_height

Legende des roles

vol_II_p030 RIGHT — 31 lignes

vol_I_p035 RIGHT — 29 lignes

vol_II_p157 RIGHT — 40 lignes

vol_II_p036 RIGHT — 36 lignes

vol_I_p072 RIGHT — 34 lignes