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 20837). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p132 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	PĀŢHAVIMARŚA	page_header via surya_layout
2	247	page_number via heuristic_pagenum
3	24. Reconstruction based on Datti. 56.	list_item via surya_layout
4	25. Reconstruction based on c.r. in Kalā on SR I.7. 29-34, p. 182.	list_item via surya_layout
5	cf. स त्रिपष्टिभेदभित्रोऽष्टादशजातिषु ।	list_item via surya_layout
6	BhaKo p. 3.	main via surya_layout
7	26. Reading in BhaKo p. 3.	list_item via surya_layout
8	27. cf. कासु च जातिषु नन्दयन्त्यादिषु ग्रहांशयोर्विवादित्वेन ग्रहस्याप्रधानत्वं सम्भवति ।	list_item via surya_layout
9	BhaKo p. 188.	main via surya_layout
10	28. P.t. adds here the following confused portion	list_item via surya_layout
11	तथापि प्रथमचतुर्थपष्टगीतेषु मन्द्रप्रकृतो (मन्द्रकृतो)विशेषः नियमः प्रथमे संवादित्वात् कथं भेदप्रयोगः । षङ्जोदीच्यवा-	list_item via surya_layout
12	मध्यमोदीच्यवा-रक्तगान्धारी-गान्धारी-पञ्चमीनां तु ग्रहाविवादि द्वेन ( ग्रहाविवादित्वेन) ग्रहस्तु आर्षभी धैवती निपादवत्यन्	list_item via surya_layout
13	पड्जकैशिकी पड्जमध्यमा चेति । एवं नन्दयन्त्यामिति ग्रहविधि:।	list_item via surya_layout
14	29. NŠ reads this verse as -	list_item via surya_layout
15	ग्रहस्तु सर्वजातीनामंशवत् परिकीर्तित:।	main via surya_layout
16	यत्प्रवृत्तं भवेदु गेयमंशो ग्रहविकल्पित:॥	main via surya_layout
17	NŠ XXVIII. 67.	annotation_inline parent ligne 16 via heuristic_short
18	ग्रहस्तु सर्वजातीनामंश एव हि कीर्तित: ।	main via surya_layout
19	यत्प्रवृत्तं भवेद् गानं सोंऽशो ग्रहविकल्पित:॥	main via surya_layout
20	NŠ Chau. XXVIII. 71.	main via surya_layout
21	The reading of our text is better than the G.O.S. ed. specially in the fourth	main via surya_layout
22	foot.	main via surya_layout
23	30. 'Amśa' here has been replaced with 'anga' because it does not fit	list_item via surya_layout
24	into the context.	list_item via surya_layout
25	31. Reconstruction based on BhaKo p. 3; p.t. reading 'yasminnamśe'	list_item via surya_layout
26	involves a repetition of 'amśa' in the sentence, which is redundant.	list_item via surya_layout
27	32. 'Yasrā' is the reading of MS B recorded by the ed.	list_item via surya_layout
28	33. Reading of MS B as recorded by the ed.	list_item via surya_layout
29	34. 'Mandrāinsa' does not seem to fit into the context.	list_item via surya_layout
30	'Pañcamāmśā' has been conjectured here, because accordingly the last	main via surya_layout
31	svara dha will be the seventh below the amśa.	main via surya_layout
32	35. MSB. reading is recorded by ed. as 'sasthāne'. Neither 'sainsthāne' nor	list_item via surya_layout
33	'sasthāne' appear to fit into the context. We have, therefore, reconstructed as	list_item via surya_layout
34	<i>'svasthāne'. 'Svasthāna'</i> is a word occurring in later texts (cf. SR III.191, 192)	list_item via surya_layout
35	for sections of 'alapa' or melodic elaboration. It could not be said definitely	list_item via surya_layout
36	whether or not this word was current in the times of our text; all the same, this	list_item via surya_layout
37	seems to be the only plausible alternative in view of the available readings.	list_item via surya_layout
38	36. This portion has been added on the basis of the following	list_item via surya_layout
39	verse of NS -	list_item via surya_layout

vol_I_p063 LEFT — 39 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	108	page_number via heuristic_pagenum
3	क्रमशो दीप्यते यस्तु प्रसन्नादिः स कथ्यते।	main via surya_layout
4	व्यस्तोच्चारित एवैष प्रसन्नान्तोऽभिधीयते ॥ १३८ ॥	main via surya_layout
5	(मे?ए)	annotation_inline parent ligne 4 via heuristic_short
6	आद्यन्तयोः प्रसन्नत्वात् प्रसन्नाद्यन्त इष्यते।	main via surya_layout
7	(मि?इ)	annotation_inline parent ligne 6 via heuristic_short
8	प्रसन्नमध्यो मध्ये तु प्रसन्नत्वादुदाहृतः॥१३९॥	main via surya_layout
9	सर्वसाम्यात् समो ज्ञेयः स्थितश्चैकस्वरेऽपि हि।	main via surya_layout
10	,₀मा ७या	annotation_inline parent ligne 9 via heuristic_markers
11	oमाo	annotation_inline parent ligne 9 via heuristic_height
12	बिन्दुरेककलं तारं स्पृष्ट्वा तु पुनरागतः॥१४०॥	main via surya_layout
13	स्याद्रिवृत्तप्रवृत्तश्च मन्द्रं गत्वा समागतः।	main via surya_layout
14	৽ন্ম	annotation_inline parent ligne 13 via heuristic_height
15	₀त्तः	annotation_inline parent ligne 13 via heuristic_markers
16	आक्रीडितलयो यस्तु स च वेणुः प्रकीर्तितः॥१४१॥	main via surya_layout
17	<b>.इनी.</b> (?)	annotation_inline parent ligne 16 via heuristic_short
18	उरोगतः कम्पितः स्यात् कम्पनाच्च कलात्रयम्।	main via surya_layout
19	₀यः	annotation_inline parent ligne 18 via heuristic_markers
20	कण्ठे निरुद्धपवनः कुहरो नाम जायते॥१४२॥	main via surya_layout
21	्दः ₀नो रु	annotation_inline parent ligne 20 via heuristic_markers
22	त्रिकला [त्] कम्पना [त्] तद्वद्रेचिताख्यः शिरोगतः।	editorial_bracket parent ligne 20 via heuristic_brackets
23	( ? ) হৈ ৹বা৹	main via surya_layout
24	गतागतप्रवृत्तो यः स प्रेङ्क्षोलित उच्यते॥१४३॥	main via surya_layout
25	( मु?उ )	annotation_inline parent ligne 24 via heuristic_short
26	48 यस्तु कण्ठस्वरोऽधस्तात् स तु तारः प्रकीर्तितः।	main via surya_layout
27	उरोगतस्तथा मन्द्रो मूर्ध्नि तारतरः स्मृतः॥१४४॥]	editorial_bracket parent ligne 26 via heuristic_brackets
28	क्रमागतस्तु यस्तारश्चतुर्थः पञ्चमोऽपि वा।	main via surya_layout
29	श्चेत् ततः पञ्चतु₀	annotation_inline parent ligne 28 via heuristic_markers
30	तारमन्द्रप्रसन्नस्तु ज्ञेयो मन्द्रगतो बुधैः ॥१४५॥	main via surya_layout
31	৹রা৯	annotation_inline parent ligne 30 via heuristic_height
32	लङ्घयित्वा परान् मन्द्रात् क्रमात् तारगति गतः।	main via surya_layout
33	ॳ (द?द))	annotation_inline parent ligne 32 via heuristic_short
34	मन्द्रतारप्रसन्नस्तु ज्ञेयो ह्यारोहणाद् बुधैः ॥१४६॥	main via surya_layout
35	विज्ञेयारोहणा	annotation_inline parent ligne 34 via heuristic_short
36	एकस्वराधिरूढः क्रमशः प्रस्तारसंज्ञको ज्ञेयः।	main via surya_layout
37	( जि? ज )	annotation_inline parent ligne 36 via heuristic_short
38	49[ प्रस्तारस्तु निवृत्तः शनैः प्रसन्नः प्रसादः स्यात्।।१४७॥]	editorial_bracket parent ligne 36 via heuristic_brackets
39	<b>०स्वा</b>७	annotation_inline parent ligne 36 via heuristic_height

vol_I_p033 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	49	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Pañcama is kṛṣṇa (black), dhaivata is yellow-coloured, this niṣāda is multi-	main via surya_layout
4	coloured, (thus) should be known the colours of svaras.	main via surya_layout
5	(74)	annotation_inline parent ligne 4 via heuristic_height
6	(iii) Devatās.	main via surya_layout
7	The daivata 83 (presiding deity) of şadja is Brahmā, ṛṣabha is with the daivata	main via surya_layout
8	vahni (fire), gandhara has Bharati as its deva, madhyama is with Hara as daivata.	main via surya_layout
9	(75)	annotation_inline parent ligne 8 via heuristic_height
10	Pañcama is with Satayajña (Indra is its daivata), dhaivata is with Gaṇa-nāyaka	main via surya_layout
11	(as its daivata), niṣāda, on the other hand, has Bhānu (Sun) as its deva; thus are	main via surya_layout
12	(76)	annotation_inline parent ligne 11 via heuristic_height
13	the devatā84 of svaras.	annotation_inline parent ligne 11 via heuristic_height
14	(iv) Singers (seers).	annotation_inline parent ligne 11 via heuristic_height
15	The svara şadja is sung ('seen')85 by Agni (fire), ṛṣabha is revealed by	main via surya_layout
16	Brahmā, gāndhāra is sung by Soma (moon), madhyama svara (is revealed) by	main via surya_layout
17	Vișnu.	annotation_inline parent ligne 16 via heuristic_height
18	(77)	main via surya_layout
19	On the other hand, the svara pancama is sung by the mahatman (great-	main via surya_layout
20	souled) Nārada, the svaras dhaivata and niṣāda are 'sung' by Tumburu.	main via surya_layout
21	(78)	annotation_inline parent ligne 20 via heuristic_short
22	(v) Rasas	annotation_inline parent ligne 20 via heuristic_height
23	The two svaras madhyama and pañcama should be 'made'86 (used) in the two	main via surya_layout
24	(rasas) hāsya and śṛṅgāra, the two (svaras) şadja and ṛṣabha should be known in	main via surya_layout
25	(79)	annotation_inline parent ligne 24 via heuristic_height
26	vira, raudra and adbhuta rasas.	main via surya_layout
27	Gāndhāra and niṣāda should be 'done' in karuņa rasa. Dhaivata should also	main via surya_layout
28	(80)	annotation_inline parent ligne 27 via heuristic_height
29	be 'done' (used) in bibhatsa and bhayānaka.	main via surya_layout
30	(vi) Sthānas	annotation_inline parent ligne 29 via heuristic_height
31	Ṣadja arises from the throat, 67 rṣabha is known (to arise) from the cerebrum,	main via surya_layout
32	gāndhāra from the nose, madhyama svara from the chest.	main via surya_layout
33	(81)	annotation_inline parent ligne 32 via heuristic_height
34	Pañcama svara is arisen from the throat, O glorious onel dhaivata, on the	main via surya_layout
35	other hand, is born of the palate-region (tālu-deśa). Niṣāda, on the other hand,	main via surya_layout
36	should be known to be born of all the joints (sandhis).	main via surya_layout
37	(82)	annotation_inline parent ligne 36 via heuristic_height
38	Thus one should know the svaras born in the ocean of gita (melody, music),	main via surya_layout
39	arisen out of the mouth of Mahadeva and placed in the 'path' of desi.68	main via surya_layout
40	(83)	annotation_inline parent ligne 39 via heuristic_height
41	[ Thus ends the section on svara ]	editorial_bracket parent ligne 39 via heuristic_brackets

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_p071 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	125	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 210]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha	main via surya_layout
5	and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it	main via surya_layout
6	sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete.	main via surya_layout
7	Its application is prescribed in the passionate performance of cārīs, maṇḍalas and	main via surya_layout
8	(situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning	main via surya_layout
9	with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the	main via surya_layout
10	dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in	main via surya_layout
11	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and	main via surya_layout
12	pada	annotation_inline parent ligne 11 via heuristic_height
13	[9. Revagupta]	section_header via surya_layout
14	Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as	main via surya_layout
15	its amsa and madhyama as its concluding note and is with complete svaras.	main via surya_layout
16	(340)	annotation_inline parent ligne 15 via heuristic_height
17	[Anu. 211]	editorial_bracket parent ligne 15 via heuristic_brackets
18	Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born	main via surya_layout
19	of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of	main via surya_layout
20	pañcama being comprised of four śrutis. Rṣabha is its graha and amśa,	main via surya_layout
21	<math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he	main via surya_layout
22	svaras. Its application is prescribed in the passionate performance of cārīs,	main via surya_layout
23	mandalas and (situations of) combat. Vira and the like is the rasa. The	main via surya_layout
24	mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is	main via surya_layout
25	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in	main via surya_layout
26	the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like	main via surya_layout
27	caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
28	[10. Takkasaindhava]	section_header via surya_layout
29	The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is	main via surya_layout
30	combined with sadja as amsa and nyāsa and is weak in pancama.	main via surya_layout
31	(341)	annotation_inline parent ligne 30 via heuristic_height
32	[Anu. 212]	editorial_bracket parent ligne 30 via heuristic_brackets
33	Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on	main via surya_layout
34	account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and	main via surya_layout
35	nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of	main via surya_layout
36	pañcama and this (rāga) is complete in svaras. Its application is prescribed	main via surya_layout

194 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p132 RIGHT — 39 lignes

vol_I_p063 LEFT — 39 lignes

vol_I_p033 RIGHT — 41 lignes

vol_I_p005 RIGHT — 39 lignes

vol_II_p071 RIGHT — 36 lignes