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_I_p049 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	81	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	krama as sa - ri - ga. Vyutkramas (permutations) are five beginning with ga - ri	main via surya_layout
4	- <math>sa</math>; <math>ga - sa - ri</math>, <math>ri - ga - sa</math>, <math>[ri - sa - ga]</math> <math>sa - ga - ri<	editorial_bracket parent ligne 3 via heuristic_brackets
5	<math>k\bar{u}_{l}a</math>-tanas formed by vyutkrama (permutation or change of order). Thus there	main via surya_layout
6	are six tanas of gandhara (along with the preceding two svaras viz. sa - n).	main via surya_layout
7	Similarly, there is only one krama (original order) of madhyama (added to	main via surya_layout
8	the preceding three svaras) as sa - ri - ga - ma; there are twenty-three utkramas	main via surya_layout
9	beginning with ma - ga - ri - sa. That is thus - ma - ga - ri - sa, ma - ga sa -	main via surya_layout
10	ri, ma - ri - ga - sa, ma - ri - sa - ga, ma - sa - ga - ri, ma - sa - ri - ga	main via surya_layout
11	thus are the six tānas beginning with madhyama, formed by vyutkrama. Similarly,	main via surya_layout
12	there are six tānas, each beginning with gāndhāra, ṛṣabha and ṣadja and taken	main via surya_layout
13	together they are twenty-four.	annotation_inline parent ligne 12 via heuristic_height
14	Similarly, there is only one krama (original order) of pañcama (along with its	main via surya_layout
15	four preceding svaras). The kūṭa-tānas beginning with pa - ma - ga - ri - sa	main via surya_layout
16	(formed by) vyutkrama are one hundred and nineteen. That is thus - sa - ni -	main via surya_layout
17	ga - ma - pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has	main via surya_layout
18	twenty-four (varieties beginning with it), taken together they become one	main via surya_layout
19	hundred and twenty. Similarly, dhaivata has one krama (original order along	main via surya_layout
20	with its preceding five svaras) as sa - ni - ga - ma - pa - dha, dha - pa - ma -	main via surya_layout
21	ga - ni - sa, this is the vyutkrama (reverse order). Each one of dha - pa - ma -	main via surya_layout
22	ga - ni - sa becomes [one hundred] and twenty (through kūļa-tānas); taken	editorial_bracket parent ligne 21 via heuristic_brackets
23	together (the kūṭa-tānas) become seven hundred and twenty. Similarly, there is	main via surya_layout
24	only one krama of niṣāda (alongwith its six preceding svaras) as sa - ri - ga -	main via surya_layout
25	ma - pa - dha - ni. Ni - dha - pa - ma - ga - ri - sa is the vyutkrama. Each	main via surya_layout
26	one of ni - dha - pa - ma - ga - ni - sa becomes seven hundred and twenty	main via surya_layout
27	(through <math>k\bar{u}ta</math>-tānas); taken together they become five thousand and forty.	main via surya_layout
28	(Anu. 59)	annotation_inline parent ligne 27 via heuristic_height
29	Thus the tāna-vidhāna (performance of tānas) of svaras is found on the	main via surya_layout
30	(viṇās having) sixty-six strings or hundred strings. The measurements of these	main via surya_layout
31	two (<math>vin\bar{a}s</math>) are middle and the like (?)<sup>57</sup>. Here the demonstration of these <math>k\bar{u}t	main via surya_layout
32	tānas has not been made on these (viņās) in order to avoid a digression; by this	main via surya_layout
33	order itself, it (the demonstration) should be understood by the wise ones on	main via surya_layout
34	their own.	annotation_inline parent ligne 33 via heuristic_height
35	(Anu. 60)	annotation_inline parent ligne 33 via heuristic_height
36	The objective of these tanas has been said to be for the sake of the	main via surya_layout
37	attainment of [ sthānas (registers) ]. Sthānas (registers) are said to be three in	editorial_bracket parent ligne 36 via heuristic_brackets

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_I_p028 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDES!</b>	page_header via surya_layout
2	38	page_number via heuristic_pagenum
3	[ अनु. २५ ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते	main via surya_layout
5	द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः	main via surya_layout
6	स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम	main via surya_layout
7	विवादित्वम्। विवादिमण्डलं यथा—	main via surya_layout
8	स	annotation_inline parent ligne 7 via heuristic_height
9	नि	annotation_inline parent ligne 7 via heuristic_height
10	रि	annotation_inline parent ligne 7 via heuristic_height
11	ध	annotation_inline parent ligne 7 via heuristic_height
12	4	page_number via heuristic_pagenum
13	Ŧ	annotation_inline parent ligne 7 via heuristic_height
14	॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥	editorial_bracket parent ligne 7 via heuristic_brackets
15	`	annotation_inline parent ligne 7 via heuristic_height
16	[ अनु. २६ ]	editorial_bracket parent ligne 7 via heuristic_brackets
17	विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान	main via surya_layout
18	25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः	main via surya_layout
19	प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो	editorial_bracket parent ligne 18 via heuristic_brackets
20	भवेत् ॥ इति षड्जग्रामे ॥	editorial_bracket parent ligne 18 via heuristic_brackets
21	[ अनु. २७ ]	editorial_bracket parent ligne 18 via heuristic_brackets
22	इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च	editorial_bracket parent ligne 18 via heuristic_brackets
23	तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः	main via surya_layout
24	प्रदश्यते ।	annotation_inline parent ligne 23 via heuristic_short
25	संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ	main via surya_layout
26	विवादिनौ ।	annotation_inline parent ligne 25 via heuristic_short
27	___ •नादनुः ____	main via surya_layout

vol_II_p087 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	<b>TRANSLATION</b>	page_header via surya_layout
2	157	page_number via heuristic_pagenum
3	Madhukarī has pañcama as amśa, is replete with the same, has dha	main via surya_layout
4	(dhaivata) as the concluding note, there is the mutual concert of gandhara	main via surya_layout
5	and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā,	main via surya_layout
6	born of kakubha, is complete and sankīrņā (mixed).	main via surya_layout
7	<math>(76-77)</math>	annotation_inline parent ligne 6 via heuristic_height
8	Illustration-[<i>Pāpā</i>] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā	editorial_bracket parent ligne 6 via heuristic_brackets
9	dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā.	main via surya_layout
10	Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Šakamišritā is a bhāṣā having niṣāda as amśa, ṣaḍja as the concluding note,	main via surya_layout
12	combined with niṣāda as graha, should be known to be devoid of ṛṣabha and	main via surya_layout
13	the concert of niṣāda and pañcama with dhaivata is there. The shade or	main via surya_layout
14	reflection (chāyā)31 (?) mixed with śaka is there.	main via surya_layout
15	(78-79)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā	main via surya_layout
17	sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā-	main via surya_layout
18	nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Bhinnapañcamī should be known to have dhaivata as the concluding note	main via surya_layout
20	and madhyama as amśa, miṣāda is kākalī mixed profusely with dhaivata, where	main via surya_layout
21	there is seen the concert of kākalī and dhaivata and where one should put up	main via surya_layout
22	communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā,	main via surya_layout
23	i.e., involves the use of <i>antar</i>a and <i>kākalī</i> and <i>kākalī</i> is frequent. 32	main via surya_layout
24	<math>(80-81)</math>	annotation_inline parent ligne 23 via heuristic_height
25	Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa	main via surya_layout
26	niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā	main via surya_layout
27	dhādhāsa nidhā. Bhinnapañcamī [vii]	editorial_bracket parent ligne 26 via heuristic_brackets
28	These seven bhāṣās of kakubha have been indicated.	main via surya_layout
29	(82)	page_footer via surya_layout

vol_II_p115 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	213	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[9. Dodhaka]	table via surya_layout
4	Having sung the (first) half, the latter half is comprised of a stretching of svaras.	table via surya_layout
5	(391)	table via surya_layout
6	[10. <i>Totaka</i>]	table via surya_layout
7	[11. <i>Vastu</i>]	section_header via surya_layout
8	Where there are pāṭas and tennas 16 and the rest is comprised of a	main via surya_layout
9	stretching (elaboration) of svaras, that is vastu<sup>17</sup> used in desī gītas as well as	main via surya_layout
10	in drama.	annotation_inline parent ligne 9 via heuristic_short
11	(392)	main via surya_layout
12	[12. Krauńcapada]	section_header via surya_layout
13	Krauñcapada is known to those proficient in gandharva as that which is	main via surya_layout
14	sung in pratitāla, being comprised of pada and svara.	main via surya_layout
15	(393)	main via surya_layout
16	[13. Haṁsapada]	section_header via surya_layout
17	Where there is one foot in Sainskṛta and the second (foot) is composed in	main via surya_layout
18	a regional (language) (and) which is sung with rhyme, that song is known	main via surya_layout
19	as hamsapada.	annotation_inline parent ligne 18 via heuristic_short
20	(394)	main via surya_layout
21	[14. Śukasārika]	section_header via surya_layout
22	That which is combined with <i>tāla</i> (and) <i>pada</i>, bedecked with <i>pada</i> (and)	main via surya_layout
23	pāṭa (and) comprised of question and answer, is said to be śukaśārika. 19.	main via surya_layout
24	(395)	annotation_inline parent ligne 23 via heuristic_short
25	That which is composed in the Karnāta language or is mixed (with other	main via surya_layout
26	languages) (and) is comprised of pada (text) embodying dialogue, is śukasārika.	main via surya_layout
27	(396)	main via surya_layout

Legende des roles

vol_I_p049 RIGHT — 37 lignes

vol_II_p163 RIGHT — 40 lignes

vol_I_p028 LEFT — 27 lignes

vol_II_p087 RIGHT — 29 lignes

vol_II_p115 RIGHT — 27 lignes