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 20995). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p147 LEFT — 47 lignes

L#	Texte OCR	Role auto
1	276	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	appears to be incomplete.	main via surya_layout
4	115. In spite of the description of this bhāṣā as its being complete, the	main via surya_layout
5	illustration omits <i>ṛṣabha</i>.	main via surya_layout
6	ì	annotation_inline parent ligne 5 via heuristic_height
7	116. cf. (i)	main via surya_layout
8	्विभाषा रागराजस्य पञ्चमस्य वराटिका ।	main via surya_layout
9	अंश: षड्जग्रहन्यास: नितारा मन्द्रमध्यमा ॥	main via surya_layout
10	समशेषस्वरा पूर्णा शृङ्गारे याष्टिकोदिता ॥	main via surya_layout
11	Jagadekamalla cited in BhaKo p. 584.	main via surya_layout
12	विभाषा रागराजस्य पञ्चमस्य वराटिका ।	list_item via surya_layout
13	(ii)	list_item via surya_layout
14	समशेषस्वरा पूर्णा शृङ्गारे याष्ट्रिकोदिता ॥	list_item via surya_layout
15	117. cf. (i) तथैव पञ्चमे भिन्ने मध्यमग्रामगानयुक्।	list_item via surya_layout
16	मध्यमांशग्रहा धान्ता मन्द्रर्षभविभूषिता ॥	list_item via surya_layout
17	मध्यमर्पभसंवादा ऋषभस्वरदुर्बला ।	list_item via surya_layout
18	द्रुतमध्यलया तारपङ्जा स्फुरितधैवता ॥	list_item via surya_layout
19	पूर्णारोह्मवरोहिभ्यां वर्णाभ्यामुपशोभिता ।	list_item via surya_layout
20	लिलतेर्गमकैर्युक्ता भाषा धैवतभूषिता ॥	list_item via surya_layout
21	S Rāj II.2.I.898-900	main via surya_layout
22	(ii) पूर्णा धांशग्रहन्यासा सधयो रिधयोर्युता ।	main via surya_layout
23	भित्रपञ्चमसंभूता भाषा धैवतभूषिता ॥	main via surya_layout
24	Kalā (appendix) on SR II, p.136.	main via surya_layout
25	118. Reconstruction based on Kalā (appendix) on SR II, p. 137	list_item via surya_layout
26	ŀ	annotation_inline parent ligne 25 via heuristic_height
27	reading 'sadhasañcārini' and 'dhabhūṣitā' and S Rāj II.2.I.902 reading 'ṣadja-	list_item via surya_layout
28	dhaivatasangatā'.	list_item via surya_layout
29	119. S Rāj II.2.1.956 ab describes a samvāda (to and fro movement)	list_item via surya_layout
30	between niṣada-dhaivata, but Kalā (appendix) on SR II, p. 138 reads 'ridha-	list_item via surya_layout
31	sañcārā'; it appears that 'ni' has been replaced here with 'ri' on account of	list_item via surya_layout
32	error in deciphering or copying at some stage.	list_item via surya_layout
33	वाहुल्यं दृश्यते त्वस्या: सर्वस्वरगतं वृधै: ।	main via surya_layout
34	120. cf.	annotation_inline parent ligne 33 via heuristic_short
35	S Rāj II.2.1.956 cd.	main via surya_layout
36	121. P. t. does not contain the description of bhāvinī, the bhāṣā of	main via surya_layout
37	mālavapanīcama, although it is included in the initial enumeration (uddeša)	main via surya_layout
38	in verse 33 cd of this chapter. Kalā (appendix) on SR II, p. 142 describes two	main via surya_layout
39	vibhāṣās named bhāvanī and vibhāvanī under mālavapañcama as-	main via surya_layout
40	भावनी पञ्चमांशान्तग्रहा मालवपञ्चमात् ।	main via surya_layout
41	जाता विभाषा षड्जापन्यासा ऋषभवर्जिता ॥	main via surya_layout
42	विभावनी विभाषा स्यात् पूर्णा मालवपञ्चमे ।	main via surya_layout
43	पञ्चमांशग्रहन्यासा मगधाल्पा पमन्द्रभाक् ॥	main via surya_layout
44	S Rāj II.2.1.1084 describes vibhāvanī according to Yāṣṭika, but bhāvanī is not	main via surya_layout
45	ł	annotation_inline parent ligne 44 via heuristic_height
46	mentioned there.	main via surya_layout
47	Districted the fire	annotation_inline parent ligne 46 via heuristic_height

vol_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_I_p099 RIGHT — 45 lignes

L#	Texte OCR	Role auto
1	181	page_number via heuristic_pagenum
2	VIMARŚA	page_header via surya_layout
3	is also used. This is how the distinction brought about by mandra and tara could be	main via surya_layout
4	understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view.	main via surya_layout
5	48. 'Sukha' has been translated here as convenience or it could be rendered	main via surya_layout
6	as facility. The facility of the performer and listener is said here to be the	main via surya_layout
7	objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have	main via surya_layout
8	the reading 'nānātva' which means variety of mūrchanā and tāna, but since our	main via surya_layout
9	author has tried to distinguish between murchana and tana, we have accepted	main via surya_layout
10	the reading anyatvam which means distinction (see note 78 under textual notes	main via surya_layout
11	on the section ). In NS mūrchanā-tāna is also a compound name for the 84	main via surya_layout
12	tānas. BṛD does not use this compound and emphasises the distinction between	main via surya_layout
13	the two; viz. mūrchanā and tāna.	main via surya_layout
14	Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and	main via surya_layout
15	said that the variety of murchana and tana accords facility to the performer by	main via surya_layout
16	making possible the use of three sthanas (registers) and also the omission of	main via surya_layout
17	svaras (according to a specific system as embodied in the 84 tanas). The	main via surya_layout
18	distinction between murchana and tana brought out in the reading accepted by	main via surya_layout
19	us could be construed to mean that mūrchanā as a complete scale in ascending	main via surya_layout
20	and descending establishes the three sthanas and tana (involving omission)	main via surya_layout
21	establishes a specific pattern in ascent. It is interesting to note that even today	main via surya_layout
22	omission of one or two svaras is very effective in the ascent in all those ragas	main via surya_layout
23	that involve omission in ascent and use the omitted svaras in descent. ( see	main via surya_layout
24	glossary)	main via surya_layout
25	49. Since specific omissions are prescribed for the two grāmas, tāna the result	list_item via surya_layout
26	of this specific omission could be said to be the distinguishing feature between	list_item via surya_layout
27	the jātis and rāgas of one grāma and the other.	list_item via surya_layout
28	50. This applies to kūļa-tāna where permutation and combination is involved and	list_item via surya_layout
29	definite numbering of each variety is effected. Retrieving the number of a given tana	list_item via surya_layout
30	(arrangement of a given number of svaras) and retrieving the form of a tana whose	list_item via surya_layout
31	number alone is given is known as uddista and nasta respectively. (see glossary)	list_item via surya_layout
32	51, 52. The word tāna-prayoga is being used here to convey two things—in	list_item via surya_layout
33	the first instance the number of tanas (permutation of a given number of	list_item via surya_layout
34	svaras ) is implied and in the second instance the number of svaras constituting	list_item via surya_layout
35	the specific tāna (combination of svaras) is implied.	list_item via surya_layout
36	53, 54, 55 & 56. Krama is a combination of svaras where the original order	list_item via surya_layout
37	remains intact and uthrama is a permutation where the original order is	list_item via surya_layout
38	changed. The method of obtaining the number of kramas and utkramas of a	list_item via surya_layout
39	given-number of svaras is like this—multiply the earlier numbers of a given	list_item via surya_layout
40	number, without leaving any number in-between. For example if the number of	list_item via surya_layout
41	svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and	list_item via surya_layout
42	uthramas taken together; the last number of this series viz. 6 is the number of	list_item via surya_layout
43	kramas and the remainder viz. 714 is the number of utkramas.	list_item via surya_layout
44	57. 'Māna' could stand here for the measure (length, breadth and the like) of the	list_item via surya_layout
45	viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,	list_item via surya_layout

vol_I_p019 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	21	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The distinction of svara and śruti (exists) because they are prasādhya (lit.	main via surya_layout
4	accomplished, here perceived) by different buddhis (apprehensions,	main via surya_layout
5	perceptions). And also on account of the distinction of aśraya (seat or	main via surya_layout
6	substratum, here śruti) and āśrayin (that which is seated, here svara) the	main via surya_layout
7	identification (of the two) does not stand.	main via surya_layout
8	(36)	annotation_inline parent ligne 7 via heuristic_height
9	The state of svaras being reflections, that has been spoken of, does not stand	main via surya_layout
10	reason (because) if the state of svaras being reflection (is accepted), then	main via surya_layout
11	perception having the nature of delusion becomes applicable.	main via surya_layout
12	(37)	annotation_inline parent ligne 11 via heuristic_height
13	The relationship of cause and effect between śruti and svara is not possible;	main via surya_layout
14	there is no pramana (means of valid knowledge or evidence) of the existence of	main via surya_layout
15	(38)	annotation_inline parent ligne 14 via heuristic_height
16	śrulis.	annotation_inline parent ligne 14 via heuristic_height
17	(Objection) If by arthāpatti 55 (negative inference) or by the pramāņa	main via surya_layout
18	presuming vyāpti-grahaņa, (the comprehension of concomitance, i.e. anumāna,56	main via surya_layout
19	inference) svara is proved to be the bheda (modification or result) of the gagana-	main via surya_layout
20	gunas<sup>57</sup> (qualities of space or ether i.e. sounds) that are the progenitors of svara	main via surya_layout
21	(then the kārya-kāraņa relationship between the two would be established). (39)	main via surya_layout
22	(Answer) It is true.	annotation_inline parent ligne 21 via heuristic_height
23	Although the kārya-kāraņa difference (between svara and śruti) is evident,	main via surya_layout
24	(40)	annotation_inline parent ligne 23 via heuristic_height
25	yet the kāraņatva (causality) of śrutis is impossible.	main via surya_layout
26	(This is so) because (here) the cause (śruti) is available (perceptible) (even)	main via surya_layout
27	when the kāryas (svaras) are present, (but) when the jar and the like are	main via surya_layout
28	existent, the lump of clay is not available (perceptible).	main via surya_layout
29	(41)	annotation_inline parent ligne 28 via heuristic_height
30	Pariņāma 58 (transformation) (and, or) abhivyakti (manifestation) is	main via surya_layout
31	understood to be the justified proposition by the wise; thus the alternatives	main via surya_layout
32	(42)	annotation_inline parent ligne 31 via heuristic_height
33	starting with tādātmya have been spoken of by me.	main via surya_layout

vol_II_p147 RIGHT — 43 lignes

L#	Texte OCR	Role auto
1	277	page_number via heuristic_pagenum
2	PĂTHAVIMARŚA	page_header via surya_layout
3	पांशग्रहान्ता सम्पूर्णा भाषा मालवपञ्चमे ।	main via surya_layout
4	वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै:॥	main via surya_layout
5	विभावनीति तामेवाचष्ट याष्टिकसत्तमः॥	main via surya_layout
6	122. The name of this bhāṣā is read as mālavā at the end of the	main via surya_layout
7	illustration and so it is in S Rāj II.2.1.905.	main via surya_layout
8	123,124. cf. सञ्चार: सधयोर्यस्यां रिधयोधैव दृश्यते ।	main via surya_layout
9	Kalā (appendix) on SR II, p. 137.	main via surya_layout
10	125. In spite of this adjective indicating the completeness of this	main via surya_layout
11	bhāṣā, the illustration omits ṣaḍja.	main via surya_layout
12	126. SR II. 1. 30 cd reads this name as bhinnavalitā and so does S Rāj	main via surya_layout
13	II.2.1.131 c; ibid 88a reads bhinnalalitā and ibid 907c reads bhinnavallikā.	main via surya_layout
14	Our text seems to change bhinnavalikā to bhinnavālikā in verse 34 c in order	main via surya_layout
15	to meet the demand of metre, the sixth syllable being required to be long.	main via surya_layout
16	At this point of our text the change to bhinnalālikā or bhinnalālitā seems to	main via surya_layout
17	involve an error of deciphering or copying.	main via surya_layout
18	127. Kalā (appendix) on SR II, p.137 reads 'magrahāmśā' describing	main via surya_layout
19	madhyama as graha and aṁśa.	main via surya_layout
20	128. cf. पञ्चमांशग्रहा धान्ता पूर्णा मध्यमभूयसी ।	main via surya_layout
21	मध्यमग्रामगा भाषा धनिसङ्गतिराजिता ॥	main via surya_layout
22	द्राविडी देशनाम्रेयं विख्याता याष्ट्रिकोदिता ॥	main via surya_layout
23	S Rāj II.2.1.912.	annotation_inline parent ligne 22 via heuristic_short
24	The illustration in our text is not in accordance with any of the three	main via surya_layout
25	divergent descriptions viz. those in our text, Kalā and S Rāj.	main via surya_layout
26	129. The dual number of the instrumental case has been changed to	main via surya_layout
27	the same number of the genitive case, because the instrumental case would	main via surya_layout
28	require reference to some other svara with which the two svaras composed	main via surya_layout
29	of two śrutis each are supposed to have to and fro movement. Kalā (appen-	main via surya_layout
30	dix) on SRII, p. 141 reads 'nigayo rigayoryuktā'.	main via surya_layout
31	्सम्पूर्णा, यं विना बाह्मपाडवा कैधिदिप्यते ।	main via surya_layout
32	130. cf.	annotation_inline parent ligne 31 via heuristic_short
33	S Rāj II.2.1.107 cf.	main via surya_layout
34	131. Corresponding to this, S Rāj II.2.1.1081 gives a bhāṣā named	main via surya_layout
35	națță, which is described as being complete.	main via surya_layout
36	पञ्चमांशान्तिमा ताना भिन्नताने रिवर्जिता ।	main via surya_layout
37	132. cf.	annotation_inline parent ligne 36 via heuristic_short
38	सकाकलिका शृङ्गारे विनियुक्ता पुरातनै: ॥	main via surya_layout
39	ताना भाषैकिका भिन्नताने याष्ट्रिकसम्मता ॥	main via surya_layout
40	S Rāj 11.2.1.1097,1099.	main via surya_layout
41	The illustration of this bhāṣā is not available in our text; the illustration	main via surya_layout
42	contained in p.t. at this point as follows seems to be out of place, since rşabha	main via surya_layout
43	--------------------------------------	annotation_inline parent ligne 42 via heuristic_height

234 lignes a valider — change uniquement les roles incorrects.

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vol_II_p147 LEFT — 47 lignes

vol_I_p104 RIGHT — 66 lignes

vol_I_p099 RIGHT — 45 lignes

vol_I_p019 RIGHT — 33 lignes

vol_II_p147 RIGHT — 43 lignes