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_p166 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	315	page_number via heuristic_pagenum
3	a bhāṣā is something that deserves special notice.	main via surya_layout
4	31. 'Pārvatī' is associated with parvata or mountains; whether or not	main via surya_layout
5	a particular mountainous region is implied, is hard to confirm. "Parvata is	main via surya_layout
6	1. a country in the Panjab to the north-west of Multan between the Ravi and	main via surya_layout
7	Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether	main via surya_layout
8	the mountains in general or a particular mountainous region or either of	main via surya_layout
9	the two identifications cited above is intended.	main via surya_layout
10	Chapter V	section_header via surya_layout
11	(Desī rāgas)	section_header via surya_layout
12	1. This verse bears a distinct stamp of the Tantric stream and is	list_item via surya_layout
13	significant on account of being placed in the beginning of the chapter on	list_item via surya_layout
14	desī rāgas. It could be conjectured on the evidence of this verse and on other	list_item via surya_layout
15	evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III).	list_item via surya_layout
16	2. Deśī rāgas are contradistinct to grāmarāgas.	list_item via surya_layout
17	3. Reference to laksya in the context of desi rāgas points to the fact that	list_item via surya_layout
18	they must have been in vogue in the author's time.	list_item via surya_layout
19	4. The citation in the name of Matanga given by Kalli, in his	list_item via surya_layout
20	commentary on SR II.2.1. also mentions these three types of desī-rāgas, but	list_item via surya_layout
21	Sārngadeva has added a fourth category named upānga.	list_item via surya_layout
22	5. 'Chāyā' is subtle similarity.	list_item via surya_layout
23	6. The special mention of panegyric in the context of bhāṣāṅga rāgas	list_item via surya_layout
24	is worth noticing.	list_item via surya_layout
25	7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā.	list_item via surya_layout
26	8. 'Kriyā' seems to stand for expressive rendering.	list_item via surya_layout
27	9. Karuņā and utsāha are two pervasive names that symbolise mādhurya	list_item via surya_layout
28	and ojas respectively (See Vol. III).	list_item via surya_layout
29	10. The text is mutilated at this point and a small portion on bhāṣāṅga	list_item via surya_layout
30	rāgas seems to have survived.	list_item via surya_layout
31	11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was	list_item via surya_layout
32	called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal	list_item via surya_layout
33	De).	list_item via surya_layout
34	12. Māngalī has been described as a bhāṣā in the preceding section.	list_item via surya_layout
35	13. Bhammāṇa is not known as a region.	list_item via surya_layout
36	14. 'Pulindikā' refers directly to the ethnic group known as the	list_item via surya_layout
37	pulindas.	list_item via surya_layout
38	15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj	list_item via surya_layout
39	II.2.3.203, but is said to be out of vogue and is not, therefore, described.	list_item via surya_layout
40	16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are	list_item via surya_layout
41	different.	list_item via surya_layout

vol_II_p016 LEFT — 37 lignes

L#	Texte OCR	Role auto
1	14	page_number via heuristic_pagenum
2	BRHADDESÏ	page_header via surya_layout
3	सोऽभिधीयते । अंशस्य विवादी ३९यो न भवति [स] प्रथमविदार्यन्ते४०	editorial_bracket parent ligne 4 via heuristic_brackets
4	यदि	main via surya_layout
5	प्रयुक्तो	annotation_inline parent ligne 4 via heuristic_short
6	<b>॰यन्तिर्यादि</b>	annotation_inline parent ligne 4 via heuristic_markers
7	प्रवृत्तो	annotation_inline parent ligne 4 via heuristic_height
8	यथा	annotation_inline parent ligne 4 via heuristic_height
9	भवति, तदासौ संन्यास इत्यर्थ: ।	main via surya_layout
10	¥<sup>१</sup>तदा	annotation_inline parent ligne 9 via heuristic_short
11	<sup>४२</sup> इत्युच्यते	main via surya_layout
12	यदा	annotation_inline parent ligne 11 via heuristic_height
13	[अंशलक्षणान्तर्गतं विन्यासलक्षणम्]	section_header via surya_layout
14	[अनु॰१२३]	editorial_bracket parent ligne 13 via heuristic_brackets
15	एष एव तु संन्यासस्वरः पदान्ते विन्यस्तो तदा विन्यासः ।	main via surya_layout
16	<sup>४३</sup>०स्वरो यदा	annotation_inline parent ligne 15 via heuristic_height
17	अतएव तदुक्तं भवति -	main via surya_layout
18	र्४४<br>एवांशस्य संवाद्यनुवादी वा पदिवदार्यन्ते भवतीत्युक्तम् ।	main via surya_layout
19	भ्भ' रागश्च यस्मिन् वसति यस्माच्चैव प्रवर्तते ।	main via surya_layout
20	अंशस्य संवादी या भवति	annotation_inline parent ligne 19 via heuristic_height
21	नेता च तारमन्द्राणां योऽत्यर्थमुपलभ्यते ॥	main via surya_layout
22	ग्रहापन्यासविन्याससंन्यासन्यासगोचर:।	main via surya_layout
23	अनुवृत्तश्च यश्चेह सोंऽश: स्याद् दशलक्षण:॥'४६	main via surya_layout
24	स्या(दं?द्द)शलक्ष(णं?ण:)	main via surya_layout
25	[तुल॰ ना॰ शा॰ २८.६८,६९]	editorial_bracket parent ligne 24 via heuristic_brackets
26	[३. तारलक्षणम्]	section_header via surya_layout
27	[अनु॰ १२४]	editorial_bracket parent ligne 26 via heuristic_brackets
28	इदानीं तारलक्षणमुच्यते -	main via surya_layout
29	<sup>४७</sup>अंशस्वरप्रयोगादारभ्य	main via surya_layout
30	पञ्चस्वरपरा तारगति:।	main via surya_layout
31	किमुक्तं भवति ?	main via surya_layout
32	पञ्चमस्वरारोहणं तार इति, चतुःस्वरारोहणं तार इति [वा]। नन्दयन्त्यां यथासासानिधसा	editorial_bracket parent ligne 31 via heuristic_brackets
33	<b>ल्सारो</b>॰	annotation_inline parent ligne 31 via heuristic_markers
34	<b>ल्यमारो</b>॰	annotation_inline parent ligne 31 via heuristic_markers
35	रिग	annotation_inline parent ligne 31 via heuristic_height
36	इति, पञ्चमांशत्वात् षड्जस्तार: । आपञ्चमादिति योजना [गान्धार्या] अष्टम्या विदार्या	editorial_bracket parent ligne 31 via heuristic_brackets
37	°ध्या	page_footer via surya_layout

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_II_p014 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	n er	annotation_inline parent ligne 4 via heuristic_height
2	11	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	the jātis (castes). Just as in human beings there are castes such as brahmin	main via surya_layout
5	and the like, that are both pure and mixed (or altered), similarly these jātis	main via surya_layout
6	are also (twofold).	annotation_inline parent ligne 5 via heuristic_height
7	[Thus ends the general definition.]	editorial_bracket parent ligne 5 via heuristic_brackets
8	[4. The tenfold lakṣaṇas or characteristics]	section_header via surya_layout
9	Now he (the author) spoke (speaks) about the tenfold lakṣaṇa -	main via surya_layout
10	Graha (initial note), amśa (fundamental note), tāra (high), mandra (low)	main via surya_layout
11	and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly	main via surya_layout
12	alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are	main via surya_layout
13	said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis.	main via surya_layout
14	The definition of this group of ten is being given in brief.	main via surya_layout
15	<math>(209-210)</math>	annotation_inline parent ligne 14 via heuristic_height
16	[1. The definition of graha]	section_header via surya_layout
17	[Anu.119]	editorial_bracket parent ligne 16 via heuristic_brackets
18	Out of these (lakṣaṇas), graha is that with which the performance of jāti	main via surya_layout
19	and the like is begun (lit . held or caught). That ( graha ) should be known	main via surya_layout
20	to have sixty-three varieties just like aniśa.	main via surya_layout
21	(Objection) What is the difference between graha and anisa? It is being	main via surya_layout
22	answered - amśa is vādī alone i.e. only the vādī 10 is prescribed to be the	main via surya_layout
23	amsa,but graha is fourfold according to the distinction of vādī and the like	main via surya_layout
24	1	page_number via heuristic_pagenum
25	(samvādī, vivādī and anuvādī). Or there is the distinction of predominance	main via surya_layout
26	and subordination between the two. Graha is subordinate ( to amśa).	main via surya_layout
27	ŧ	annotation_inline parent ligne 26 via heuristic_height
28	(Objection) Why is the predominance of amsa alone being spoken of?	main via surya_layout
29	Because of its being the progenitor 11 of raga (delight or colour) and	main via surya_layout
30	because of its being pervasive, the predominance of anisa alone (is accepted).	main via surya_layout
31	Although graha and anisa are predominant in all the jatis and this is proved	main via surya_layout
32	by utsarga<sup>12</sup> (general rule), yet it is being prescribed through the vidhi<sup>13</sup>	main via surya_layout
33	(operation) of samvādī and anuvādī.	main via surya_layout
34	Similarly said Bharata –	annotation_inline parent ligne 33 via heuristic_height
35	"Graha is said to be like the amsa in all the jātis. The amsa that becomes the	main via surya_layout
36	starting point of geya (melodic organisation and performance) assumes an	main via surya_layout
37	alternative form as graha."	main via surya_layout
38	(NŚ XXVIII.67)	main via surya_layout

vol_II_p084 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	151	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Māmāgari. Sādhāsāsā.	main via surya_layout
4	Sāriririgāgārī.	annotation_inline parent ligne 3 via heuristic_height
5	dhāsāsāgāgadhari.	annotation_inline parent ligne 3 via heuristic_height
6	Sāsāsadhāmamagāsasasāsa. Sāsādhādhāpāpāsa pāpañcamadhādhāpañca[ma]	editorial_bracket parent ligne 3 via heuristic_brackets
7	sāpādhādhādhādhāpā. Pamāgāsā. Sāsāgārīgārī gādhāsāsā. Ardhavesarī [ii]	editorial_bracket parent ligne 3 via heuristic_brackets
8	Combined with şadja as the initial and concluding note, has concert of	main via surya_layout
9	madhyama and ṛṣabha, is laden with the svaras comprised of two śrutis each,	main via surya_layout
10	is commingled with kākalī and antara and is sādhāraņakṛtā, i.e., uses sādhāraņa	main via surya_layout
11	svaras (viz. kākalī and antara), this harṣapurikā bears the name deśī<sup>25</sup>	main via surya_layout
12	(regional).	annotation_inline parent ligne 11 via heuristic_height
13	(65)	annotation_inline parent ligne 11 via heuristic_height
14	Illustration - Sânīdhānīsāsāmāpā. Māgādhāmā. Gāsāsāgā. Gadhānī.	main via surya_layout
15	Sāsādhāsā. Nidhāpāpāgagāmagāmasāsānidhāsāsā. Pāmāgādhāmāgāsāsā.	main via surya_layout
16	Pāmāpāpāsarisāsāsāmāgā. Gapāpānidhā. Sarinīpāmāgāgānidhāsāsāsarīsarī.	main via surya_layout
17	Sāsāridhāpāpā. Māgārisāsāsārīsāsāsamā. Gamāgamāgamāgapāpāmāgārisarīsāsā.	main via surya_layout
18	Sāpāmāgārisāgaga. Sarimāgārīsānīsasā. Harşapūrī [iii]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Māṅgālī has madhyama as aṁśa, ṣaḍja as the concluding note, is brilliant	main via surya_layout
20	with madhyama, has concert between madhyama and ṛṣabha, is complete and	main via surya_layout
21	delightful to the people. This bhāṣā should be known as māṅgālī by the	main via surya_layout
22	knowledgeable ones in music.	main via surya_layout
23	(66)	annotation_inline parent ligne 22 via heuristic_height
24	Illustration - Māgāmā gāsāmāpamā. Gamapāpāsasanisāsānīpāpāpāma.	main via surya_layout
25	Gamamagagamāmā. Sagama. Pāpānisānisāsā sanīsāsāsanīpāpā.... pāmā.	main via surya_layout
26	Papāmamā. Pamagāpamagā. Māmāmaga. Sāsāgamāpāpāsanirīrī. Māgārī.	main via surya_layout
27	Sanisasā. Māṅgālī [iv]	editorial_bracket parent ligne 26 via heuristic_brackets
28	Saindhavī should be embellished with ṣaḍja as the initial and concluding	main via surya_layout
29	note, is replete with sadja and madhyama and similarly there is (mutual	main via surya_layout
30	movement between) niṣāda and ṛṣabha. They have known it as bearing the	main via surya_layout
31	name of deśa (region), being born of the Sindhu region.	main via surya_layout
32	(67)	annotation_inline parent ligne 31 via heuristic_height
33	Illustration - Sārī. Māmā. Mādhāpāpāpāgā. Pāmāgārī. Pāmāgārī. Sanī.	main via surya_layout
34	Sādhāsārīmarīmā. Mārnādhāpāpā. Pādhamāpādhāpā māgārīsanīsāsī. Svindhavī [v]	editorial_bracket parent ligne 33 via heuristic_brackets

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