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_p099 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	181	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya-	main via surya_layout
4	mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the	main via surya_layout
6	mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made	main via surya_layout
7	hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with	main via surya_layout
8	the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\	main via surya_layout
9	delightful to the people.	main via surya_layout
10	<math>(139-140)</math>	main via surya_layout
11	Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā.	main via surya_layout
12	Nādākhyā [ii]	editorial_bracket parent ligne 11 via heuristic_brackets
13	These two are there in vesarașādava.	main via surya_layout
14	13. Now the bhāṣās in bhinnatāna	section_header via surya_layout
15	Having pañçama as amsa and the same as the concluding note, this	table via surya_layout
16	sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid	table via surya_layout
17	of rṣabha, by the knowledgeable ones in music.	table via surya_layout
18	(141)	table via surya_layout
19	.....[Tānodbhavā]	table via surya_layout
20	[This one is in bhinnatāna]	table via surya_layout
21	[14. Bhāṣās in gāndhārapancama]	table via surya_layout
22	.....[Gāndhārī]	table via surya_layout

vol_I_p061 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	105	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	(Anu. 102)	annotation_inline parent ligne 4 via heuristic_height
4	Like hunkāra one should ascend (with) three solfa syllables without a gap	main via surya_layout
5	(and) in a combined80 (manner), thence two lower svaras (forming two phrase-	main via surya_layout
6	units each) should be made (pronounced) with shake81 and verily in	main via surya_layout
7	combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa,	main via surya_layout
8	because of the combination or formulation of ekakala 83 svaras (forming	main via surya_layout
9	temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani	main via surya_layout
10	dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri,	main via surya_layout
11	(33)	annotation_inline parent ligne 10 via heuristic_height
12	sariga riri sasa. Thus is (ends) gatravarna.	main via surya_layout
13	[ The treatment of Alankaras according to Bharata's opinion ]	section_header via surya_layout
14	I shall now speak of the varnas 84 in which the charming alankāras are	main via surya_layout
15	'seated' (formed), according to the prescription of Bharata.	main via surya_layout
16	(121)	annotation_inline parent ligne 15 via heuristic_height
17	Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama,	main via surya_layout
18	recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras	main via surya_layout
19	(122, 123)	annotation_inline parent ligne 18 via heuristic_short
20	should be known according to their respective definition.	main via surya_layout
21	After this, please understand (the alankāras) born of the sancārin (varņa), as	main via surya_layout
22	they are again and again being described (lit. glorified). Mandratāraprasanna,	main via surya_layout
23	bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita,	main via surya_layout
24	upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of	main via surya_layout
25	<math>(124 - 126)</math>	annotation_inline parent ligne 24 via heuristic_height
26	the sancarin (varna).	annotation_inline parent ligne 24 via heuristic_height
27	Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita,	main via surya_layout
28	hrādamāna, sampradāna, sandhipracchādana, prasannādi and	main via surya_layout
29	prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128)	main via surya_layout

vol_II_p116 RIGHT — 23 lignes

L#	Texte OCR	Role auto
1	215	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	[15. Hayalīlā]	section_header via surya_layout
4	Where the (first) half is sung with svaras, in turagalīla (tāla), (and the	main via surya_layout
5	latter) half is sung with birudas, that is known as hayalīlā.	main via surya_layout
6	(397)	main via surya_layout
7	[16. <i>Gajalīlā</i>]	section_header via surya_layout
8	That which is completely composed according to gajalīlā but where the tāla	main via surya_layout
9	is gajalīla, that should be known by the name gajalīlā.	main via surya_layout
10	(398)	main via surya_layout
11	[17. Simhalīlā]	section_header via surya_layout
12	Composed in simhalilā metre, combined with svara and tena, that which is	main via surya_layout
13	sung with birudas is sinihalīlaka.	main via surya_layout
14	(399)	main via surya_layout
15	[18. Śarabhalila]	section_header via surya_layout
16	Where eight feet are composed with svaras and pāṭas, that is held to be	main via surya_layout
17	śarabhalīla, having eight rāgas and tālas.	main via surya_layout
18	(400)	main via surya_layout
19	[19. Śukacańcu]	section_header via surya_layout
20	In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with	main via surya_layout
21	<math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various	main via surya_layout
22	regions, is named śukacańcu, that is dear to the people.	main via surya_layout
23	(401)	main via surya_layout

vol_II_p164 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	311	page_number via heuristic_pagenum
2	VIMARŠA	page_header via surya_layout
3	22,23. Nāga and kinnara are names of ethnic groups. Our text is the	list_item via surya_layout
4	first one to mention ethnic names in the context of music.	list_item via surya_layout
5	24. Paurāla is not a known geographical name. One approximate	list_item via surya_layout
6	name is paurava, "a country on the eastern bank of the jhelam including the	list_item via surya_layout
7	Gujrat district, the original seat of the Purus, the kingdom of Porus who	list_item via surya_layout
8	fought with Alexander " (Nando Lal De). Purālī was an ancient name of	list_item via surya_layout
9	Travancore (ibid).	list_item via surya_layout
10	25. Harşapūra is not known as a geographical name.	list_item via surya_layout
11	26. <math>\bar{A}bh\bar{i}ra</math> is both a geographical and ethnic name. It is identified as	list_item via surya_layout
12	"the south-eastern portion of Gujrat about the mouths of the Narmada"	list_item via surya_layout
13	(Nando Lal De).	list_item via surya_layout
14	27. 'Samyoga' is another expression for sancara or sangati.	list_item via surya_layout
15	28. Kāmboja is identified as Afghanistan (Nando Lal De).	list_item via surya_layout
16	29. Sātavāhana or Sātavāha is "the name of a king fabled to have been	list_item via surya_layout
17	discovered, when a child, riding a Gandharva called Sāta, who, according to	list_item via surya_layout
18	one legend, was changed into a lion" (Monier Williams). Also known as	list_item via surya_layout
19	Sālivāhana, the Śaka ruler who founded the Śaka era i.e samvat.	list_item via surya_layout
20	30. Gāndhāra and niṣāda are implied.	list_item via surya_layout
21	31. Chāyā is used while describing the resemblance of one rāga with	list_item via surya_layout
22	another at a given point.	list_item via surya_layout
23	32. Kākalī is prescribed to be always sparse in the grāma system. The	list_item via surya_layout
24	prescription here of kākalī being frequent is a notable departure.	list_item via surya_layout
25	33. Again the ethnic name kinnara appears here. See notes 22,23.	list_item via surya_layout
26	34. The basic name is hindola or hindolaka meaning a swing; its	list_item via surya_layout
27	synonym is sometimes used to meet the exigency of metre.	list_item via surya_layout
28	35. See note 26.	list_item via surya_layout
29	36. Gāndharva is a rigorously guarded tradition. The inclusion of	list_item via surya_layout
30	bhāṣā in this corpus is incongruous, unless gāndharva is taken to stand for	list_item via surya_layout
31	music in general.	list_item via surya_layout
32	37. "Mangala - called also Mangali or Mangalapura, the capital of	list_item via surya_layout
33	Udyāna, identified by Wilford with Mangora or Manglora. Cunningham	list_item via surya_layout
34	thought it could be identified with Minglaur (Mangalore) " (Nando Lal	list_item via surya_layout
35	De).	list_item via surya_layout
36	38. The word samvāda has been used here again for sancara or sangati.	list_item via surya_layout
37	39. The origin of this vibhāṣā is traced directly to pañcama rāga, where	list_item via surya_layout
38	as it should really be related to a bhāṣā of that rāga. It is treated as a bhāṣā	list_item via surya_layout
39	in SR and S Rāj.	list_item via surya_layout
40	40. Gändhärapañcama has been mentioned here under pañcama.	list_item via surya_layout
41	41. "Dākṣiṇātya is identified with Deccan; that part of India that lies	list_item via surya_layout

vol_II_p026 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	35	page_number via heuristic_pagenum
3	When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4	main via surya_layout
4	(alteration) of anisas of jātis (should be taken up).	main via surya_layout
5	(249)	annotation_inline parent ligne 4 via heuristic_short
6	Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma	main via surya_layout
7	the formation or variation of amsas in their svaras i.e. in svaras of jatis should	main via surya_layout
8	be done in the text of vardhamāna<sup>51</sup>	main via surya_layout
9	(250)	main via surya_layout
10	[8. The ṣāḍava and auḍava formation of jātis]	section_header via surya_layout
11	The sixty-three amsas that have thus been spoken of, out of them each one	main via surya_layout
12	is accorded the position of ainsa (at a given time) (and accordingly) the	main via surya_layout
13	ṣāḍava and auḍava formation that is obtained (on account of rule or	main via surya_layout
14	prescription) is sometimes given up.	main via surya_layout
15	(251)	main via surya_layout
16	[ Anu. 134 ]	section_header via surya_layout
17	The sixty-three amsas that have been spoken of, out of them each one has	main via surya_layout
18	to be arranged as anisa (in a given melodic set-up). (In specific situations	main via surya_layout
19	created by the arrangement of different anisas) sometimes the formation of	main via surya_layout
20	ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given	main via surya_layout
21	up. He (the author) clarifies this itself.	main via surya_layout
22	Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on	main via surya_layout
23	<math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not	main via surya_layout
24	accepted.	annotation_inline parent ligne 23 via heuristic_short
25	(252)	main via surya_layout
26	[ Anu. 135 ]	section_header via surya_layout
27	This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not	main via surya_layout
28	become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the	main via surya_layout
29	omission of gandhara is not there. On gandhara being amśa, it should be	main via surya_layout
30	known to be non-ṣāḍava by omission of niṣāda because of the negation of the	main via surya_layout
31	omission of the sanivādī of the aniśa.	main via surya_layout
32	Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become	main via surya_layout
33	ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the	main via surya_layout
34	negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does	main via surya_layout
35	not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the	main via surya_layout
36	amśa and şadjodicyavā should be known not to be şādava (through the	main via surya_layout
37	omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a.	main via surya_layout
38	(253)	main via surya_layout

Legende des roles

vol_II_p099 RIGHT — 22 lignes

vol_I_p061 RIGHT — 29 lignes

vol_II_p116 RIGHT — 23 lignes

vol_II_p164 RIGHT — 41 lignes

vol_II_p026 RIGHT — 38 lignes