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 21328). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p158 RIGHT — 48 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	299	page_number via heuristic_pagenum
3	Sixth or third below	table via surya_layout
4	<b>Gändhāra</b>	table via surya_layout
5	Şadja	table via surya_layout
6	Madhyama	table via surya_layout
7	Fifth or fourth below	table via surya_layout
8	Şadja	table via surya_layout
9	Fourth or fifth below	table via surya_layout
10	Pañcama	table via surya_layout
11	Şadja	table via surya_layout
12	Dhaivata	table via surya_layout
13	Third or sixth below	table via surya_layout
14	Şadja	table via surya_layout
15	It is obvious that when a svara other than sadja becomes the amsa, then	main via surya_layout
16	it will be necessary to search a path for sparseness and abundance. The	main via surya_layout
17	identity of sadjī will establish with this path and with nyasa. The paryayamsas	main via surya_layout
18	of ṣāḍjī also become amsás in many other jātis. In view of this, the distinct	main via surya_layout
19	identity of each jāti cannot be established on the basis of amśa because one	main via surya_layout
20	and the same intervals will obtain in many jātis. Hence, the distinct identity	main via surya_layout
21	of each jāti will depend on sparseness and abundance alone.	main via surya_layout
22	The above is true of the seven jātis bearing svara names. In samsargajā	main via surya_layout
23	vikṛtā jātis, the situation would be all the more complex because they involve	main via surya_layout
24	the mixture of more than one jāti in each case. The sparseness-abundance	main via surya_layout
25	of the jātis that are mixed in a given combination would emerge from time	main via surya_layout
26	to time. This is a more complex form of antara-mārga.	main via surya_layout
27	Abhi adds with regard to antara-mārga that sometimes a non-amśa svara	main via surya_layout
28	also is not sparse. For example, in kārmāravī, gāndhāra has concert (sangati)	main via surya_layout
29	with all svaras and thus, it has profuse usage in antara-mārga.	main via surya_layout
30	The citation from Bharata occurring after Anu. 129 says that nyāsa and	main via surya_layout
31	antara-mārga, the special use of sparseness and abundance, is responsible for	main via surya_layout
32	manifesting the identity of jātis. This statement appears to apply only to	main via surya_layout
33	samsargajā jātis. The weakness (abala) of a sparse svara and the abundance	main via surya_layout
34	of the balavan(strong) svara has also been mentioned in the description of	main via surya_layout
35	sparseness and abundance.	main via surya_layout
36	39. The description of kārmāravī is available only in the interpolated	main via surya_layout
37	portion (from SR) in our text. The line cited here occurs in NS XXVIII. as	main via surya_layout
38	the second half of verse 136. The interpolated portion from SR says -	main via surya_layout
39	"Many(svaras) are said to be non-amsas on account of antara-marga.	main via surya_layout
40	Gāndhāra is excessively abundant......	main via surya_layout
41	(17)	annotation_inline parent ligne 40 via heuristic_short
42	Thus gāndhāra is said to be abundant, inspite of its being non-amśa, on	main via surya_layout
43	account of antaramārga.	main via surya_layout
44	The use of future tense in our text, in relation to the description of	main via surya_layout
45	kārmāravī in NS is apparently somewhat queer, as it befits a commentary on	main via surya_layout
46	NS rather than an independent work. Incidentally, this line of our text	main via surya_layout
47	containing the use of future tense is found in Abhi Bhā on NŚ referred to	main via surya_layout
48	in note 38.	main via surya_layout

vol_II_p157 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	297	page_number via heuristic_pagenum
3	35. Lack of regulation i.e. scope for free will in rendering is a	main via surya_layout
4	characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps,	main via surya_layout
5	stand for 'aural appearance'.	main via surya_layout
6	36. See citation in the name of Nărada under Anu. 28 in chapter one	list_item via surya_layout
7	of our text Vol. I. 'Svarāntara' literally means a different svara; its relation	list_item via surya_layout
8	with the number four of svaras could thus be explained. The first three svaras	list_item via surya_layout
9	are repeated as the last three of a heptad. The fourth known as madhyama	list_item via surya_layout
10	comes in-between these two triads. Hence the fourth adds a 'different or	list_item via surya_layout
11	new svara'. This could be the reason for giving the name svarantara to a	list_item via surya_layout
12	group of four svaras. This name is relevant only for the first triad + the	list_item via surya_layout
13	fourth, but its secondary application could be related to any group of four	list_item via surya_layout
14	svaras.	list_item via surya_layout
15	37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157,	list_item via surya_layout
16	158 of the supplement (variant reading) to the said chapter. The description	list_item via surya_layout
17	' (in terms of upohana or introductory portion and metre) is given below -	list_item via surya_layout
18	"Five dhruvās should be performed in Pūrvaranga (preliminaries of	main via surya_layout
19	drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and	main via surya_layout
20	<i>vikşiptă”</i> (p. 251).	annotation_inline parent ligne 19 via heuristic_height
21	"The upohana in avakṛṣṭā dhruvā should be done in five kalās (time-	main via surya_layout
22	units) with the syllabic units dingle dingle, two units of four short syllables	main via surya_layout
23	each and jhantum in the end. Each foot of the dhruva is composed of sixteen	main via surya_layout
24	syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru	main via surya_layout
25	(long) and the rest being laghu (short)." The illustration is as follows-	main via surya_layout
26	Varadam saganam tripurāntakam vṛṣabhaketum/	main via surya_layout
27	Gajacarmapaṭamviṣamekṣaṇambhuvananātham/	main via surya_layout
28	Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/	main via surya_layout
29	Praṇato'smi bhavantamumāpatim tvasitakantham/	main via surya_layout
30	38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding	main via surya_layout
31	verse 74 and in verse 75). The context is the same as that in our text, viz.	main via surya_layout
32	alpatva-bahutva. The manipulation of sparseness and abundance of svaras	main via surya_layout
33	in jātis on account of which a non-amsa svara also becomes abundant in a	main via surya_layout
34	special context is antara-mārga.	main via surya_layout
35	The literal meaning of this word is 'search for the inner path'. The root	main via surya_layout
36	'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search	main via surya_layout
37	of the inner is antara-marga. What is this inner? This has to be understood	main via surya_layout
38	in two ways. The first is in relation to the seven jātis named after svaras, which	main via surya_layout
39	assume a two-fold form viz. śuddha and vikṛta. The second is in the context	main via surya_layout
40	of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above	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_I_p084 RIGHT — 51 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	Ė	annotation_inline parent ligne 6 via heuristic_height
3	151	page_number via heuristic_pagenum
4	VIMARŚA	page_header via surya_layout
5	ì	annotation_inline parent ligne 6 via heuristic_height
6	2. Gita (lit. song or the act of singing) stands for the melodic aspect of	main via surya_layout
7	music which is rendered through the voice or stringed and wind instruments.	main via surya_layout
8	BṛD does not mention vādya along with gīta here, nor in verse 14 where desī	main via surya_layout
9	music is defined as 'that which is sung.' Since voice sets the model followed by	main via surya_layout
10	stringed and wind instruments, gita is the word for the melodic aspect of music	main via surya_layout
11	and the content of the above instruments is included in it. This extension of the	main via surya_layout
12	meaning of gita gets established when the word vādya is juxtaposed with it,	main via surya_layout
13	because in that case vādya gets restricted to drums. But here, in absence of that	main via surya_layout
14	juxtaposition, gita would acquire a further extension by way of also including	main via surya_layout
15	vādya in its orbit. Hence gīta stands here for the totality of music. It is notable	main via surya_layout
16	that gita is followed by svara in this verse. This looks like a repetition because	main via surya_layout
17	svara is the main constituent of gita. This could be construed as an emphasis on	main via surya_layout
18	'svara' through an independent reference to it.	main via surya_layout
19	3. Nrtta generally stands for pure dance where the delineation of artha	main via surya_layout
20	(meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263).	main via surya_layout
21	Nṛtta is dependent on nāda, because it has to be accompanied on instruments,	main via surya_layout
22	specially drums.	annotation_inline parent ligne 21 via heuristic_height
23	4. The statement that the world is made up of nāda seems to be somewhat	main via surya_layout
24	out of place here, because the context is that of nada being the essence of	main via surya_layout
25	music and dance. But if one recalls the exposition of the order of manifestation	main via surya_layout
26	or formation of gandharva beginning from bindu and moving forward through	main via surya_layout
27	nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its	main via surya_layout
28	auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva)	main via surya_layout
29	incorporates all the stages upto gandharva and hence the fundamental nature	main via surya_layout
30	of nāda as established in gīta could be logically extended to the 'world' because	main via surya_layout
31	the world or phenomenon itself is a manifestation of nāda through the above	main via surya_layout
32	stages. SR expresses the same idea in the following manner -	main via surya_layout
33	"Nāda manifests the letters ( of alphabet ), letters constitute the word and	main via surya_layout
34	words make a sentence; so, the entire business of life is carried on through	main via surya_layout
35	language and therefore, the whole phenomenon (i.e. the world) is based on	main via surya_layout
36	nāda". (SR1, 2.2)	annotation_inline parent ligne 35 via heuristic_height
37	Just as SR has related the business of life with nāda through verbal	main via surya_layout
38	communication that is based on the same, BrD has used gita in an extended	main via surya_layout
39	meaning, including in it all the manifestations of nada and has expounded nada	main via surya_layout
40	to be the essence of the whole world.	annotation_inline parent ligne 39 via heuristic_height
41	It would be interesting to note here that S R also speaks of nāda being the	main via surya_layout
42	essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in	main via surya_layout
43	that context.	annotation_inline parent ligne 42 via heuristic_height
44	"Nāda is the very essence of vocal music, instrumental music is enjoyable as	main via surya_layout
45	it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental	main via surya_layout
46	music); therefore, all the three together depend on nāda". (SRI, 2.1)	main via surya_layout
47	5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva	main via surya_layout
48	(three gods), representing three aspects of the manifestation of the Ultimate	main via surya_layout
49	Reality into the phenomenon of the universe, viz. creation, preservation and	main via surya_layout
50	destruction. Although the three of them occur in Vedic literature, yet the idea	main via surya_layout
51	(vide)	annotation_inline parent ligne 50 via heuristic_height

vol_I_p020 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	22	page_number via heuristic_pagenum
3	तदुक्तम्—	main via surya_layout
4	"कथं प्रतीतिश्च भवेदमुष्या	main via surya_layout
5	नादौ नभो व्याकुलितश्रुति स्यात् ।	main via surya_layout
6	ुत्वा, ।	annotation_inline parent ligne 5 via heuristic_height
7	रा	annotation_inline parent ligne 5 via heuristic_height
8	भवेदलक्ष्यावयवा श्रुतिस्तु	main via surya_layout
9	[ तेनैव ] नैवावयवा प्रतीता ।।	editorial_bracket parent ligne 8 via heuristic_brackets
10	॰वी	annotation_inline parent ligne 8 via heuristic_markers
11	ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति ।	main via surya_layout
12	तासा भवतीताः	annotation_inline parent ligne 11 via heuristic_height
13	ती २	annotation_inline parent ligne 11 via heuristic_height
14	यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥	main via surya_layout
15	श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते।	editorial_bracket parent ligne 14 via heuristic_brackets
16	एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥	main via surya_layout
17	तस्या	annotation_inline parent ligne 16 via heuristic_height
18	ুস্	annotation_inline parent ligne 16 via heuristic_height
19	मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥	main via surya_layout
20	٥٣,	annotation_inline parent ligne 19 via heuristic_height
21	सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः।	main via surya_layout
22	[ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।।	editorial_bracket parent ligne 21 via heuristic_brackets
23	₀णः ₀न्तोऽप्या₃	annotation_inline parent ligne 21 via heuristic_markers
24	++++	main via surya_layout
25	सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा ।	main via surya_layout
26	०णी तु	annotation_inline parent ligne 25 via heuristic_short
27	स	annotation_inline parent ligne 25 via heuristic_height
28	विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥	main via surya_layout
29	भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥	main via surya_layout
30	किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः ।	main via surya_layout
31	निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥"	main via surya_layout
32	अत्रोच्यते-	annotation_inline parent ligne 31 via heuristic_short
33	अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा।	main via surya_layout
34	₀প্লাপ্রউন<sup>87</sup>	annotation_inline parent ligne 33 via heuristic_markers
35	गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः	main via surya_layout
36	118311	main via surya_layout

204 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p158 RIGHT — 48 lignes

vol_II_p157 RIGHT — 40 lignes

vol_II_p087 RIGHT — 29 lignes

vol_I_p084 RIGHT — 51 lignes

vol_I_p020 LEFT — 36 lignes