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_p031 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	45	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	(That which) reaches the heart quickly from the other (svara) is known as	main via surya_layout
4	rṣabha. Just as the big bull seated (or standing) among the female gos (cows)	main via surya_layout
5	looks splendid, similar is this svara ṛṣabha 54 born in the svara-grāma (gamut).	main via surya_layout
6	(56, 57 ab)	annotation_inline parent ligne 5 via heuristic_height
7	That which holds the ganatmika vak (musical vak) is named as gandhara.55	main via surya_layout
8	<math>(57 \text{ cd})</math>	annotation_inline parent ligne 7 via heuristic_height
9	Madhyama svara is known to be so because of being the middle one among	main via surya_layout
10	svaras.56 Pañcama is that which measures the elaboration of svaras.57 (58)	main via surya_layout
11	Or, it is pañcama (fifth) in number in the order of pāṭha (lit. reading aloud	main via surya_layout
12	or recitation, here enumeration). Dhīvān is one who has got dhī (buddhi,	main via surya_layout
13	intellect), the one related to him (dhivan) is dhaivata.58	main via surya_layout
14	(59)	annotation_inline parent ligne 13 via heuristic_height
15	Or	annotation_inline parent ligne 13 via heuristic_height
16	It is known as dhaivata because it is held on the sixth sthana (location).	main via surya_layout
17	(60 ab)	annotation_inline parent ligne 16 via heuristic_height
18	The place of dhaivata is in the lalāţa (forehead), this is the meaning.59	main via surya_layout
19	Niṣāda is known as such because all the svaras rest upon it.60	main via surya_layout
20	<math>(60 \text{ cd})</math>	annotation_inline parent ligne 19 via heuristic_height
21	(Anu. 29)	annotation_inline parent ligne 19 via heuristic_height
22	But why is the rule that there are (only) seven svaras? It is being said	main via surya_layout
23	(answered) - (This rule is there) in the same way as (in the human body) seven	main via surya_layout
24	dhātus alone beginning with rasa61 are to be accepted in accordance with their	main via surya_layout
25	being dependent on seven dhātus62 (minerals). Similarly said Suśruta -	main via surya_layout
26	Tvak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen,	main via surya_layout
27	these are dhātus. Similarly, svaras are only seven on account of being dependent	main via surya_layout
28	on or dwelling in seven cakras 63 or seven dvipas 64 (lit. islands).	main via surya_layout
29	[ The castes of sveres ]	section_header via surya_layout
30	The svaras (comprised of) four śrutis are brāhmaņas,65 the ones (comprised	main via surya_layout
31	of) three śrutis are kṣatriyas,66 the ones with two śrutis should be known as	main via surya_layout
32	(61)	annotation_inline parent ligne 31 via heuristic_height
33	vaisyas 67 and the antara-svaras are śūdras.68	main via surya_layout
34	[ The drawing out of svara signs as contained in agama ]	editorial_bracket parent ligne 33 via heuristic_brackets
35	Having acquired the eight groups beginning with akara and ending with	main via surya_layout
36	ya-śa, one should draw out70 the heptad of svaras (their abbreviated names i.e.	main via surya_layout
37	solfa-syllables) combined with letters and mātrās (vowel-endings).	main via surya_layout
38	(62)	annotation_inline parent ligne 37 via heuristic_height

vol_II_p040 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	63	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mā mā mā mā mā mā mā mā	table via surya_layout
4	(4)	table via surya_layout
5	dhā nī pā mapa dhā nī pā pā	table via surya_layout
6	(5)	table via surya_layout
7	(6)	table via surya_layout
8	mā pā mā dhani pā pā pā pā	table via surya_layout
9	(7)	table via surya_layout
10	rî gā mā pā pā pā mā pā	table via surya_layout
11	(8)	table via surya_layout
12	rī gā mā pā pā pā mā pā	table via surya_layout
13	(9)	table via surya_layout
14	pā pā pā pā pā pā pā pā	table via surya_layout
15	(10)	table via surya_layout
16	rī gā sā sā rī gā gā gā	table via surya_layout
17	(11)	table via surya_layout
18	gã gã pã dhama dhã nidha pã pã	table via surya_layout
19	(12)	table via surya_layout
20	mā pā mā pariga gā gā gā gā	table via surya_layout
21	Thus ends raktagāndhārī.	section_header via surya_layout
22	[4. Kaiśikī]	section_header via surya_layout
23	In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the	main via surya_layout
24	amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis	main via surya_layout
25	(gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know	main via surya_layout
26	niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas.	main via surya_layout
27	(11)	annotation_inline parent ligne 26 via heuristic_short
28	The hexatonic and pentatonic forms are known to come into being with	main via surya_layout
29	the omission of <i>rṣabha</i> and <i>rṣabha-dhaivata</i>. <i>Rṣabha</i> is sparse, there is the	main via surya_layout
30	abundance of niṣāda and pañcama. The amsas have mutual concert.	main via surya_layout
31	(12)	annotation_inline parent ligne 30 via heuristic_short
32	Pañcama and dhaivata are averse to the hexatonic and pentatonic forms	main via surya_layout
33	respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā	main via surya_layout
34	beginning with gāndhāra obtains.	main via surya_layout
35	(13)	annotation_inline parent ligne 34 via heuristic_short
36	The application is (prescribed) in the dhruvā pertaining to the fifth act.	main via surya_layout
37	Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting	main via surya_layout
38	rṣabha or seven svaras are apanyāsas. The prastāra is thus -	main via surya_layout
39	(1)	table via surya_layout
40	pā dhani pā dhani gā gā gā gā	table via surya_layout
41	pā pā mā nidha nidha pā pā pā	table via surya_layout
42	(2)	table via surya_layout

vol_II_p049 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	81	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[The opinion of Bharata]	section_header via surya_layout
4	"The first one should be known as māgadhī and the second one as	main via surya_layout
5	ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā."	main via surya_layout
6	(NŚ Chau. XXIX. 77)	main via surya_layout
7	[Thus ends the opinion of Bharata]	section_header via surya_layout
8	[The opinion of Yāṣṭika]	section_header via surya_layout
9	Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by	main via surya_layout
10	the noble Yāstika.	annotation_inline parent ligne 9 via heuristic_short
11	(272)	main via surya_layout
12	Thus ends the opinion of Yāṣṭika.	section_header via surya_layout
13	[ The opinion of Kasyapa and Śārdūla]	section_header via surya_layout
14	Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly,	main via surya_layout
15	bhāṣāgīti alone is accepted in the opinion of Śārdūla.	main via surya_layout
16	(273)	main via surya_layout
17	[ The description of gītis]	section_header via surya_layout
18	Now I shall speak of the proper definition of giti.	main via surya_layout
19	(274)	main via surya_layout
20	[1. Šuddhā gīti]	section_header via surya_layout
21	The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra	main via surya_layout
22	(low), amandra (not low, medium), tāra (high)straight, attractive, equal	main via surya_layout
23	svaras and śrutis.	annotation_inline parent ligne 22 via heuristic_short
24	(275)	main via surya_layout
25	[2. Bhinnāgīti]	section_header via surya_layout
26	Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved,	main via surya_layout
27	ullāsita (made to shine upwards), prasārita (spread out), attractive, high and	main via surya_layout
28	low (svaras).	annotation_inline parent ligne 27 via heuristic_short
29	(276)	main via surya_layout

vol_II_p081 RIGHT — 31 lignes

L#	Texte OCR	Role auto
1	٠	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	145	page_number via heuristic_pagenum
4	performed as to involve mutual movement between rşabha-gandhara and	main via surya_layout
5	similarly <i>şadja-madhyama</i>.	main via surya_layout
6	<math>(52-53)</math>	main via surya_layout
7	Illustration - Gāgāgāmā. Sāsī. Māgāmāmāgāmāsīsāsī. Gāgādhānisīsīgādhanisā	main via surya_layout
8	dhādhāmārīmāgārīgasā sāsāsāmā sārīdhādhādhādhadhamāgārīgāgā dhārīsāsīsā.	main via surya_layout
9	Māgāmāmāgā Māsīsimāgā dhādhādhāparīgamarīgamasīsisīmāgārīdhā dhamagari	main via surya_layout
10	gamadhanī. Sāsāgādhānisāsā. Ravicandrā [xi]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Ambāherī is said to have madhyama as its amśa, ṣadja as its concluding note,	main via surya_layout
12	gāndhāra and dhaivata as profuse, incomplete in svaras, being always devoid	main via surya_layout
13	of pa (pancama), this bhāṣā is said to bear the name <math>desi^{20}</math> (regional).	main via surya_layout
14	(54)	annotation_inline parent ligne 13 via heuristic_short
15	Illustration – Māmāsā. Nīnī. Nidhādhāni dhādhāni. Dhānidhādhānī.	main via surya_layout
16	Sāgāgārī. Sanīsanīdhā. Nidhānigāgā māgānisāsāni. Sādhānīgā gānisāsā.	main via surya_layout
17	Sāninisanīdhā dhāmānīmā dhāsanini. Nisādhānīmādhādhāmāgāsānisānidhā.	main via surya_layout
18	Mādhādhā. Sādhānīdhānīsāsā. Māmādhāsāsā. Māmāgārīmāgāsāsā.	main via surya_layout
19	Māsāmāmāgārīmāgāsāsā. Masānī ninimāni dhādhānidhāmāgā. Sānīmādhā.	main via surya_layout
20	Sāsanīdhā dhanisādhādhā. Dhanidhānīsā. Ambāherī [xii]	editorial_bracket parent ligne 19 via heuristic_brackets
21	Being combined with sadja in the beginning and having madhyama and	main via surya_layout
22	dhaivata as abundant and with the omission of rşabha, this bhāṣā, lalitā, is	main via surya_layout
23	sankīrņā (mixed) and hexatonic. There is (mutual) movement between the	main via surya_layout
24	svaras comprised of two śrutis each.	main via surya_layout
25	(55)	annotation_inline parent ligne 24 via heuristic_short
26	Illustration - Sāgāgādhāgāmāmāgā. Dhamādhānīsāsā. Nidhāgāgā.	main via surya_layout
27	Säsäsämäpädhäni dhäpämäsä sädhäpädhänidhädhäsä nidhägänigädhanisasasa.	main via surya_layout
28	Lalitā [xiii]	editorial_bracket parent ligne 27 via heuristic_brackets
29	Combined with şadja as the initial and concluding note, omitting	main via surya_layout
30	pañcama, being devoid of the seventh (niṣāda), having the concert of	main via surya_layout
31	madhyamawith ṣaḍja there, the saii kīrṇā (mixed) and pentatonic bhāṣā, born	main via surya_layout

vol_II_p056 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BŖHADDEŚĪ	page_header via surya_layout
2	94	page_number via heuristic_pagenum
3	संहारे कैशिक: प्रोक्त: पूर्वरङ्गे तु षाडव: ।	main via surya_layout
4	चित्रस्याष्टादशाङ्गस्य त्वन्ते कैशिकमध्यमः॥	main via surya_layout
5	शुद्धानां विनियोगोऽयं ब्रह्मणा समुदाहतः ।'"५०	main via surya_layout
6	[NŚ as quoted in Kalā on SR. II p.32]	editorial_bracket parent ligne 5 via heuristic_brackets
7	[ख. भिन्नरागाः]	section_header via surya_layout
8	इदानीं भिन्नानां लक्षणमाह -	main via surya_layout
9	श्रुतिभिन्नो जातिभिन्नः शुद्धभिन्नः ५१स्वरस्तथा ।	main via surya_layout
10	स्वरै॰	annotation_inline parent ligne 9 via heuristic_markers
11	चतुर्धिर्भिद्यते यस्मात् तस्माद् भित्रक उच्यते ॥३०४॥	main via surya_layout
12	[अनुः १७२]	editorial_bracket parent ligne 11 via heuristic_brackets
13	५२ननु भित्रशब्देन किमभिधीयते ? किं विदारितोऽर्थः, एतदस्मादयं व्यतिरिक्त इत्यर्थो वा	main via surya_layout
14	भित्रशब्दस्य। एतत्र वाच्यम्। भित्रोऽत्र विकृत उच्यते। विकृतत्वं च पूर्वोक्तश्रुतिभित्रेत्यादिलक्षणात्।	main via surya_layout
15	५३[स्वरभिन्न:]	section_header via surya_layout
16	[अनु॰ १७३]	editorial_bracket parent ligne 15 via heuristic_brackets
17	इदानीं भिन्नानां प्रागुक्तलक्षणप्रकटनार्थं तत्रादौ स्वरभिन्नस्य लक्षणमुच्यते -	main via surya_layout
18	यदा वादी गृहीत: स्यात् संवादी च विमोक्ष्यते ।	main via surya_layout
19	विवादी वानुवादी वा स्वरिभन्न: स उच्यते ॥ ३०५॥	main via surya_layout
20	५४चानुवादी च	annotation_inline parent ligne 19 via heuristic_height
21	[अन्॰ १७४]	editorial_bracket parent ligne 19 via heuristic_brackets
22	अस्यार्थ:-मध्यमग्रामाश्रितस्य शुद्धषाडवस्य योऽसौ मध्यमो ग्रहांश: तत्स्थाने धैवतो	main via surya_layout
23	धैवतोऽपि	annotation_inline parent ligne 22 via heuristic_height
24	योऽसा	annotation_inline parent ligne 22 via heuristic_height
25	५५विवादित्वेन वा[ऽ]नुवादित्वेन वा गृहीतो भवति। मध्यमस्वरस्य संवादी त्यज्यते न्यस्यते	editorial_bracket parent ligne 22 via heuristic_brackets
26	नानुवादित्वेन	annotation_inline parent ligne 22 via heuristic_height
27	विवादित्वे (न?)	annotation_inline parent ligne 22 via heuristic_height
28	वा तदासौ स्वरिभन्न उच्यते । भिन्नषड्जेऽत्र वदनाद् वादी धैवतः, पुनर्बहुप्रयोगो भवति [तस्य]।	editorial_bracket parent ligne 22 via heuristic_brackets
29	व्यह्ज: अत्र	annotation_inline parent ligne 22 via heuristic_height
30	ननु पश्चसु रागेषु मध्ये भित्रषड्जस्य लक्षणमुच्यते इत्यादावेवाभिधानं कृत:?	main via surya_layout
31	सत्यमुक्तम्	annotation_inline parent ligne 30 via heuristic_height
32	मुख्यत्वादस्य । मुख्यत्वं च यथा शुद्धगीतिषु शुद्धषाडवस्य एवं भिन्नगीतिषु भिन्नषड्जस्येति	main via surya_layout
33	तद्भेद[त्व]ादस्येति ।	editorial_bracket parent ligne 32 via heuristic_brackets

Legende des roles

vol_I_p031 RIGHT — 38 lignes

vol_II_p040 RIGHT — 42 lignes

vol_II_p049 RIGHT — 29 lignes

vol_II_p081 RIGHT — 31 lignes

vol_II_p056 LEFT — 33 lignes