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_p028 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	(vide)	annotation_inline parent ligne 4 via heuristic_height
2	39	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	applied without any svara forming an exception. Out of sixty-three (anisas),	main via surya_layout
5	nine amsas that pertain to the four jātis which are always complete, should	main via surya_layout
6	be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are	main via surya_layout
7	subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of	main via surya_layout
8	six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī	main via surya_layout
9	(and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there	main via surya_layout
10	are forty-seven anisas. That is thus -	main via surya_layout
11	Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī	main via surya_layout
12	(and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki	main via surya_layout
13	(becomes so) with sa - ga - pa.	annotation_inline parent ligne 12 via heuristic_height
14	(257)	annotation_inline parent ligne 12 via heuristic_height
15	[ Anu. 140]	editorial_bracket parent ligne 12 via heuristic_brackets
16	This means .....in the forty-seven anisas, the formation of ṣāḍava should	main via surya_layout
17	be carried out with the said svaras.	annotation_inline parent ligne 16 via heuristic_height
18	Now he (the author) shows the svaras that are not exceptional <math>^{53}</math> in the	main via surya_layout
19	formation of auduvita -	annotation_inline parent ligne 18 via heuristic_height
20	In the same way, those that are free from being exceptional are thirty	main via surya_layout
21	(amśa svaras that form) auduvita.	main via surya_layout
22	(258)	annotation_inline parent ligne 21 via heuristic_height
23	[Anu. 141]	editorial_bracket parent ligne 21 via heuristic_brackets
24	This means - in that way, those devoid of exception should be known to	main via surya_layout
25	be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to	main via surya_layout
26	the four jātis that are always complete (in which omission is not prescribed)	main via surya_layout
27	should be subtracted. After their subtraction, fifty-four amsas remain there.	main via surya_layout
28	There also out of fifty-four, twelve amsas of the four jātis that are always	main via surya_layout
29	complete and ṣāḍava, should be subtracted. After their subtraction, out of	main via surya_layout
30	forty-two (being the remainder), twelve anisas that do not form auduvita in	main via surya_layout
31	five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī,	main via surya_layout
32	should be subtracted. After their subtraction, the formation of auduvita	main via surya_layout
33	takes place with thirty amśa svaras that have been spoken of. Similarly has	main via surya_layout
34	said Bharata-	annotation_inline parent ligne 33 via heuristic_height

vol_I_p054 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	91	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down)	main via surya_layout
4	(27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29)	main via surya_layout
5	Hunkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or	main via surya_layout
6	juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33)	main via surya_layout
7	Gātravarṇa (the colour of the body).	main via surya_layout
8	(Anu. 70)	annotation_inline parent ligne 7 via heuristic_height
9	Now the definition of these alankāras is being given (said). That is thus—the	main via surya_layout
10	gradual ascent beginning from 'low' upto the starting point of 'high' is (known	main via surya_layout
11	as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā	main via surya_layout
12	mā pā dhā nī sā.29	annotation_inline parent ligne 11 via heuristic_height
13	(1)	annotation_inline parent ligne 11 via heuristic_height
14	Thus is (ends) prasannādi.	annotation_inline parent ligne 11 via heuristic_height
15	(Anu. 71)	annotation_inline parent ligne 11 via heuristic_height
16	Beginning from tara 30 (high) and (reaching) upto mandra (low) is	main via surya_layout
17	prasannānta. As - sā<sup>31</sup> nī dhā pā mā gā nī sā. Thus is (ends) prasannānta.	main via surya_layout
18	(2)	annotation_inline parent ligne 17 via heuristic_height
19	(Anu. 72)	annotation_inline parent ligne 17 via heuristic_height
20	Where there is 'low' in the beginning and end and 'high' in the middle,	main via surya_layout
21	that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī	main via surya_layout
22	(3)	annotation_inline parent ligne 21 via heuristic_height
23	sā. Thus is (ends) prasannādyanta.	main via surya_layout
24	(Anu. 73)	annotation_inline parent ligne 23 via heuristic_height
25	Where there is 'low' in the middle and 'high' in the beginning and end,	main via surya_layout
26	that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni	main via surya_layout
27	(4)	annotation_inline parent ligne 26 via heuristic_height
28	sā.34 Thus is (ends) prasannamadhya.	main via surya_layout
29	(Anu. 74)	annotation_inline parent ligne 28 via heuristic_height
30	The pronunciation (sounding) of the seven svaras with a similar sound in	main via surya_layout
31	the three registers is sama. This is being said. (A svara) should be made	main via surya_layout
32	(sounded) in the three registers with the same number of śrutis 35 as it is	main via surya_layout
33	composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama	main via surya_layout
34	(comes into being) on account of the pronunciation of pairs of samvādin	main via surya_layout
35	(consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma	main via surya_layout
36	changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special	main via surya_layout
37	<b>(5)</b>	annotation_inline parent ligne 36 via heuristic_height
38	(structure of pairs). Thus is (ends) sama.	main via surya_layout

vol_II_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_II_p100 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	183	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	15. Now the bhāṣās in pañcamaṣāḍava	section_header via surya_layout
4	Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is	main via surya_layout
5	said to be complete (and) having abundant gändhära-pañcama. The profusion	main via surya_layout
6	of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in	main via surya_layout
7	pancamaṣāḍava, being born of śakarāga. 71	main via surya_layout
8	(142-143)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā.	editorial_bracket parent ligne 7 via heuristic_brackets
10	[Thus in pañcamaṣāḍava]	section_header via surya_layout
11	Thus are the bhāṣās manifested in (this)world, that are known to be	main via surya_layout
12	accepted by many. That <math>(bh\bar{a}s\bar{a})</math> is so modified as it is performed by one.<sup>72</sup>	main via surya_layout
13	(144)	annotation_inline parent ligne 12 via heuristic_height
14	Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all	main via surya_layout
15	effort. It should always be listened to by the singers in the context of wit and	main via surya_layout
16	humour and whatever is seen in fighting or sacrifice (yajña), all that is shown	main via surya_layout
17	by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas.	main via surya_layout
18	<math>(145-146)</math>	annotation_inline parent ligne 17 via heuristic_height
19	Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā-	main via surya_layout
20	lakṣaṇa where Yāṣṭika is the leader.	main via surya_layout
21	[ B. Bhāṣās according to Śārdūla]	section_header via surya_layout
22	After this I shall speak of the description of bhāṣā according to Śārdūla.	main via surya_layout

vol_II_p095 LEFT — 28 lignes

L#	Texte OCR	Role auto
1	BŖHADDEŚĪ	page_header via surya_layout
2	172	page_number via heuristic_pagenum
3	एषा ह्यन्तरभाषा वै पुलिन्देन तु गीयते ।	main via surya_layout
4	पुलिन्दिकेति विख्याता पड्ज औडुविता तथा ॥ ११७॥	main via surya_layout
5	व्केत्	annotation_inline parent ligne 4 via heuristic_height
6	•तास्तथा	annotation_inline parent ligne 4 via heuristic_height
7	उदाहरणम् - [धाधा]सासासाधानिसारिसा धानिधाधाधारिरिसासासा रिरिधाधाधारिसा-	editorial_bracket parent ligne 4 via heuristic_brackets
8	धानिसासारिसा रिसाधनीपा[सा] । [पुलिन्दी]। [९]	editorial_bracket parent ligne 4 via heuristic_brackets
9	एता याष्ट्रिकनिर्दिष्टा भाषा वै भिन्नषङ्जके ॥ ११८॥	main via surya_layout
10	<sup>१०७</sup>याष्ट्रिकेन निर्दिष्टा	annotation_inline parent ligne 9 via heuristic_height
11	भाषा:।	annotation_inline parent ligne 9 via heuristic_height
12	७. अतः परं सौवीरकभाषाः	main via surya_layout
13	(रीरवीर?सीवीर)के	annotation_inline parent ligne 12 via heuristic_height
14	षड्जाद्यन्तसमायुक्ता मूलभाषा मनोहरा ।	main via surya_layout
15	सुसम्पूर्णस्वरा होषा बहुलौ १०८षड्जपञ्चमौ ॥ ११९॥	main via surya_layout
16	धनिपञ्चमी	annotation_inline parent ligne 15 via heuristic_height
17	षड्जधैवतसंवाद ऋषभधैवतयोस्तथा।	main via surya_layout
18	एषा सौवीरके प्रोक्ता सौवीरी दिव्यरूपिणी १०९ ॥ १२०॥	main via surya_layout
19	दुछ्य	annotation_inline parent ligne 18 via heuristic_height
20	उदाहरणम्-सागासासा साधानीधापापापारीपा धामागममपापामाधाधासासासानिधानिगारि-	main via surya_layout
21	मामागारिसा साधानिधासासा । [सौवीरी]। [१]	editorial_bracket parent ligne 20 via heuristic_brackets
22	१९॰मध्यमांशा तु षड्जान्ता सम्पूर्णा मध्यमोज्ज्वला ।	annotation_inline parent ligne 20 via heuristic_markers
23	१११मध्यमपञ्चमानां तु वेगवत्त्वं च दृश्यते ॥	main via surya_layout
24	एषा भाषा तु विज्ञेया गीतज्ञैर्वेगमध्यमा ॥ १२१॥	main via surya_layout
25	उदाहरणम् - [मामा] पामामामधापापापमामानिधासासा निमसानिसानिधानिपापानिनिसा-	editorial_bracket parent ligne 24 via heuristic_brackets
26	निसासारिगारिसासासा सागासानिपापाधानिनिसासा । वेगमध्यमा । [२]	editorial_bracket parent ligne 24 via heuristic_brackets
27	षड्जांशा मध्यमन्यासा ज्ञेया साधारिता तु सा<sup>११२</sup>॥ १२२॥	main via surya_layout
28	साधारि(धा?ता)	annotation_inline parent ligne 27 via heuristic_height

Legende des roles

vol_II_p028 RIGHT — 34 lignes

vol_I_p054 RIGHT — 38 lignes

vol_II_p057 RIGHT — 37 lignes

vol_II_p100 RIGHT — 22 lignes

vol_II_p095 LEFT — 28 lignes