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_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_p035 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	53	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa	main via surya_layout
4	does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state,	main via surya_layout
5	in the auduvita state there is the sparseness of none; there is abundance of	main via surya_layout
6	all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There	main via surya_layout
7	is mutual reaching out among the amsas.	main via surya_layout
8	[Anu. 157]	section_header via surya_layout
9	This is eleven-fold. There are eleven amsas, four in the complete state,	main via surya_layout
10	three in the sādava state, because of the exclusion of the form in which	main via surya_layout
11	dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa).	main via surya_layout
12	The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla.	main via surya_layout
13	With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla)	main via surya_layout
14	in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the	main via surya_layout
15	dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its	main via surya_layout
16	application (viniyoga) is prescribed in the singing of dhruvā (s) in the second	main via surya_layout
17	scene (or act).	main via surya_layout
18	[7.Şadjamadhyamā]	section_header via surya_layout
19	[Anu. 158]	section_header via surya_layout
20	All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra	main via surya_layout
21	extends upto five svaras. The mandra is upto the nyāsa or upto the svara next	main via surya_layout
22	to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid	main via surya_layout
23	of niṣāda-gāndhāra. There is free movement (sancāra) without violating the	main via surya_layout
24	grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra.	main via surya_layout
25	Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas.	main via surya_layout
26	[Anu. 159]	section_header via surya_layout
27	It is seventeen-fold. There are seventeen amsas – out of them seven obtain	main via surya_layout
28	in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There	main via surya_layout
29	is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains.	main via surya_layout
30	Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī	main via surya_layout
31	(gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti).	main via surya_layout
32	With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant	main via surya_layout
33	in all the rasas. Its application (viniyoga) is (prescribed) in the singing of	main via surya_layout
34	dhruvā (s) in the second scene (prekṣaṇaka).71	main via surya_layout
35	Thus end these seven jātis pertaining to sadjagrāma.	main via surya_layout
36	[Anu. 160]	section_header via surya_layout
37	Now the jātis pertaining to madhyamagrāma are being said -	main via surya_layout

vol_II_p082 RIGHT — 26 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	147	page_number via heuristic_pagenum
3	of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones	main via surya_layout
4	in music.	annotation_inline parent ligne 3 via heuristic_short
5	<math>(56-57)</math>	main via surya_layout
6	Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā.	main via surya_layout
7	Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī	main via surya_layout
8	dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv]	editorial_bracket parent ligne 7 via heuristic_brackets
9	The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be	main via surya_layout
10	always complete, has madhyama as amśa and sadja as the concluding note,	main via surya_layout
11	bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i>	main via surya_layout
12	(mixed) and is placed in takkarāga.	main via surya_layout
13	(58)	annotation_inline parent ligne 12 via heuristic_short
14	Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā	main via surya_layout
15	nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā.	main via surya_layout
16	Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv)	main via surya_layout
17	Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the	main via surya_layout
18	concluding note, is embellished with the svara gandhara, has the combination	main via surya_layout
19	between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by	main via surya_layout
20	the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup>	main via surya_layout
21	(59)	annotation_inline parent ligne 20 via heuristic_short
22	Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā.	main via surya_layout
23	Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā	main via surya_layout
24	māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi]	editorial_bracket parent ligne 23 via heuristic_brackets
25	These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika.	main via surya_layout
26	(60)	page_footer 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_p033 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	1400	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	49	page_number via heuristic_pagenum
4	citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika	main via surya_layout
5	(mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa	main via surya_layout
6	(mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its	main via surya_layout
7	application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup>	main via surya_layout
8	(associated with exit) dhruvā in the first scene (or act).	main via surya_layout
9	[3. Dhaivati]	section_header via surya_layout
10	[Anu. 150]	section_header via surya_layout
11	In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā	main via surya_layout
12	state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and	main via surya_layout
13	madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is	main via surya_layout
14	devoid of pañcama and the auduva formation is devoid of pañcama, șadja.	main via surya_layout
15	The same two svaras, viz. şadja and pañcama should be made weak and should	main via surya_layout
16	sometimes be leapt over. The tara is upto five svaras. The mandra is upto the	main via surya_layout
17	nyāsa<sup>66</sup> or upto the svara next to nyāsa.	main via surya_layout
18	[Anu. 151]	section_header via surya_layout
19	It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās	main via surya_layout
20	in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā	main via surya_layout
21	beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla),	main via surya_layout
22	citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and	main via surya_layout
23	sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā	main via surya_layout
24	(gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in	main via surya_layout
25	the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa,	main via surya_layout
26	bhayānaka are the rasas. Its application is (prescribed) in the singing of	main via surya_layout
27	dhruvā in the first scene (or act).	main via surya_layout
28	[4. Naisādī]	section_header via surya_layout
29	[Anu. 152]	section_header via surya_layout
30	In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas.	main via surya_layout
31	Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava	main via surya_layout
32	formation is devoid of pañcama and the auduvita formation is devoid of	main via surya_layout

Legende des roles

vol_II_p164 RIGHT — 41 lignes

vol_II_p035 RIGHT — 37 lignes

vol_II_p082 RIGHT — 26 lignes

vol_II_p049 RIGHT — 29 lignes

vol_II_p033 RIGHT — 32 lignes