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 21463). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p016 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	15	page_number via heuristic_pagenum
3	it is used in the first vidārī. That (svara) which is not the vivādī of the amśa	main via surya_layout
4	becomes samnyāsa if it is used in the end of the first vidārī.	main via surya_layout
5	[The definition of vinyāsa forming part of that of amsa]	section_header via surya_layout
6	[Anu. 123]	section_header via surya_layout
7	This nyāsa svara itself, when placed in the end of a pada (unit or sub-	main via surya_layout
8	section), becomes vinyāsa. Hence it has been said<sup>21</sup>—	main via surya_layout
9	"That in which rāga (delight) abides and from which it (rāga) proceeds or	main via surya_layout
10	is begun, the leader or regulator of tara (high) and mandra (low), that which	main via surya_layout
11	is obtained in abundance, that which is perceived (during the operation of)	main via surya_layout
12	graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is amśa	main via surya_layout
13	having (these) ten characteristics."	main via surya_layout
14	(Cf. NS XXVIII.68, 69)	main via surya_layout
15	[3. The definition of tara]	section_header via surya_layout
16	[Anu. 124]	section_header via surya_layout
17	Now the definition of tara is being given. The extent (gati) of tara is up to	main via surya_layout
18	the fifth svara beginning from the use of amsa 22 svara. What is being said?	main via surya_layout
19	Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras	main via surya_layout
20	is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the amśa there,	main via surya_layout
21	tāra extends up to ṣadja (the fourth from pañcama). The structuring up to	main via surya_layout
22	the fifth note (from the amsa) should be understood from the eighth vidārī	main via surya_layout
23	(section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the	main via surya_layout
24	extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation.	main via surya_layout
25	According to the word 'va' (in the verse from NS cited below), the state	main via surya_layout
26	of being tara, applies also to seven svaras. The extent of tara is threefold.	main via surya_layout
27	Similarly has been said by Bharata -	main via surya_layout
28	(vide)	annotation_inline parent ligne 27 via heuristic_height
29	• • • • • • •	annotation_inline parent ligne 27 via heuristic_height

vol_II_p154 RIGHT — 44 lignes

L#	Texte OCR	Role auto
1	ŀ	annotation_inline parent ligne 4 via heuristic_height
2	PATHAVIMARŚA	page_header via surya_layout
3	291	page_number via heuristic_pagenum
4	दस्रवेदास्तृतीयेऽङ्ग्री .....।	section_header via surya_layout
5	Ibid. 158.	main via surya_layout
6	39. Mānaso IV.16. 508, SR IV.108 and S Rāj II.4.2.165 read bhogavatī in	list_item via surya_layout
7	the place of hemavatī.	list_item via surya_layout
8	40. Reconstruction based on probable meaning and proximity to	list_item via surya_layout
9	p.t.	list_item via surya_layout
10	41. Reconstruction based on the uddeśa (enumeration) given in verse	list_item via surya_layout
11	449 of our text.	list_item via surya_layout
12	42. The ed. has suggested 'yamaka' in the place of 'gamaka', taking	list_item via surya_layout
13	'alankāra' as standing for śabdālankāra in poetry, but here the context	list_item via surya_layout
14	demands the melodic alankāra and gamaka is a corollary of the same.	list_item via surya_layout
15	43. Our reconstruction as 'gamaka' in the place of 'yamaka' of p.t. is	list_item via surya_layout
16	corroborated by Mānaso IV.16. 505.	list_item via surya_layout
17	44. Śārngadeva (SR IV.112c, 113) refers to these seven varieties as	list_item via surya_layout
18	having been spoken of by Matanga, but says that they are not described by	list_item via surya_layout
19	him because their distinctive nature lies only in the difference caused by yati	list_item via surya_layout
20	(splitting or pause).	list_item via surya_layout
21	P.t. adds the following two verses after this, which are out of place -	main via surya_layout
22	लोकदुष्टं शास्त्र शास्त्र पञ्च वर्जयेत्।	main via surya_layout
23	+ गोदुष्टं (?) तथा ग्राम्यं गतक्रममपार्थकम् ॥४८५॥	main via surya_layout
24	पदं काप्यमसन्दिग्धं कला चाभ्यश्चि भक्तकम् ।	main via surya_layout
25	प्राकारेण तताश्चोका वर्णे तालचतुष्टयम् ॥ ४८६॥	main via surya_layout
26	We have given a reconstructed version at the end of this chapter as verse 490	main via surya_layout
27	(three lines).	annotation_inline parent ligne 26 via heuristic_short
28	45. Reconstruction based on SR IV.127a.	main via surya_layout
29	46. cf. गमकप्रासिनमुक्ता एला स्याद गौडदेशजा।	main via surya_layout
30	SR IV.127 cd.	annotation_inline parent ligne 29 via heuristic_short
31	ानाप्रयोगरागांशरसभावोत्कटाऽऽन्धिका ।	main via surya_layout
32	47. cf.	annotation_inline parent ligne 31 via heuristic_short
33	भूरिभावरसोत्कर्षा द्राविडी प्रासवर्जिता ॥	main via surya_layout
34	Ibid. 128.	annotation_inline parent ligne 33 via heuristic_short
35	48. cf. मातृकाक्षरमेकैकं पदादौ विनियोज्य च।	main via surya_layout
36	Mānaso IV.16.310.	annotation_inline parent ligne 35 via heuristic_short
37	49. cf. उद्ग्राहो ध्रुवकश्चेति यत्र खण्डद्वयं भवेत्।	main via surya_layout
38	Ibid. 431.	main via surya_layout
39	1	page_number via heuristic_pagenum
40	50. cf. करणं करपाटेन तालेन किल गीयते ।	main via surya_layout
41	Sam Sa Sā V.137.	annotation_inline parent ligne 40 via heuristic_short
42	51. cf. हस्तपाटैस्तथा तेनपदस्वरसमन्वित: ।	main via surya_layout
43	गीयते तालयुक्तो य: स वर्णस्वरको भवेत् ॥	main via surya_layout
44	Mānaso IV.16.437.	main via surya_layout

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_II_p110 LEFT — 25 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	202	page_number via heuristic_pagenum
3	[२. माङ्गाली]	section_header via surya_layout
4	गान्धारग्रहन्यासा च षड्जांशा तारवर्जिता ।	main via surya_layout
5	समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥	editorial_bracket parent ligne 4 via heuristic_brackets
6	सिका	annotation_inline parent ligne 4 via heuristic_height
7	षड्जांशा धग्रहन्यासा धमन्द्रा तारतत्परा ।	main via surya_layout
8	समस्वरा च सम्पूर्णा माङ्गाली गीयते जनै:८॥ ३५५॥	main via surya_layout
9	(पी?गी)॰	annotation_inline parent ligne 8 via heuristic_markers
10	[३. भम्माणिका]	section_header via surya_layout
11	पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका ।	main via surya_layout
12	रिहीना च धगस्वल्पा ज्ञेया भम्माणिका बुधै: १॥ ३५६॥	main via surya_layout
13	[४. पुलिन्दिका]	section_header via surya_layout
14	षड्जांशा धैवतन्यासा गपहीना पुलिन्दिका ।	main via surya_layout
15	+ग्रहन्यासा	annotation_inline parent ligne 14 via heuristic_height
16	षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥	main via surya_layout
17	॰संघादा	annotation_inline parent ligne 16 via heuristic_markers
18	[५. गान्धारसिन्धुः ]	section_header via surya_layout
19	१९गान्धारसिन्धुः .....॥ ३५८॥	main via surya_layout
20	[६. कार्णाटी]	section_header via surya_layout
21	१२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा ।	main via surya_layout
22	समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥	main via surya_layout
23	नामत(द्भ?भ)वेत्	annotation_inline parent ligne 22 via heuristic_short
24	॥ इति मतङ्गमुनिविरचितबृहद्देश्यां देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥	editorial_bracket parent ligne 22 via heuristic_brackets
25	भाषालक्ष(णो?णा)	main via surya_layout

vol_II_p059 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	101	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 180]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-leaving the other jāti and taking up its own root i.e. bedecked	main via surya_layout
5	with its own jāti and kula (is formed the śuddhabhinna).54	main via surya_layout
6	[4. Bhinnakaisika]	section_header via surya_layout
7	[Anu. 181]	editorial_bracket parent ligne 6 via heuristic_brackets
8	The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika.	main via surya_layout
9	What is then the difference? The difference is formed by gīti. Śuddhakaiśika	main via surya_layout
10	is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung	main via surya_layout
11	This is being said -	annotation_inline parent ligne 10 via heuristic_height
12	The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in	main via surya_layout
13	śuddhakaiśika, the rāga is not elaborated with the same svasthāna in	main via surya_layout
14	bhinnakaisika. And its description is thus -	main via surya_layout
15	Bhinnakaiśika is known by the knowledgeable ones in svara to have a form	main via surya_layout
16	similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa	main via surya_layout
17	(and) is complete with the seven svaras.	main via surya_layout
18	(311)	annotation_inline parent ligne 17 via heuristic_height
19	[Anu. 182]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means - bhinnakaiśika is related to madhyamagrāma on account of being	main via surya_layout
21	born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the	main via surya_layout
22	nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like	main via surya_layout
23	śuddhakaiśika, yet there is a difference. This has abundance of mandra (low	main via surya_layout
24	notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in	main via surya_layout
25	śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that	main via surya_layout
26	svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and	main via surya_layout
27	thus it becomes distinct on account of difference in form. Its application is	main via surya_layout
28	prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas.	main via surya_layout
29	The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is	main via surya_layout
30	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
31	vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains	main via surya_layout
32	in the songs comprised of svara and pada.	main via surya_layout
33	(Śruti-bhinna)	section_header via surya_layout
34	Now he (the author) has spoken of the definition of śruti-bhinna -	main via surya_layout
35	Where the svara comprised of four śrutis is modified by the one comprised of two	main via surya_layout
36	śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.	main via surya_layout
37	(312)	annotation_inline parent ligne 36 via heuristic_height

157 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p016 RIGHT — 29 lignes

vol_II_p154 RIGHT — 44 lignes

vol_II_p099 RIGHT — 22 lignes

vol_II_p110 LEFT — 25 lignes

vol_II_p059 RIGHT — 37 lignes