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 21483). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p005 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	INTRODUCTION	section_header via surya_layout
2	Bṛhaddeśi and more so its Puranic author Matanga Muni have been well	main via surya_layout
3	known in Sangītasāstra for more than one millenium. The text has been	main via surya_layout
4	profusely quoted in texts of Sangītaśāstra upto the 17th century. But for two or	main via surya_layout
5	three centuries it had gone into oblivion. There was no access to it in the	main via surya_layout
6	nineteenth century and the first quarter of the present century, until Pt. K.	main via surya_layout
7	Sāmbaśiva Śāstrī edited and published it in the Anantaśayana Granthāvalī No. 94	main via surya_layout
8	(Trivandrum Sanskrit Series) in 1928. The following excerpts from his	main via surya_layout
9	introduction would throw light on the MSS retrieved by him.	main via surya_layout
10	"I would add, before concluding, that the present work though incomplete	main via surya_layout
11	has been published on account of its rare merit and that the manuscript of this	main via surya_layout
12	work was Travancore's contribution to the exhibition held at the All India	main via surya_layout
13	Conference of Scholars and Artists at Indore in 1921.	main via surya_layout
14	"The edition of the work is based on two palm-leaf manuscripts in Malayalam	main via surya_layout
15	characters obtained from the poonjar Raja, North Travancore. One of these	main via surya_layout
16	manuscripts marked as ka is exceedingly worn out; it is about four centuries old	main via surya_layout
17	and wanting in the first leaf as well as four leaves from the 41st. The other	main via surya_layout
18	manuscript marked as kha is fragmentary, ending with a portion of the	main via surya_layout
19	Jātiprakaraņa*.	annotation_inline parent ligne 18 via heuristic_height
20	"The work ends abruptly saying इदानीं कथियध्यामि बाह्यस्य निर्णयो यथा (p. 154) and so we	main via surya_layout
21	conclude that there are subsequent parts of the text yet to be discovered."	main via surya_layout
22	The text, available to Pt. K. Sāmbaśiva Śāstrī, is incomplete and it has not	main via surya_layout
23	been possible to discover another manuscript in the last seventy years, that	main via surya_layout
24	could accord access to the complete text.	main via surya_layout
25	In 1980 I suggested to my student Sri Anil Bihari Beohar to take up a critical	main via surya_layout
26	study of Brhaddesi including reconstruction of the text on the basis of citations	main via surya_layout
27	or references available in various texts from Abhinava-Bhāratī of Abhinavagupta	main via surya_layout
28	to Rāga-Vibodha of Somanātha. He took up this subject for his doctoral research	main via surya_layout
29	and started collecting and collating citations and references. As his supervisor,	main via surya_layout
30	I continued to struggle and grapple with the problems of reconstruction of the	main via surya_layout
31	text on the basis of the material collected by him, in collation with the	main via surya_layout
32	Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost	main via surya_layout
33	immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira	main via surya_layout
34	Gandhi National Centre for the Arts, New Delhi, conceived the publication of	main via surya_layout
35	a series of Kalāmūlaśāstra (Fundamental Texts on the Arts). It was decided that	main via surya_layout
36	so far as Sangītasāstra was concerned, Dattilam and Brhaddesī should be in the	main via surya_layout
37	first priority.	annotation_inline parent ligne 36 via heuristic_height
38	*We have recorded the reading of these two MSS on the testimony of the editor of the	footnote via surya_layout
39	Trivandrum edition referring to them as MS A and MS B for ka and kha respectively.	footnote via surya_layout

vol_I_p101 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	185	page_number via heuristic_pagenum
2	<b>VIMARŠA</b>	page_header via surya_layout
3	45. In the absence of any notational sign, all the three viz. kampita, kuharita	main via surya_layout
4	and recita are identically illustrated.	main via surya_layout
5	46. Here kalā stands not only for a phrase, but for a component unit of a	main via surya_layout
6	phrase, if sani risa these two are taken to complete a phrase.	main via surya_layout
7	47. The word 'amsa' means the initial note of a phrase and this is a limited	list_item via surya_layout
8	meaning because amsa stands for the fundamental svara of a jāti or rāga which	list_item via surya_layout
9	is a much bigger and much more complex structure.	list_item via surya_layout
10	48. The name tāra-mandra-prasanna is interesting because it uses both mandra	list_item via surya_layout
11	and prasanna which individually stand for 'low'.	unknown via fallback
12	49. The sa belongs to the tāra-sthāna.	list_item via surya_layout
13	50. The second sa here belongs to the tāra-sthāna.	list_item via surya_layout
14	51. The sthāyin varņa spoken of here could be understood only in the sense	list_item via surya_layout
15	that the phrase begins and ends at the same svara all throughout.	list_item via surya_layout
16	52. The sa at the end of the preceding phrase and at the beginning of the	list_item via surya_layout
17	succeeding one belongs to tāra-sthāna.	list_item via surya_layout
18	53. The ascent operates upto nisa and descent starts with sani.	list_item via surya_layout
19	54. Identical with note 52 above.	list_item via surya_layout
20	55. The word sthāyin is used here as a synonym of amsa. BrD is the first	list_item via surya_layout
21	extant text to introduce this word. S R (III, 191, 193) uses it in the decription	list_item via surya_layout
22	of Rāgālapti.	list_item via surya_layout
23	56. Different names for identical forms are also found in abundance in desi	list_item via surya_layout
24	tālas. (cf. deśī-tāla section of SRV)	list_item via surya_layout
25	57. Identical with note 52 above.	list_item via surya_layout
26	58. The word kalā is used here both as a time-unit and a phrase-unit.	list_item via surya_layout
27	59. sa in the beginning of the three phrase-units belongs to tāra-sthāna.	list_item via surya_layout
28	60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would	list_item via surya_layout
29	mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a	list_item via surya_layout
30	mālrā.	list_item via surya_layout
31	61. The sa belongs to tāra-sthāna.	list_item via surya_layout
32	62. Here kalā stands both for a time-unit and phrase because there are eight	list_item via surya_layout
33	phrases and each phrase is of the duration of one kalā (two-mātrā-unit).	list_item via surya_layout
34	63. Identical with note 52 above.	list_item via surya_layout
35	64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of	list_item via surya_layout
36	rāga. That is a kind of gamaka, but here in the description of the alankāra there	list_item via surya_layout
37	is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī	list_item via surya_layout
38	comes in which is hard to comprehend; at the most it could be understood to	list_item via surya_layout
39	¥	unknown via fallback
40	indicate special voice-production similar to ohāţī, which could be identified with	list_item via surya_layout
41	1	page_number via heuristic_pagenum
42	the hudaka of present-day oral tradition of dhrupad which also is associated with	list_item via surya_layout
43	the 'ha' sound (cf. DA I, p. 46).	list_item via surya_layout
44	(vide)	unknown via fallback
45	65,66. Identical with note 52 above.	list_item via surya_layout
46	7	page_number via heuristic_pagenum
47	67. There are twelve phrases in this alankara. From the way they are notated,	list_item via surya_layout
48	the duration of each of them could be taken to be either a kalā composed of	list_item via surya_layout
49	two mātrās or four mātrās, as follows-	list_item via surya_layout

vol_II_p062 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	107	page_number via heuristic_pagenum
3	[Anu. 188]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-gaudakaiśika rāga is related to madhyamagrāma and is born of	main via surya_layout
5	kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa.	main via surya_layout
6	Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On	main via surya_layout
7	account of pañcama being comprised of three śrutis, dhaivata being comprised	main via surya_layout
8	of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born	main via surya_layout
9	of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen	main via surya_layout
10	as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is	main via surya_layout
11	the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa,	main via surya_layout
12	prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā	main via surya_layout
13	obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla	main via surya_layout
14	like caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
15	[3. Gaudakaisikamadhyama]	section_header via surya_layout
16	Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its	main via surya_layout
17	nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras.	main via surya_layout
18	(318)	annotation_inline parent ligne 17 via heuristic_short
19	[Anu. 189]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means – gaudakaišikamadhyama is related to şadjagrāma, on account	main via surya_layout
21	of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama	main via surya_layout
22	is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application	main via surya_layout
23	is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā	main via surya_layout
24	beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the	main via surya_layout
25	alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
26	vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa	main via surya_layout
27	obtains in the songs comprised of svara and pada.	main via surya_layout
28	[The assignment of gaudaragas to gramas]	section_header via surya_layout
29	Now he (the author) has spoken of the assignment of gauda (ragas) to	main via surya_layout
30	grāmas-	annotation_inline parent ligne 29 via heuristic_short
31	Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama.	main via surya_layout
32	Gaudakaisika, on the other hand, is based on madhyamagrāma. The three	main via surya_layout
33	gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining	main via surya_layout
34	to vesarā gīti).	annotation_inline parent ligne 33 via heuristic_short
35	(319)	main via surya_layout
36	(vide)	annotation_inline parent ligne 35 via heuristic_height

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_I_p019 LEFT — 32 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	20	page_number via heuristic_pagenum
3	नानाबुद्धिप्रसाध्यत्वात् स्वरश्रुत्योस्तु भिन्नता।	main via surya_layout
4	₀गृहीत｡<sup>72</sup>	annotation_inline parent ligne 3 via heuristic_markers
5	आश्रयाश्रयिभेदाच्च तादात्म्यं नैव सिध्यति ॥३६॥	main via surya_layout
6	7 अकेन	annotation_inline parent ligne 5 via heuristic_short
7	यदभाणि विवर्तत्वं स्वराणां न तदसङ्गतम्।	main via surya_layout
8	श्रुतीना74	annotation_inline parent ligne 7 via heuristic_short
9	विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३७॥	main via surya_layout
10	₀त्वात्<sup>75</sup>	annotation_inline parent ligne 9 via heuristic_markers
11	कार्यकारणभावस्तु स्वरश्रुत्योर्न सम्भवेत्।	main via surya_layout
12	श्रुतीनामिह सद्भावे प्रमाणं नैव विद्यते ।।३८।।	main via surya_layout
13	₀व76	annotation_inline parent ligne 12 via heuristic_markers
14	अर्थापत्त्या यदि वा व्याप्तिग्रहणपूर्वकप्रमाणबलात्।	main via surya_layout
15	77ग्रहपूर्वक	annotation_inline parent ligne 14 via heuristic_short
16	सिद्ध [:] स्वरजनकानां गगनगुणानां स्वरो भेदः ॥३९॥	editorial_bracket parent ligne 14 via heuristic_brackets
17	सत्यम् ।	main via surya_layout
18	कार्यकारणभेदोऽस्ति यद्यपि स्फुटमेव हि।	main via surya_layout
19	तथापि कारणत्वं च श्रुतीनां नैव सम्भवेत् ॥४०॥	main via surya_layout
20	ਚ78	annotation_inline parent ligne 19 via heuristic_height
21	कार्येषु विद्यमानेषु कारणस्योपलम्भनात्।	main via surya_layout
22	घटादौ विद्यमाने तुः मृत्पिण्डो नोपलभ्यते ॥४१॥	main via surya_layout
23	79fH	annotation_inline parent ligne 22 via heuristic_short
24	805<del>4</del>	main via surya_layout
25	825<del>0</del>23°	annotation_inline parent ligne 24 via heuristic_markers
26	परिणामोऽभिव्यक्तिस्तु न्याय्यः पक्षः सतां मतः।	main via surya_layout
27	<sup>83</sup>्मा<sub>॰</sub> <sup>84</sup>ह्यभिव्यक्तिः	annotation_inline parent ligne 26 via heuristic_markers
28	<b>65,च्यः ६६,न्य</b>ि	main via surya_layout
29	इति तावन्मया प्रोक्तं तादात्म्यादिविकल्पनम् ॥४२॥	main via surya_layout
30	[ अनु. १२ ]	editorial_bracket parent ligne 29 via heuristic_brackets
31	ननु श्रुतीनां द्वाविशतिप्रकारता यत्तदप्यसङ्गतम् श्रुतीनां श्रुत्यवयवानां	main via surya_layout
32	चानु [प]लम्भात्।	editorial_bracket parent ligne 31 via heuristic_brackets

194 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p005 RIGHT — 39 lignes

vol_I_p101 RIGHT — 49 lignes

vol_II_p062 RIGHT — 36 lignes

vol_I_p031 RIGHT — 38 lignes

vol_I_p019 LEFT — 32 lignes