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 21522). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p051 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	<b>g</b>.,	annotation_inline parent ligne 4 via heuristic_height
2	85	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of	main via surya_layout
5	all gitis.	annotation_inline parent ligne 4 via heuristic_short
6	<math>(284 - 285)</math>	main via surya_layout
7	[6. Bhāṣā gīti]	section_header via surya_layout
8	This bhāṣā gīti is described by the experts in gīti as consisting of prayogas	main via surya_layout
9	(melodic phrases?) that are rendered by the body (voice), are smooth,	main via surya_layout
10	colourful with kākus, well composed, shaken, soft, brilliant, combined with	main via surya_layout
11	mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that	main via surya_layout
12	delights the people.	main via surya_layout
13	<math>(286 - 287)</math>	main via surya_layout
14	[7. Vibhāṣā gīti]	section_header via surya_layout
15	Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive,	main via surya_layout
16	numerous, brilliant, shaken, pertaining to the chest region, even, high and	main via surya_layout
17	very high, smooth, in which madhyama shines forth in between, that are	main via surya_layout
18	delightful to the ear and are attractive. This process of composition should	main via surya_layout
19	be spontaneous and should take the course that delights the people.	main via surya_layout
20	(288-289)	annotation_inline parent ligne 19 via heuristic_short
21	[ Thus ends the description of gitis.]	editorial_bracket parent ligne 19 via heuristic_brackets
22	[ The number and nomenclature of ragas ]	section_header via surya_layout
23	The lakṣaṇa (description) of gītis has been spoken of; now the number of	main via surya_layout
24	rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the	main via surya_layout
25	bhinna ones are of the same number. Gauda (rāgas) have been said to be	main via surya_layout
26	three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven-	main via surya_layout
27	sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās	main via surya_layout
28	are only twelve and (now) know their names.	main via surya_layout
29	<math>(290 - 292)</math>	main via surya_layout

vol_II_p141 LEFT — 52 lignes

L#	Texte OCR	Role auto
1	264	page_number via heuristic_pagenum
2	BRHADDEŚĪ	section_header via surya_layout
3	101. cf. (i)	annotation_inline parent ligne 2 via heuristic_height
4	मार्गप्रष्टेऽध बीभत्से नीचे भम्माणपञ्चम:।	main via surya_layout
5	Cited in the name of Kasyapa in Abhi	main via surya_layout
6	Bhā on NŚ XXIX. 13, p. 77.	main via surya_layout
7	पथि भ्रष्टे वनभ्रान्ते विनियुक्तः शिवप्रियः।	main via surya_layout
8	(ii)	annotation_inline parent ligne 7 via heuristic_height
9	SR II.2.62 ab.	main via surya_layout
10	102.cf.	annotation_inline parent ligne 9 via heuristic_height
11	अवरोोहाँण वर्णे स्यात् .....	main via surya_layout
12	SR 11.2.57a.	annotation_inline parent ligne 11 via heuristic_short
13	103.cf.	annotation_inline parent ligne 11 via heuristic_height
14	अस्यापि धैवतीजातिजन्यत्वं षड्जसंश्रयम् ।	main via surya_layout
15	यस्य त्रिश्रुतितायोगाद् दुर्गशक्तिरभाषत ॥	main via surya_layout
16	भरतादिकसम्मत्या ब्रह्मशैलाधिप: पुन: ।	main via surya_layout
17	मध्यमग्रामसम्बन्धमाचप्टे शास्त्रमोदनात् ॥	unknown via fallback
18	S Rāj II.2. 1.551, 552.	main via surya_layout
19	104.cf.	annotation_inline parent ligne 18 via heuristic_height
20	गान्धारांशग्रहन्यासः क्वचिद् वां(द्धां)शग्रहान्तभाक्।	main via surya_layout
21	S Rāj II.2.1.548 cd.	main via surya_layout
22	105. Reconstruction based on SR II.2.105 ab.	main via surya_layout
23	106. This rāga has been mentioned in the initial enumeration as well	main via surya_layout
24	as in the assignment of rāgas to grāmas, but its description is not to be found	main via surya_layout
25	in the text. The following extract from SR would be useful -	main via surya_layout
26	पड्जर्पभांशग्रह: स्यात् कैशिकीजातिसम्भव:॥	main via surya_layout
27	ऋषभोऽल्पो निगन्यासो मन्द्रगान्धारषङ्जकः।	main via surya_layout
28	प्रसन्नाद्यवरोहिभ्यां युक्तः षड्जादिमूर्छनः ॥	main via surya_layout
29	वीररौद्राद्भुतरसः शाम्भवः षड्जकैशिकः।	main via surya_layout
30	SR II.2.65c - 67b.	annotation_inline parent ligne 29 via heuristic_short
31	107. cf.(i)	main via surya_layout
32	मध्यमग्रामसम्बन्धो ....	annotation_inline parent ligne 31 via heuristic_height
33	SR II.2.86 c.	annotation_inline parent ligne 31 via heuristic_height
34	षड्जग्रामेण सम्बन्धो......	main via surya_layout
35	(ii)	annotation_inline parent ligne 34 via heuristic_height
36	S Rāj II.2.1.639 a.	main via surya_layout
37	108.Reconstruction based on-	main via surya_layout
38	तथाह मतङ्गः - प्रयोक्तृवशात् क्वचिन्मध्यमोऽशोऽपि न्यासश्च ।	main via surya_layout
39	C.r. in Kalā on SR II.86-88 p. 76.	main via surya_layout
40	109.cf.	annotation_inline parent ligne 39 via heuristic_height
41	मतङ्गो रेवगुप्तं च टक्कसैन्धवमेव च।	main via surya_layout
42	साधारणेषु निक्षिप्य न च तान(य) ब्रवीदथ ॥	main via surya_layout
43	ग्रामरागानगणयद द्वात्रिंशदिति तद्युजै:।	main via surya_layout
44	पञ्चैव चोपरागान् स विना पञ्चमषाडवम् ॥	main via surya_layout
45	ग्रामरागेषु निक्षिप्य कश्चित् पञ्चमपाडवम् ।	main via surya_layout
46	त्रयस्त्रिंशदिति प्राह न तदाचार्यसम्मतम् ॥	main via surya_layout
47	S Rāj II.2.1.62-64.	annotation_inline parent ligne 46 via heuristic_short
48	110. P.t. adds the following after this, which is out of place here and	main via surya_layout
49	has, therefore, been omitted by us; the ed. has put it in square brackets.	main via surya_layout
50	•	annotation_inline parent ligne 49 via heuristic_height
51	[इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते -	editorial_bracket parent ligne 49 via heuristic_brackets
52	----	annotation_inline parent ligne 49 via heuristic_height

vol_II_p161 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	٠	page_number via heuristic_pagenum
2	<b>VIMARŚA</b>	page_header via surya_layout
3	305	page_number via heuristic_pagenum
4	central part of present Madhya Pradesh. The special preference for Mālavā	main via surya_layout
5	requires further investigation.	annotation_inline parent ligne 4 via heuristic_height
6	29. The word gamaka is used here in the sense of vocal embellishments	list_item via surya_layout
7	including shakes; it is not restricted to shake.	list_item via surya_layout
8	30. See note 22.	list_item via surya_layout
9	31. Each grāmarāga is said to be born of one or more jātis.	list_item via surya_layout
10	32. Pūrvaranga has been described in NS IV and V; it embodies	list_item via surya_layout
11	instrumental rendering, song, dance, dialogue etc. presented as a preliminary	list_item via surya_layout
12	to drama. It has both ritualistic and psychological value as it ensures the	list_item via surya_layout
13	success of drama by propitiating the gods and prepares the audience for	list_item via surya_layout
14	being receptive to drama.	list_item via surya_layout
15	33. Kākalī and antara are always prescribed to be sparse, but here only	list_item via surya_layout
16	the sparseness of gandhara is prescribed, although both antara and kakali are	list_item via surya_layout
17	present. It could be construed that gandhara stands for the original	list_item via surya_layout
18	gāndhāra and not antara. See note 91.	list_item via surya_layout
19	•	annotation_inline parent ligne 18 via heuristic_height
20	34,35. The prescription of a specific varņa and alankāra in a rāga is	list_item via surya_layout
21	not easy to comprehend. It could only be surmised that the peculiar form	list_item via surya_layout
22	of a raga in some cases becomes manifest in ascent, in other cases in descent	list_item via surya_layout
23	and similarly a specific alankāra could be assigned to a rāga on account of	list_item via surya_layout
24	having a special role in establishing the same.	list_item via surya_layout
25	36. Mārga literally means path; it stands for the span of a tāla. NŠ	list_item via surya_layout
26	describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti	list_item via surya_layout
27	being its double and dakṣiṇa again being its double. Our text describes two	list_item via surya_layout
28	additional mārgas viz. dhruva being half of the length of citra and śūnya	list_item via surya_layout
29	being half of dhruva. (See Vol.I. Anu.113)	list_item via surya_layout
30	37. Kalā has many meanings; the main ones are-firstly, the time-unit	list_item via surya_layout
31	that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in	list_item via surya_layout
32	tāla, sounded or unsounded and thirdly, the unsounded action. Here the	list_item via surya_layout
33	first meaning is relevant because the length of kalā depends on the mārga in	list_item via surya_layout
34	use at a given time.	list_item via surya_layout
35	38. Caccatpuța is the first among the five tālas described in NŠ XXXI.	list_item via surya_layout
36	This is the only caturasra (lit. square) tala, being composed of four kalas or	list_item via surya_layout
37	eight mātrās.	list_item via surya_layout
38	39. Garbha-sandhi is the third among the five sandhis or junctures in	list_item via surya_layout
39	drama described in NŚ XIX; the first two being mukha and pratimukha and	list_item via surya_layout
40	the last two being vimarsa and nirvahana. Garbha literally means 'womb',	list_item via surya_layout
41	the inside or interior of something. In drama garbha-sandhi stands for that	list_item via surya_layout
42	juncture where the 'sprouting' of the 'seed' has taken place, but the fruit	list_item via surya_layout
43	is still enshrouded in the 'garbha'.	list_item via surya_layout
44	40. Our text does not uphold the relationship of any raga to both the	list_item via surya_layout
45	grāmas; the decision always rests with the interval of pañcama, if it is	list_item via surya_layout
46	composed of four śrutis, then relationship with ṣadjagrāma is confirmed and	list_item via surya_layout

vol_II_p026 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	35	page_number via heuristic_pagenum
3	When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4	main via surya_layout
4	(alteration) of anisas of jātis (should be taken up).	main via surya_layout
5	(249)	annotation_inline parent ligne 4 via heuristic_short
6	Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma	main via surya_layout
7	the formation or variation of amsas in their svaras i.e. in svaras of jatis should	main via surya_layout
8	be done in the text of vardhamāna<sup>51</sup>	main via surya_layout
9	(250)	main via surya_layout
10	[8. The ṣāḍava and auḍava formation of jātis]	section_header via surya_layout
11	The sixty-three amsas that have thus been spoken of, out of them each one	main via surya_layout
12	is accorded the position of ainsa (at a given time) (and accordingly) the	main via surya_layout
13	ṣāḍava and auḍava formation that is obtained (on account of rule or	main via surya_layout
14	prescription) is sometimes given up.	main via surya_layout
15	(251)	main via surya_layout
16	[ Anu. 134 ]	section_header via surya_layout
17	The sixty-three amsas that have been spoken of, out of them each one has	main via surya_layout
18	to be arranged as anisa (in a given melodic set-up). (In specific situations	main via surya_layout
19	created by the arrangement of different anisas) sometimes the formation of	main via surya_layout
20	ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given	main via surya_layout
21	up. He (the author) clarifies this itself.	main via surya_layout
22	Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on	main via surya_layout
23	<math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not	main via surya_layout
24	accepted.	annotation_inline parent ligne 23 via heuristic_short
25	(252)	main via surya_layout
26	[ Anu. 135 ]	section_header via surya_layout
27	This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not	main via surya_layout
28	become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the	main via surya_layout
29	omission of gandhara is not there. On gandhara being amśa, it should be	main via surya_layout
30	known to be non-ṣāḍava by omission of niṣāda because of the negation of the	main via surya_layout
31	omission of the sanivādī of the aniśa.	main via surya_layout
32	Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become	main via surya_layout
33	ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the	main via surya_layout
34	negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does	main via surya_layout
35	not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the	main via surya_layout
36	amśa and şadjodicyavā should be known not to be şādava (through the	main via surya_layout
37	omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a.	main via surya_layout
38	(253)	main via surya_layout

vol_II_p125 LEFT — 28 lignes

L#	Texte OCR	Role auto
1	L	annotation_inline parent ligne 5 via heuristic_height
2	· - 1 1 1	annotation_inline parent ligne 5 via heuristic_height
3	232	page_number via heuristic_pagenum
4	BRHADDESĪ	page_header via surya_layout
5	[घ. पुनर्वर्णेला-सप्तकम्]	section_header via surya_layout
6	रमणी चन्द्रिका लक्ष्मी: पद्मिनी रञ्जिनी तथा।	main via surya_layout
7	मालती मोहिनी चेति वर्णेलासप्तकं तथा ॥ ४५९॥	main via surya_layout
8	[१. रमणी]	section_header via surya_layout
9	समा यत्र यति: पादे प्रथमे च द्वितीयके ।	main via surya_layout
10	द्विगिद्वितीयके(?)	annotation_inline parent ligne 9 via heuristic_height
11	पादे पादे च नादाढ्या षट्पदी रमणीति सा ॥४६०॥	main via surya_layout
12	॰द्यो॰	annotation_inline parent ligne 11 via heuristic_markers
13	[२.चन्द्रिका]	section_header via surya_layout
14	स्रोतोगता समा चैव यत्र पादद्वये भवेत्।	main via surya_layout
15	बिन्दुभिर्गमकैर्युक्ता चन्द्रिणीति प्रकीर्तिता ॥४६१॥	main via surya_layout
16	[३.लक्ष्मी]	section_header via surya_layout
17	गोपुच्छा च समा स्रोता यत्र पादत्रयेऽपि च ।	main via surya_layout
18	मूर्छना नादसहिता सैला लक्ष्मीरिति स्मृता ॥४६२॥	main via surya_layout
19	[४.पद्मिनी]	section_header via surya_layout
20	आद्ये पादे द्वितीये च तृतीये च चतुर्थके ।	main via surya_layout
21	वर्णध्वनिसमायुक्ता पद्मिन्येला निगद्यते ॥ ४६३॥	main via surya_layout
22	[५.रञ्जिनी]	section_header via surya_layout
23	प्रथमे च समा प्रोक्ता द्वितीये च तृतीयके ।	main via surya_layout
24	स्रोता	annotation_inline parent ligne 23 via heuristic_height
25	गोपुच्छा गमकाढ्या च रञ्जिनी नाम सा भवेत् ॥४६४॥	main via surya_layout
26	[६. मालती]	section_header via surya_layout
27	लघुभिर्गुरुभिर्वर्णैयां तु प्रासैर्विनिर्मिता ।	main via surya_layout
28	यथेष्टका चतुष्पादा सा चैला मालती मता ॥ ४६५॥	main via surya_layout

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