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 21641). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_I_p061 LEFT — 41 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	104	page_number via heuristic_pagenum
3	[ अनु, १०२ ]	editorial_bracket parent ligne 8 via heuristic_brackets
4	हुङ्कारवत् सम [ न ] न्तरं संयुक्तं त्रिस्वराक्षरमारोहेत् ततो द्वौ द्वौ स्व [रौ]	editorial_bracket parent ligne 8 via heuristic_brackets
5	.क्त डि॰	annotation_inline parent ligne 8 via heuristic_markers
6	.तः	annotation_inline parent ligne 8 via heuristic_height
7	म्रो	annotation_inline parent ligne 8 via heuristic_height
8	कम्पनयुक्तौ कलान्तरयोगादेव प्रसन्नौ मन्द्रौ कार्यौ। इत्येककलस्वरयोगाद् गात्रवर्णः।	main via surya_layout
9	[ यथा - ] ३३धनिस निनि धध, पधनि धध पप, मपध पप मम, गमप मम गग,	editorial_bracket parent ligne 8 via heuristic_brackets
10	रिगम गग रिरि, सरिग रिरि सस इति गात्रवर्णः ३४।	main via surya_layout
11	[ 33 ]	editorial_bracket parent ligne 10 via heuristic_brackets
12	भरतमतेनालङ्कारनिरूपणम्	section_header via surya_layout
13	यस्मिन् वर्णे स्थिता ये च अलङ्कारा मनोहराः।	main via surya_layout
14	तानिदानी प्रवक्ष्यामि भरतोक्तविधानतः ॥१२१॥	main via surya_layout
15	प्रसन्नादिः प्रसन्नान्तः प्रसन्नाद्यन्त एव च।	main via surya_layout
16	तथा प्रसन्नमध्यस्तु समो रेचित एव च॥१२२॥	main via surya_layout
17	पुस्तारम्च प्रसादश्च स्थायिवर्णसमाश्रयाः।	main via surya_layout
18	•र्णाः	annotation_inline parent ligne 17 via heuristic_height
19	प्रसाद+	annotation_inline parent ligne 17 via heuristic_height
20	ज्ञेया ह्येते त्वलङ्कारा अध्यथालक्षणलक्षिताः ॥१२३॥	main via surya_layout
21	₀रादमी	annotation_inline parent ligne 20 via heuristic_markers
22	∘धेतद₀	annotation_inline parent ligne 20 via heuristic_markers
23	अथ सञ्चारिजान् भूयः कीर्त्यमानाव्निबोधत।	main via surya_layout
24	•णी	annotation_inline parent ligne 23 via heuristic_height
25	मन्द्रतारप्रसन्नश्च बिन्दुः प्रेङ्खोलितस्तथा।।१२४।।	main via surya_layout
26	उ६ तारमन्द्रप्रसन्नश्च स्यान्निवृत्तप्रवृत्तकः । ]	editorial_bracket parent ligne 25 via heuristic_brackets
27	.র্ব.	annotation_inline parent ligne 25 via heuristic_height
28	कुहरश्चैव वेणुश्च रिक्षतश्चोपलोलकः ॥१२५॥	main via surya_layout
29	₀ला。	annotation_inline parent ligne 28 via heuristic_markers
30	₹₀	annotation_inline parent ligne 28 via heuristic_markers
31	आवर्तकः परावर्त इति सञ्चारिसम्भवाः।	main via surya_layout
32	अलङ्कारास्तु विज्ञेया अएकादश मनोहराः ॥१२६॥	main via surya_layout
33	निष्कूजितम्च कुहरो हसितो अबिन्दुरेव च।	main via surya_layout
34	कोरो	annotation_inline parent ligne 33 via heuristic_height
35	प्रेह्मोलितस्तथाऽऽक्षिप्तो विधुतोद्वाहितौ तथा।।१२७।।	main via surya_layout
36	.योत्सि.	annotation_inline parent ligne 35 via heuristic_short
37	ह्रादमानः सम्प्रदानः सन्धिप्रच्छादनस्तथा।	main via surya_layout
38	(ना ? मा)	annotation_inline parent ligne 37 via heuristic_short
39	प्रा	annotation_inline parent ligne 37 via heuristic_height
40	प्रसन्नादिः प्रसन्नान्त आरेहिणि त्रयोदश।।१२८।।	main via surya_layout
41	०णी	page_footer via surya_layout

vol_I_p094 RIGHT — 45 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	171	page_number via heuristic_pagenum
3	musical training, even today the ākāra sound is given primary importance. (cf. DAI,	main via surya_layout
4	p. 46)	main via surya_layout
5	21, 22. This contention does not seem to fit in the context. The acceptance	list_item via surya_layout
6	of vowels beginning with ākāra out of the fourteen svaras (vowels) of language	list_item via surya_layout
7	does not carry further the argument that vowels and musical tones cannot be	list_item via surya_layout
8	equated. The number of vowels in language is twenty-one according to Pa Si	list_item via surya_layout
9	(4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā	list_item via surya_layout
10	Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra	list_item via surya_layout
11	quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our	list_item via surya_layout
12	author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri	list_item via surya_layout
13	ga ma pa dha ni combine only two vowels viz. a and i with the respective	list_item via surya_layout
14	consonants. Perhaps the author is hinting at the acceptance of these two vowels	list_item via surya_layout
15	out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au.	list_item via surya_layout
16	23. The gradual ascent of seven svaras in pitch seems to be implied.	list_item via surya_layout
17	24. There seems to be a break in the text; this sentence seems to be the	list_item via surya_layout
18	concluding remark of the whole discussion on the question of equating vowels	list_item via surya_layout
19	of language with musical tones both of which bear the same name viz. svara.	list_item via surya_layout
20	25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach	list_item via surya_layout
21	the proper interpretation or application of other rules or resolve the apparent	list_item via surya_layout
22	contradictions among other rules. This word also stands, in general, for	list_item via surya_layout
23	abbreviations or signs used in any discipline; the latter meaning is relevant here	list_item via surya_layout
24	as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra,	list_item via surya_layout
25	madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant .	list_item via surya_layout
26	work that uses solfa-syllables, the above discussion has a historical context.	list_item via surya_layout
27	26-33. The samvādin, anuvādin and vivādin svaras represent the relationship	list_item via surya_layout
28	of samvāda (roughly consonance), anuvāda (assonance) and vivāda	list_item via surya_layout
29	(dissonance) among svaras. A relationship pre-supposes two entities, rather two	list_item via surya_layout
30	ends in this case. The first one of these is the vādin or point of reference and	list_item via surya_layout
31	the second one is samvādin or anuvādin or vivādin according to the interval	list_item via surya_layout
32	concerned. This phenomenon of threefold relationships is associated with	list_item via surya_layout
33	pleasantness, indifference and unpleasantness which has been depicted here	list_item via surya_layout
34	with dual imagery viz. that of a logical discussion and governance. In an	list_item via surya_layout
35	assembly involved in logical discussion one person makes a postulation; the	list_item via surya_layout
36	vādin svara, playing the role of fundamental tone or tonic is like the person	list_item via surya_layout
37	who initiates a discussion. The samvadin is like a person who actively supports	list_item via surya_layout
38	the initial postulation. The anuvadin is like the person who passively supports	list_item via surya_layout
39	the postulation and the vivadin is like the one who opposes the postulation.	list_item via surya_layout
40	This imagery is inherent in the set of four musical terms that are under	list_item via surya_layout
41	reference here and have been handed down by tradition. The second imagery	list_item via surya_layout
42	of monarchial governance is an imposed one and occurs in our text for the first	list_item via surya_layout
43	time in extant texts. It has been mentioned in almost all later texts.	list_item via surya_layout
44	34. Here raga seems to stand for melodic configuration or melody-matrix,	list_item via surya_layout
45	rather than the delightfulness of musical sound in general.	list_item via surya_layout

vol_II_p116 RIGHT — 23 lignes

L#	Texte OCR	Role auto
1	215	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	[15. Hayalīlā]	section_header via surya_layout
4	Where the (first) half is sung with svaras, in turagalīla (tāla), (and the	main via surya_layout
5	latter) half is sung with birudas, that is known as hayalīlā.	main via surya_layout
6	(397)	main via surya_layout
7	[16. <i>Gajalīlā</i>]	section_header via surya_layout
8	That which is completely composed according to gajalīlā but where the tāla	main via surya_layout
9	is gajalīla, that should be known by the name gajalīlā.	main via surya_layout
10	(398)	main via surya_layout
11	[17. Simhalīlā]	section_header via surya_layout
12	Composed in simhalilā metre, combined with svara and tena, that which is	main via surya_layout
13	sung with birudas is sinihalīlaka.	main via surya_layout
14	(399)	main via surya_layout
15	[18. Śarabhalila]	section_header via surya_layout
16	Where eight feet are composed with svaras and pāṭas, that is held to be	main via surya_layout
17	śarabhalīla, having eight rāgas and tālas.	main via surya_layout
18	(400)	main via surya_layout
19	[19. Śukacańcu]	section_header via surya_layout
20	In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with	main via surya_layout
21	<math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various	main via surya_layout
22	regions, is named śukacańcu, that is dear to the people.	main via surya_layout
23	(401)	main via surya_layout

vol_II_p149 LEFT — 49 lignes

L#	Texte OCR	Role auto
1	San Carlotte Comment	annotation_inline parent ligne 4 via heuristic_height
2	BRHADDEŚĨ	page_header via surya_layout
3	280	page_number via heuristic_pagenum
4	13. P.t. reads -	main via surya_layout
5	गान्धारांशा तु षड्जान्ता पूर्णा द्राविडदेशजा ।	main via surya_layout
6	गीयते नित्यमेवैषा विभाषा (विजरा ? पिञ्जरी) शुभा ॥	main via surya_layout
7	Thus the second and third feet are repeated from the description of drāviḍī	main via surya_layout
8	from verse 11 and have hence been omitted by us.	main via surya_layout
9	14. The reading 'paurālī' is suggested by the ed.	main via surya_layout
10	वनेषु कामिनीसङ्गे नियोज्या ऋषिकैनरै: ।	main via surya_layout
11	15. cf.	annotation_inline parent ligne 10 via heuristic_short
12	S Rāj II.2.1.1084 cd.	main via surya_layout
13	Kalā (appendix) on SR II, p. 142 treats it as a <i>vibhāṣā</i>.	main via surya_layout
14	16. P.t. contains repeated portion here as follows -	main via surya_layout
15	उदाहरणम् -सासासासा धासासासा सारीमामा सानीधासा सानीधापा सामामापाधा । सासा । धागारिसारिसा निधानि । सासा ।	main via surya_layout
16	धागारिसारिसा निधानि । सासा । अलघ्वी । टक्करागे शार्दूलमते भाषा: समाप्ता: । भित्रवलितिका रविचन्द्रा भित्रपौराली द्राविडी	main via surya_layout
17	पार्वती चैव हिन्दोलके ?	main via surya_layout
18	The ed. notes that the lakṣaṇa of paurālī and illustration of vibhāvinī is not	main via surya_layout
19	available in the MSS, because the illustration that follows the repeated	main via surya_layout
20	portion reproduced above bears the name paurālī. But we have taken it to	main via surya_layout
21	be the illustration of vibhāvinī as it matches the description of this bhāṣā.	main via surya_layout
22	Thus both the description and illustration of paurālī are taken to be lost.	main via surya_layout
23	S Rāj II.2.1.1086 describes paurālī as -	main via surya_layout
24	पञ्चमांशग्रहन्यासा गाल्पा मालवपञ्चमे ।	main via surya_layout
25	सावरोहिप्रसन्त्रान्ता भाषा पौरालिका रसे ॥	main via surya_layout
26	बीभत्से मुनिना प्रोक्ता मतङ्गेन भयाकुले ॥	main via surya_layout
27	करुणे दैन्यभूयिष्ठे आहुर्वेदवर्ती बुधा: ।	main via surya_layout
28	17. cf.	annotation_inline parent ligne 27 via heuristic_short
29	Citation from Kaśyapa in Abhi Bhā on NŚ XXIX, p. 76.	main via surya_layout
30	सग्रहान्ता वेगवती धांशा मालवपञ्चमे ।	main via surya_layout
31	18. cf.(i)	annotation_inline parent ligne 30 via heuristic_short
32	सप्तस्वरा विभाषेयमञ्जनासून्सम्मता ॥	main via surya_layout
33	Kalā (appendix) on SR II. p. 142.	main via surya_layout
34	(ii)	annotation_inline parent ligne 33 via heuristic_short
35	पूर्णा वेदवती भाषा सान्ता मालवपञ्चमे ।	main via surya_layout
36	पञ्चमांशग्रहा योज्या रसे सा करुणे बुधै: ॥	main via surya_layout
37	S Rāj II.2.1.1088.	annotation_inline parent ligne 36 via heuristic_short
38	.....गर्वे त्वान्ध्रॉ प्रचक्षते ।	main via surya_layout
39	19. cf.(i)	annotation_inline parent ligne 38 via heuristic_short
40	Citation from Kaśyapa in Abhi Bhā on NŚ XXIX.p.76.	main via surya_layout
41	(ii)	annotation_inline parent ligne 40 via heuristic_short
42	.....सर्वभावनियोगभाक् ।	main via surya_layout
43	S Rāj 11.2.1.1090 d.	main via surya_layout
44	Our reconstruction is in close proximity of p.t. 'Vyādhau daṣṭeṣu' could be	main via surya_layout
45	another possibility; the meaning would be - 'in the context of disease and of	main via surya_layout
46	those bitten (by poisonous creatures)*	main via surya_layout
47	20. cf.	annotation_inline parent ligne 46 via heuristic_short
48	औप्र्वे क्रोधे च गान्धारी .....ा	main via surya_layout
49	Citation from Kasyapa in Abhi Bhā on NŚ XXIX., p. 76.	main via surya_layout

195 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p035 RIGHT — 37 lignes

vol_I_p061 LEFT — 41 lignes

vol_I_p094 RIGHT — 45 lignes

vol_II_p116 RIGHT — 23 lignes

vol_II_p149 LEFT — 49 lignes