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 21677). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p163 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	page_header via surya_layout
2	309	page_number via heuristic_pagenum
3	85. The gandhara and that too antara becomes the dhaivata of	list_item via surya_layout
4	madhyamagrāma. Perhaps this phenomenon is being indicated here.	list_item via surya_layout
5	86,87. Adbhuta and hasya on the one hand and karuna on the other	list_item via surya_layout
6	are incompatible.	list_item via surya_layout
7	88. The freedom of the performer is being indicated here.	list_item via surya_layout
8	89,90,91. The situations mentioned under viniyoga and the rasa vīra	list_item via surya_layout
9	are perfectly compatible.	list_item via surya_layout
10	92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.	list_item via surya_layout
11	93. The indication of murchana finds place in the description of jatis	list_item via surya_layout
12	for the first time. No rule is prescribed for assigning a particular mūrchanā to	list_item via surya_layout
13	a given jāti. Here it is said that the mūrchanā of jāti is known from the	list_item via surya_layout
14	'statements of authorities', which implies that there is no prescribed rule.	list_item via surya_layout
15	94. The import seems to be that the amsa that is predominant among	list_item via surya_layout
16	amsas (in the case of jātis with more than one amsa) determines the mūrchanā	list_item via surya_layout
17	of a <i>jāti</i>.	list_item via surya_layout
18	95. The four components of gita have been enumerated as svara, pada,	list_item via surya_layout
19	tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).	list_item via surya_layout
20	96. Dhruvāis a metrical text that is performed in pūrvaranga, where the	list_item via surya_layout
21	compositions in Sanskrit or in prescribed non-lexical syllables are used. The	list_item via surya_layout
22	dhruvā performed within the drama is invariably in Prākṛta and provides a	list_item via surya_layout
23	figurative and poetic commentary on the happenings in the drama. NS	list_item via surya_layout
24	XXXII gives numerous illustrations of <i>dhruvā</i> texts.	list_item via surya_layout
25	97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,	list_item via surya_layout
26	prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.	list_item via surya_layout
27	98. Prastāvanā(lit.introduction) is twofold, one occurring in the end	list_item via surya_layout
28	of the Pūrvaranga and the other in the beginning of the play immediately after	list_item via surya_layout
29	nāndī i.e. one is composed by the sūtradhāra known as director and the other	list_item via surya_layout
30	by the poet called playwright to-day.	list_item via surya_layout
31	99. Mukha and pratimukha are the first two among the five sandhis or	list_item via surya_layout
32	junctures of drama.	list_item via surya_layout
33	100,101. Garbha is the third sandhi and avamarsa (another name for	list_item via surya_layout
34	vimarsa) is the fourth one.	list_item via surya_layout
35	Chapter IV	section_header via surya_layout
36	(The description of bhāṣās)	section_header via surya_layout
37	[ A. Bhāṣās according to Yāṣṭika ]	section_header via surya_layout
38	1. This whole portion on bhāṣās according to Yāṣṭika seems to form	main via surya_layout
39	part of an independent text. We have retained it in our reconstructed text	main via surya_layout
40	as it embodies very valuable material, but we have numbered its verses	main via surya_layout

vol_II_p053 LEFT — 35 lignes

L#	Texte OCR	Role auto
1	88	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	मुख्य इति षाडवः ? तत्र नायम्। एकः । कुतः ? सम्पूर्णत्वादमुष्य रागस्य । तस्मादुत्तरपक्ष एव	main via surya_layout
4	ज्यायान्। ननु कथं षट्सु रागेषु मुख्योऽयम्? उच्यते पूर्व-[रङ्गे तु] शुद्धषाडव: प्रयोक्तव्य इति	editorial_bracket parent ligne 3 via heuristic_brackets
5	(कथनुकथन? कथं)	main via surya_layout
6	पुष	annotation_inline parent ligne 5 via heuristic_height
7	वचनात् पूर्वरङ्गे प्रचुरप्रयोगत्वादस्य शुद्धषाडवस्यादौ निर्देश:।	main via surya_layout
8	विकारिमध्यमाजाते: सम्भूत: शुद्धषाडव: ।	main via surya_layout
9	न्	annotation_inline parent ligne 8 via heuristic_height
10	न्यासोऽस्य मध्यमोंऽशश्च गान्धारेण च दुर्बल: ॥ ३००॥	main via surya_layout
11	<b>णांश</b>श	annotation_inline parent ligne 10 via heuristic_height
12	(तु? दु)	annotation_inline parent ligne 10 via heuristic_height
13	[अनु॰ १६५]	section_header via surya_layout
14	अस्यार्थः - शुद्धषाडवो मध्यमग्रामसम्बन्धः। तारमध्यमो ग्रहः। मध्यमोऽशो न्यासश्च ।	main via surya_layout
15	गान्धारस्य चाल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । पूर्वरङ्गेऽस्य	main via surya_layout
16	(इन ? इने)	annotation_inline parent ligne 15 via heuristic_short
17	मध्यमो वादी । षड्जः संवादी । ऋषभपञ्चमावनुवादिनौ । विवादी नास्ति ।	main via surya_layout
18	प्रयोग:।	annotation_inline parent ligne 17 via heuristic_short
19	शृङ्गारहास्यौ रसौ । मध्यमादिमूर्छना । अवरोही वर्ण: । प्रसन्नान्तोऽलङ्कार: ।	main via surya_layout
20	त्रिषु मार्गेषु	main via surya_layout
21	गीयते। दक्षिणे कला, वृत्तौ कला, चित्रे कला। ३८स्वरपदगीते चच्चत्पुटादिताल: ।	unknown via fallback
22	<b>ण्पदेप</b>	annotation_inline parent ligne 20 via heuristic_height
23	आक्षिप्तिका<sup>३९</sup>	main via surya_layout
24	॰सका	annotation_inline parent ligne 23 via heuristic_markers
25	[२. शुद्धपञ्चम:]	section_header via surya_layout
26	ДO	annotation_inline parent ligne 25 via heuristic_height
27	[अनु॰ १६६]	editorial_bracket parent ligne 25 via heuristic_brackets
28	शुद्धपञ्चमः षड्जोदीच्यवतीजातेः स्मृतः।	main via surya_layout
29	र्गत:	annotation_inline parent ligne 28 via heuristic_height
30	[३. शुद्धसाधारित: ]	section_header via surya_layout
31	षड्जांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः।	main via surya_layout
32	(बि?हि)	unknown via fallback
33	स्यात् षड्जमध्यमाजाते: शुद्धः साधारितस्तथा ॥ ३०१॥	main via surya_layout
34	erte Arresto de la composição de la composição de la composição de la composição de la composição de la composição de la	annotation_inline parent ligne 33 via heuristic_height
35	. . .	annotation_inline parent ligne 33 via heuristic_height

vol_I_p004 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	<b>FOREWORD</b>	section_header via surya_layout
2	The eighth in the series of the Kalāmūlašāstra, research and publication	main via surya_layout
3	programme of the Indira Gandhi National Centre for the Arts is the Brhaddesi.	main via surya_layout
4	As the name suggests, it is extensive and comprehensive. This is rightly	main via surya_layout
5	considered the most important text on music after the Nāṭyaśāstra and Dattilam.	main via surya_layout
6	In the Foreword to Mātrālakṣaṇam and Dattilam I had drawn attention to the	main via surya_layout
7	importance of Mātrālakṣaṇam as embodying and manifesting musical structures	main via surya_layout
8	of the Sama-Veda. Dattilam is the first autonomous text of music which	main via surya_layout
9	enunciates a theory of sound, structure and composition quite distinct from the	main via surya_layout
10	Nātyašāstra tradition. The Chapters of the Nātyašāstra dealing with music have	main via surya_layout
11	posed many complex problems of editing and translation. While the Indira	main via surya_layout
12	Gandhi National Centre for the Arts will publish this seminal text, it will take	main via surya_layout
13	some time. Bṛhaddeśī, without doubt, is the next most important text between	main via surya_layout
14	the Nāṭyaśāstra and Dattilam on the one hand and the fully evolved text, namely,	main via surya_layout
15	the Sangita Ratnäkara on the other hand.	main via surya_layout
16	In the case of Dattilam the editor had to rely on one manuscript. In case of	main via surya_layout
17	Bṛhaddeśī the editing job is even more hazardous because the text has had to be	main via surya_layout
18	reconstructed from excerpts by later writers. This task is challenging and	main via surya_layout
19	requires mastery of the skills of collation and editing of a very high order. Dr.	main via surya_layout
20	P.L. Sharma, the editor of this Volume who has devoted a life-time in	main via surya_layout
21	unravelling the mysteries of the textual corpus in relation to the unbroken	main via surya_layout
22	traditions and the practice of Indian music has assiduously reconstructed this	main via surya_layout
23	text on the basis of the citations, has provided annotations, explanations and,	main via surya_layout
24	naturally, translation. The work is being presented in three Volumes. The first	main via surya_layout
25	two will present the text with a translation, notes and annotation. The third will	main via surya_layout
26	be on the critique of the text in its totality with glossary, indices, appendices, etc.	main via surya_layout
27	There has been only one printed edition of this text so far, i.e. Trivandrum	main via surya_layout
28	Sanskrit Series in 1928. The present editor has considered that edition and has	main via surya_layout
29	corrected the errors and many mutilations and confusions in that edition.	main via surya_layout
30	In the context of music, one of the most common and fundamental questions	main via surya_layout
31	which is asked is: "Did the Nātyaśāstra mention the Rāgas?". "When did Rāgas	main via surya_layout
32	emerge?". In critical literature there has been a vast body of discussions on the	main via surya_layout
33	subject and, naturally, scholars have taken pains to state that the Natyaśastra	main via surya_layout
34	makes scanty mention of the Ragas. The source of musical structure and	main via surya_layout
35	composition, both of Hindustani and Carnatic music, has to be traced back to	main via surya_layout
36	the Brahaddesi. It is the Brhaddesi which for the first time makes a distinction	main via surya_layout
37	between Jātis, Mūrchanās and Rāga. The author deals, at some length, with the	main via surya_layout
38	forms and the characteristics of the seven pure Grāma Rāgas. Since this is the	main via surya_layout
39	firm foundation of the system of Indian music, the text assumes great	main via surya_layout

vol_II_p005 RIGHT — 117 lignes

L#	Texte OCR	Role auto
1	- -	annotation_inline via heuristic_height
2	CONTENTS	table via surya_layout
3	χi	table via surya_layout
4	Madhyamadchā	table via surya_layout
5	147	page_number via heuristic_pagenum
6	XV.	table via surya_layout
7	Gàndhàrapañcami	table via surya_layout
8	xvi.	table via surya_layout
9	147	page_number via heuristic_pagenum
10	Vibhāṣāof ţakka rāga	table via surya_layout
11	149	page_number via heuristic_pagenum
12	2.Bhāṣās in mālavakaišika	table via surya_layout
13	149	page_number via heuristic_pagenum
14	i.	table via surya_layout
15	Suddhā	table via surya_layout
16	149	page_number via heuristic_pagenum
17	100	page_number via heuristic_pagenum
18	ii.	table via surya_layout
19	Ardhavesari	table via surya_layout
20	151	page_number via heuristic_pagenum
21	iii.	table via surya_layout
22	Harşapüri	table via surya_layout
23	151	page_number via heuristic_pagenum
24	Māṅgālī	table via surya_layout
25	iv.	table via surya_layout
26	151	page_number via heuristic_pagenum
27	Saindhavī	table via surya_layout
28	151	page_number via heuristic_pagenum
29	٧.	table via surya_layout
30	Äbhūrī	table via surya_layout
31	vi.	table via surya_layout
32	153	page_number via heuristic_pagenum
33	vii.	table via surya_layout
34	Khañjanî	table via surya_layout
35	153	page_number via heuristic_pagenum
36	Gürjari	table via surya_layout
37	viii.	table via surya_layout
38	153	page_number via heuristic_pagenum
39	3.Bhāṣāsin kakubha	table via surya_layout
40	155	page_number via heuristic_pagenum
41	Kāmbojā	table via surya_layout
42	155	page_number via heuristic_pagenum
43	1.	table via surya_layout
44	Madhyamagrāmikā	table via surya_layout
45	ii.	table via surya_layout
46	155	page_number via heuristic_pagenum
47	iii.	table via surya_layout
48	Sātavāhinī	table via surya_layout
49	155	page_number via heuristic_pagenum
50	Bhogavardhani	table via surya_layout
51	iv.	table via surya_layout
52	155	page_number via heuristic_pagenum
53	Madhukari	table via surya_layout
54	157	page_number via heuristic_pagenum
55	v.	table via surya_layout
56	Śakamiśritā	table via surya_layout
57	vi.	table via surya_layout
58	157	page_number via heuristic_pagenum
59	vii.	table via surya_layout
60	Bhinnapañcamī	table via surya_layout
61	157	page_number via heuristic_pagenum
62	4.Bhāṣāsin hindolaka	table via surya_layout
63	159	page_number via heuristic_pagenum
64	Vesui	table via surya_layout
65	159	page_number via heuristic_pagenum
66	i.	table via surya_layout
67	ii.	table via surya_layout
68	Prathamamañjari	table via surya_layout
69	159	page_number via heuristic_pagenum
70	iii.	table via surya_layout
71	159	page_number via heuristic_pagenum
72	Chevāţī	table via surya_layout
73	Şadjamadhyamā	table via surya_layout
74	161	page_number via heuristic_pagenum
75	iv.	table via surya_layout
76	Madhuri	table via surya_layout
77	161	page_number via heuristic_pagenum
78	٧.	table via surya_layout
79	5.Bhāṣāsin pañcama	table via surya_layout
80	161	page_number via heuristic_pagenum
81	Ābhīrī	table via surya_layout
82	i.	table via surya_layout
83	161	page_number via heuristic_pagenum
84	ii.	table via surya_layout
85	Bhāvinī	table via surya_layout
86	161	page_number via heuristic_pagenum
87	1	page_number via heuristic_pagenum
88	iii.	table via surya_layout
89	Mängäli	table via surya_layout
90	163	page_number via heuristic_pagenum
91	Saindhavi	table via surya_layout
92	163	page_number via heuristic_pagenum
93	iv.	table via surya_layout
94	163	page_number via heuristic_pagenum
95	Gürjari	table via surya_layout
96	٧.	table via surya_layout
97	163	page_number via heuristic_pagenum
98	Dākṣiṇātyā	table via surya_layout
99	vi.	table via surya_layout
100	vii.	table via surya_layout
101	Andhālī	table via surya_layout
102	165	page_number via heuristic_pagenum
103	viii.	table via surya_layout
104	Tänodbhavā	table via surya_layout
105	165	page_number via heuristic_pagenum
106	165	page_number via heuristic_pagenum
107	Trāvaņī	table via surya_layout
108	ix.	table via surya_layout
109	167	page_number via heuristic_pagenum
110	Kaiśikī	table via surya_layout
111	X.	table via surya_layout
112	6.Bhāṣāsin bhinnaṣadja	table via surya_layout
113	167	page_number via heuristic_pagenum
114	Šuddhā	table via surya_layout
115	167	page_number via heuristic_pagenum
116	i.	table via surya_layout
117	(vide)	unknown via fallback

vol_II_p021 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	٠.	annotation_inline parent ligne 4 via heuristic_height
2	25	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita	main via surya_layout
5	(forms) come into being by the omission of sadja and (sadja) pañcama	main via surya_layout
6	respectively.	annotation_inline parent ligne 5 via heuristic_short
7	(213)	main via surya_layout
8	In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus.	main via surya_layout
9	These two alongwith madhyama are apanyāsas and the two(ṣāḍava and	main via surya_layout
10	auduvita) are, as spoken of before, (in ārṣabhī) through the respective	main via surya_layout
11	omission of (ṣadja and ṣadja-pañcama).	main via surya_layout
12	(214)	annotation_inline parent ligne 11 via heuristic_short
13	In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra,	main via surya_layout
14	niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa	main via surya_layout
15	is the svara (niṣāda) from which this jāti derives its name.	main via surya_layout
16	(215)	annotation_inline parent ligne 15 via heuristic_short
17	In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves	main via surya_layout
18	are the apanyāsas, adding niṣāda and omitting gāndhāra.	main via surya_layout
19	(216)	annotation_inline parent ligne 18 via heuristic_short
20	Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this	main via surya_layout
21	(jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e.	main via surya_layout
22	there is no omission).	main via surya_layout
23	(217)	annotation_inline parent ligne 22 via heuristic_short
24	Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as	main via surya_layout
25	amśas, sadja and dhaivata should be known as two apanyāsas.	main via surya_layout
26	(218)	annotation_inline parent ligne 25 via heuristic_short
27	It is devoid of rṣabha and if two (svaras) have to be omitted then it is devoid	main via surya_layout
28	also of pañcama. There is the abundance of mandra gandhara and madhyama	main via surya_layout
29	is the <i>nyāsa</i>.	main via surya_layout
30	(219)	annotation_inline parent ligne 29 via heuristic_short
31	Şadja-madhyamā has all the svaras as amśa and its nyāsa is on the two svaras	main via surya_layout
32	from which it derives its name (viz. şadja and madhyama). Nişāda and	main via surya_layout
33	gāndhāra are the two svaras that bring about hīnatva (the state of being bereft	main via surya_layout
34	i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda,	main via surya_layout
35	gāndhāra, its audava form).	main via surya_layout
36	(220)	annotation_inline parent ligne 35 via heuristic_short
37	The sañcara (to and fro movement of svaras) is left to one's will, it has to	main via surya_layout
38	be so as not to violate the grāma.<sup>41</sup> These seven are in sadja-grāma, the	main via surya_layout
39	remaining (eleven) are the jātis of madhyama (grāma).	main via surya_layout
40	(221)	main via surya_layout

271 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p163 RIGHT — 40 lignes

vol_II_p053 LEFT — 35 lignes

vol_I_p004 RIGHT — 39 lignes

vol_II_p005 RIGHT — 117 lignes

vol_II_p021 RIGHT — 40 lignes