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)	—

vol_II_p037 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	¶ Visi	annotation_inline parent ligne 4 via heuristic_height
2	57	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	abundance comes about on account of the stated prescription. In the	main via surya_layout
5	hexatonic form, there is the non-abundance of dhaivata but it is never so in	main via surya_layout
6	the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the	main via surya_layout
7	case of any svara on acount of all of them being amsas. In this way there is	main via surya_layout
8	the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is	main via surya_layout
9	madhyama alone. There is the sancāra 76 or to and fro movement of sadja	main via surya_layout
10	and gändhära.	main via surya_layout
11	[Anu. 163]	section_header via surya_layout
12	It is ten-fold. There are ten amsas - five pertain to the complete state, four	main via surya_layout
13	to the hexatonic state, on account of there being an exception when pañcama	main via surya_layout
14	is the ainsa. One pertains to the auduvita state. The mūrchanā beginning	main via surya_layout
15	with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the	main via surya_layout
16	ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga),	main via surya_layout
17	sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It	main via surya_layout
18	is applied in the dhruva gana in the third act.	main via surya_layout
19	. . . . . . . . . . . . . . . . . . . .	annotation_inline parent ligne 18 via heuristic_height
20	[12. 77 Description of nine jātis in the interpolated portion]	section_header via surya_layout
21	٠	page_number via heuristic_pagenum
22	[1.Şadjamadhyamā]	section_header via surya_layout
23	Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro	main via surya_layout
24	movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other	main via surya_layout
25	words) except the vādin state of (gāndhāra).	main via surya_layout
26	(1)	annotation_inline parent ligne 25 via heuristic_height
27	The hextatonic and pentatonic states are known to be when niṣāda and	main via surya_layout
28	niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are	main via surya_layout
29	the adversaries of the hexatonic and pentatonic states.	main via surya_layout
30	(2)	annotation_inline parent ligne 29 via heuristic_height
31	The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which	main via surya_layout
32	፥	annotation_inline parent ligne 31 via heuristic_height
33	begins with madhyama and the viniyoga is as (prescribed) before.	main via surya_layout
34	(3)	annotation_inline parent ligne 33 via heuristic_height
35	Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The	main via surya_layout
36	prastāra is thus -	main via surya_layout
37	ı	annotation_inline parent ligne 36 via heuristic_height
38	(1)	annotation_inline parent ligne 36 via heuristic_height
39	mā gā saga pā dhapa mā nidha nima	main via surya_layout
40	(2)	annotation_inline parent ligne 39 via heuristic_height
41	mā mā sā riga maga nidha padha pā	main via surya_layout

vol_II_p083 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	4 - 1	annotation_inline parent ligne 4 via heuristic_height
2	149	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	[ Vibhāṣā of ṭakkarāga]	section_header via surya_layout
5	Having pañcama as amsa and sadja as the concluding note, being	main via surya_layout
6	embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung	main via surya_layout
7	at the end of the bhāṣās.	annotation_inline parent ligne 6 via heuristic_height
8	(61)	annotation_inline parent ligne 6 via heuristic_height
9	Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā.	main via surya_layout
10	Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī.	main via surya_layout
11	Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā.	main via surya_layout
12	[2. Bhāṣās in mālavakaiśika]	section_header via surya_layout
13	Paurālī is born of <math>deśa^{24}</math>, i.e., is a regional variety, is combined with şadja	main via surya_layout
14	as the initial and concluding note, is complete in svaras (and) has profuse	main via surya_layout
15	șadja and madhyama. This bhāṣā should be known as the first one in	main via surya_layout
16	mālavakaišika (used as mālakaišika in the text due to exigency of metre) of	main via surya_layout
17	madhyama (grāma).	annotation_inline parent ligne 16 via heuristic_height
18	(62)	annotation_inline parent ligne 16 via heuristic_height
19	Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā.	main via surya_layout
20	Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī.	main via surya_layout
21	Šuddhāhas madhyama as amśa, ṣadja as the concluding note, is a vibhāṣā,	main via surya_layout
22	complete in svaras, is associated with 'merriment' and is sung in mālavakaišika.	main via surya_layout
23	(63)	annotation_inline parent ligne 22 via heuristic_height
24	Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā.	main via surya_layout
25	Sādhāmāgārigāsāsā. Suddhā [i]	editorial_bracket parent ligne 24 via heuristic_brackets
26	Ardhavesarī has madhyama as amśa and ṣadja as the concluding note, is	main via surya_layout
27	complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā	main via surya_layout
28	should always be known as sankīrņā (mixed), by the knowledgeable ones in	main via surya_layout
29	gändharva.	annotation_inline parent ligne 28 via heuristic_height
30	(64)	annotation_inline parent ligne 28 via heuristic_height
31	Pāpāmāmā.	annotation_inline parent ligne 28 via heuristic_height
32	Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā.	main via surya_layout
33	Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā	main via surya_layout

vol_II_p067 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	116	page_number via heuristic_pagenum
3	[अनु॰ २००]	editorial_bracket parent ligne 4 via heuristic_brackets
4	अस्यार्थ: -मालवकैशिको मध्यमग्रामसम्बन्ध: कैशिकीजातेर्जातत्वात् । षड्जो ग्रहोंऽशो	main via surya_layout
5	न्यासश्च । धैवतस्यात्राल्पत्वम् । प्रयोगे निषादोऽत्र काकली । पूर्णस्वरश्चायम् । <sup>८७</sup>विप्रलम्भे शृङ्गारे	main via surya_layout
6	प्रयोगो	annotation_inline parent ligne 5 via heuristic_height
7	काकलि:	annotation_inline parent ligne 5 via heuristic_height
8	चास्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना । आरोही वर्णः । अलङ्कारः प्रसन्नमध्यमः ।	main via surya_layout
9	दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
10	[वेसराणां ग्रामविभाग:]	section_header via surya_layout
11	इदानीं वेसराणां ग्रामविशेषो दर्श्यते -	main via surya_layout
12	दुश्यते	annotation_inline parent ligne 11 via heuristic_height
13	टक्करागश्च सौवीरस्तथा वै टक्ककेशिक:।	main via surya_layout
14	बोट्टरागश्च षड्जाख्ये भवेद् वेसरषाडव: ॥ ३२९॥	main via surya_layout
15	हिन्दोलकस्तु विज्ञेयो मध्यमग्रामसम्भव:।	main via surya_layout
16	मालवपञ्चमश्चैव मालवकैशिकस्तथा ॥ ३३०॥	main via surya_layout
17	इति वेसरकाः प्रोक्ताः सर्वे निश्चितलक्षणाः।	main via surya_layout
18	स्वराणां दृश्यते वेगस्तेन वेगस्वरा: स्मृता: ॥३३१॥	main via surya_layout
19	[ङ. साधारणरागा:]	section_header via surya_layout
20	शुद्धा भित्राश्च गौडाश्च तथा वेगस्वरा: परे ।	main via surya_layout
21	<sup>८८</sup>कथिता: साम्प्रतं <sup>८९</sup>वक्ष्ये सप्त साधारणांस्तत: ॥३३२॥	main via surya_layout
22	कथिता यत्र तान्	main via surya_layout
23	[अनु॰ २०१]	section_header via surya_layout
24	ननु साधारणानां कथं साधारणत्वम् ? उच्यते । पूर्वोक्तानां सर्वेषां रागाणां या गीतयस्ताभिर्जायमान-	main via surya_layout
25	(র্জী/র্জা)	annotation_inline parent ligne 24 via heuristic_height
26	॰मां	annotation_inline parent ligne 24 via heuristic_markers
27	त्वात् तेषां साधारणत्वम् ,एतत् साधारणगीत्या गीयमानत्वात् । तथा चाह कश्यप: -	main via surya_layout
28	(র্জী?র্জা)	annotation_inline parent ligne 27 via heuristic_height
29	‘‘सप्त साधारणा: प्रोक्ता: <sup>९०</sup>सर्वगीतिसमाश्रया: ।’’	main via surya_layout
30	पञ्च	annotation_inline parent ligne 29 via heuristic_height

vol_II_p155 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŠA</b>	section_header via surya_layout
2	(Annotations)	main via surya_layout
3	Chapter II	section_header via surya_layout
4	(Jātis)	section_header via surya_layout
5	1. The number 140 pertains to the modified varieties of jātis comprising	main via surya_layout
6	the complete, hexatonic and pentatonic formations of jātis in accordance	main via surya_layout
7	with each of the amsa svaras assigned to each of the eighteen jātis. This	main via surya_layout
8	number is computed as follows -	main via surya_layout
9	The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63	main via surya_layout
10	complete varieties of jātis. Out of these 63, there are 16 amsas that do not	main via surya_layout
11	permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math>	main via surya_layout
12	that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math>	main via surya_layout
13	<math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163;	main via surya_layout
14	the treatment is incomplete because of a break in the text.	main via surya_layout
15	Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by	main via surya_layout
16	adding the śuddhā states of the seven jātis bearing svara-names.	main via surya_layout
17	2. Brahmā has been said here to be the original author of the number	main via surya_layout
18	of jātis in NS, from where we have taken the verse under reference. In NS,	main via surya_layout
19	Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have	main via surya_layout
20	added only dance to theatre. As between Brahmā and Šiva, the former is said	main via surya_layout
21	to be responsible for all the elaboration based on vāk. The origin of all the	main via surya_layout
22	Vedas is also attributed to him. Siva has special relationship with the	main via surya_layout
23	movements of the body (anga). Jāti being the first formation of melodic	main via surya_layout
24	structure, its association with Brahmā is understandable because melody is	main via surya_layout
25	a manifestation of the tonal aspect of vāk.	main via surya_layout
26	Abhi Bhā explains the reference to Brahmā in the text of NS,	main via surya_layout
27	(XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by	main via surya_layout
28	knowledgeable and trustworthy authorities cannot be wrong. The fact that	main via surya_layout
29	no less than Brahmā is the authority regarding the jātis lends a special	main via surya_layout
30	sanctity to this melodic abstraction that is striking on account of its	main via surya_layout
31	comprehensive sweep.	main via surya_layout
32	3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains	list_item via surya_layout
33	it as "I shall throw light on the forms of jātis retained in my mind through the	list_item via surya_layout
34	description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide	list_item via surya_layout
35	Abhi Bhā on NS XXVIII. 39, p.36).	list_item via surya_layout
36	4. The alteration in respect of amsa i.e using an amsa other than that	list_item via surya_layout

vol_I_p024 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	31	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the	main via surya_layout
4	undifferentiated state there is one svara; in the form of sadja and the like svara is	main via surya_layout
5	many.	annotation_inline parent ligne 4 via heuristic_height
6	Similarly also said Kohala -	annotation_inline parent ligne 4 via heuristic_height
7	"Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā	main via surya_layout
8	etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and	main via surya_layout
9	is to be combined with alankāra10 and (used in) rasas." 11	main via surya_layout
10	(It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained	main via surya_layout
11	in or permeating everything).	annotation_inline parent ligne 10 via heuristic_height
12	Similarly said Kohala -	annotation_inline parent ligne 10 via heuristic_height
13	"By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all	main via surya_layout
14	'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka	main via surya_layout
15	(pervasive) (and) para (beyond).15	main via surya_layout
16	(Anu. 17)	annotation_inline parent ligne 15 via heuristic_height
17	But how is the svaratva 16 of (svara-names) şadja and the like, on account of	main via surya_layout
18	their being consonants? If the svaratva of consonants is spoken of, then there	main via surya_layout
19	should be the svaratva of (consonants) beginning with ka?	main via surya_layout
20	Here it is being said (answered) that there is the svaratva of only şadja and	main via surya_layout
21	the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of	main via surya_layout
22	(consonants) beginning with ka.	main via surya_layout
23	But why (or how) is the uncommon or special nature of sadja and the like?	main via surya_layout
24	(Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones)	main via surya_layout
25	the asadharanatva (uncommonness, special nature) of svaras is there.	main via surya_layout
26	So did say Maheśvara<sup>19</sup> in Kohala —	main via surya_layout
27	"The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks	main via surya_layout
28	gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time	main via surya_layout
29	(common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy	main via surya_layout
30	season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same	main via surya_layout
31	way, the elephant always speaks niṣāda."	main via surya_layout
32	Or, only sadja and the like have uncommonness or special nature because of	main via surya_layout
33	their movement in upward sound, or şadja and the like are not svaras, only	main via surya_layout
34	(vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the	main via surya_layout
35	pronunciation of (vowels) beginning with ākāra, so (it is said).	main via surya_layout

Legende des roles

vol_II_p037 RIGHT — 41 lignes

vol_II_p083 RIGHT — 33 lignes

vol_II_p067 LEFT — 30 lignes

vol_II_p155 RIGHT — 36 lignes

vol_I_p024 RIGHT — 35 lignes