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 20641). 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_p088 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	159	page_number via heuristic_pagenum
3	[4. Bhāṣās in hindolaka]	section_header via surya_layout
4	Combined with ṣaḍja as amśa and nyāsa, weak in dhaivata, this vesarī bhāṣā	main via surya_layout
5	is formed with the (profuse) use of gandhara. The to and fro movement	main via surya_layout
6	between şadja and gandhara should be arranged there by the performers.	main via surya_layout
7	(83)	unknown via fallback
8	Illustration	main via surya_layout
9	Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā.	main via surya_layout
10	Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having pancama as amśa, şadja as the concluding note, being devoid of	main via surya_layout
12	ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised	main via surya_layout
13	of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka.	main via surya_layout
14	(84)	annotation_inline parent ligne 13 via heuristic_short
15	Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā	main via surya_layout
16	gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii]	editorial_bracket parent ligne 15 via heuristic_brackets
17	Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata),	main via surya_layout
18	thus has been described chevāțī and concert between șadja-madhyama and	main via surya_layout
19	similarly şadja-gāndhāra should always be put up.	main via surya_layout
20	(85)	annotation_inline parent ligne 19 via heuristic_short
21	Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā	main via surya_layout
22	nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama	main via surya_layout
23	pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii]	editorial_bracket parent ligne 22 via heuristic_brackets
24	Having şadja às amśa and madhyama as concluding note, being weak in	main via surya_layout
25	niṣāda and ṛṣabha (which are also perhaps omissible), there being concert	main via surya_layout
26	between <i>ṣaḍja-madhyama</i> and similarly <i>gāndhāra-pañcama</i>, this <i>bhāṣā</i>, said to	main via surya_layout
27	be şadjamadhyamā, should be known to be hexatonic and pentatonic by	main via surya_layout
28	nature. It is sung also by Kinnaras.<sup>33</sup>	main via surya_layout
29	<math>(86-87)</math>	main via surya_layout

vol_II_p125 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	233	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[D. Once again the group of seven Varņailās]	section_header via surya_layout
4	Ramaņī, candrikā, lakṣmī, padminī, similarly rañjinī, mālatī and mohinī -	main via surya_layout
5	thus is the group of seven varņailās.	main via surya_layout
6	(459)	main via surya_layout
7	[1. <i>Ramaņi</i>]	section_header via surya_layout
8	Where there is samā yati<sup>68</sup> in the first and second foot and that which is	main via surya_layout
9	adorned with nāda in each foot, that satpadī 69 is ramaņī.	main via surya_layout
10	(460)	main via surya_layout
11	[2. Candrikā]	section_header via surya_layout
12	Where srotogată<sup>70</sup> and samā yati obtain in two feet and (that which) is	main via surya_layout
13	combined with bindu-gamakas, that is called candrini.	main via surya_layout
14	(461)	main via surya_layout
15	[3. Lakşmi]	section_header via surya_layout
16	Where gopucchā, 71 sumā and srotogatā (yatis) obtain in the three feet (respectively)	main via surya_layout
17	(and) there is mūrchanā <sup>72</sup> accompanied by nāda, that clā is known as laksmī.	main via surya_layout
18	(462)	main via surya_layout
19	[4. <i>Padminī</i> ]	section_header via surya_layout
20	(That) elä which is comprised of varņadhvani<sup>73</sup> in the first, second and	main via surya_layout
21	third and fourth foot, is said to be padminī.	main via surya_layout
22	(463)	main via surya_layout
23	[5. Rañjini]	section_header via surya_layout
24	(Where) there is samā (yati) in the first and second (feet) and gopucchā	main via surya_layout
25	(yati) in the third (foot) and that which is adorned with gamakas is rañjinī.	main via surya_layout
26	(464)	main via surya_layout
27	[6. Mālatī]	section_header via surya_layout
28	That elā which is composed with short and long syllables and with alliterations,	main via surya_layout
29	having four feet at will, i.e. of variable length, is held to be malati.	main via surya_layout
30	(465)	main via surya_layout

vol_II_p162 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	annotation_inline parent ligne 3 via heuristic_height
2	307	page_number via heuristic_pagenum
3	52. The word gamaka seems to stand for shake here.	list_item via surya_layout
4	53. Dānavīra is one of the four varieties of vīra, the other three being	list_item via surya_layout
5	dharmavīra, yuddhavīra and dayāvīra.	list_item via surya_layout
6	54. The import seems to be that śuddha-bhinna has an independent	list_item via surya_layout
7	form and that it is not the modified form of a suddharaga.	list_item via surya_layout
8	55. Here the distinction of a bhinna raga is established only on the	list_item via surya_layout
9	basis of giti or distinctive tonal rendering.	list_item via surya_layout
10	56. Syasthāna is a word used in SR III.140 and III.191-192 in the	list_item via surya_layout
11	context of sthāya and ālapti respectively; it stands for the sections of rāgālapti	list_item via surya_layout
12	formed on the basis of the units of tonal range within an octave, the first unit	list_item via surya_layout
13	being formed in the range from the tonic and from below it upto the svara	list_item via surya_layout
14	preceding the fourth, the second unit touching the fourth, the third	list_item via surya_layout
15	reaching below the octave and the fourth touching the octave.	list_item via surya_layout
16	57. 'Leaving the svasthana' seems to imply that the lower register will	list_item via surya_layout
17	be used in this rāga, as distinct from śuddhakaiśika which is performed with	list_item via surya_layout
18	tāra svaras. Here svasthāna does not seem to signify the units of tonal range	list_item via surya_layout
19	described in note 56 above, rather it appears to mean ' the own sthana or	list_item via surya_layout
20	register' of a raga.	list_item via surya_layout
21	58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie	list_item via surya_layout
22	fallacious statement because pañcama is not adjacent to niṣāda. But there	list_item via surya_layout
23	could be a hidden meaning, taking the two grāmas together, as follows -	list_item via surya_layout
24	Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni.	main via surya_layout
25	Madhyamagrāma ma - pa - dha - ni - sa - ri - ga.	main via surya_layout
26	Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The	main via surya_layout
27	above statement could be valid in terms of the two grāmas taken together.	main via surya_layout
28	59. The 'omission' of pancama comprised of three śrutis in	list_item via surya_layout
29	ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma.	list_item via surya_layout
30	60. 'Mature' karuṇa rasa is a notable expression.	list_item via surya_layout
31	61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5)	list_item via surya_layout
32	also mentions it while describing the gaudi gita and defines it as the	list_item via surya_layout
33	"Sound combining 'ha' and 'o' produced b, placing the chin on the chest."	list_item via surya_layout
34	62. There is a striking contradiction between the viniyoga or	list_item via surya_layout
35	application in terms of śringāra and the rasas mentioned separately, viz.	list_item via surya_layout
36	bībhatsa and bhayānaka that are incompatible to śṛṅgāra.	list_item via surya_layout
37	63. Here again the viniyoga is given in terms of karuņa and the rasa	list_item via surya_layout
38	is mentioned as vīra in accordance with the amśa that is ṣaḍja.	list_item via surya_layout
39	64. 'Rāga' is another name for vesarā gīti; this alternative name is also	list_item via surya_layout
40	mentioned in later texts like SR II.1.6. The basis of this alternative name as	list_item via surya_layout
41	cited in the name of Kasyapa seems to be that the ragas that are not	list_item via surya_layout

vol_I_p019 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	21	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The distinction of svara and śruti (exists) because they are prasādhya (lit.	main via surya_layout
4	accomplished, here perceived) by different buddhis (apprehensions,	main via surya_layout
5	perceptions). And also on account of the distinction of aśraya (seat or	main via surya_layout
6	substratum, here śruti) and āśrayin (that which is seated, here svara) the	main via surya_layout
7	identification (of the two) does not stand.	main via surya_layout
8	(36)	annotation_inline parent ligne 7 via heuristic_height
9	The state of svaras being reflections, that has been spoken of, does not stand	main via surya_layout
10	reason (because) if the state of svaras being reflection (is accepted), then	main via surya_layout
11	perception having the nature of delusion becomes applicable.	main via surya_layout
12	(37)	annotation_inline parent ligne 11 via heuristic_height
13	The relationship of cause and effect between śruti and svara is not possible;	main via surya_layout
14	there is no pramana (means of valid knowledge or evidence) of the existence of	main via surya_layout
15	(38)	annotation_inline parent ligne 14 via heuristic_height
16	śrulis.	annotation_inline parent ligne 14 via heuristic_height
17	(Objection) If by arthāpatti 55 (negative inference) or by the pramāņa	main via surya_layout
18	presuming vyāpti-grahaņa, (the comprehension of concomitance, i.e. anumāna,56	main via surya_layout
19	inference) svara is proved to be the bheda (modification or result) of the gagana-	main via surya_layout
20	gunas<sup>57</sup> (qualities of space or ether i.e. sounds) that are the progenitors of svara	main via surya_layout
21	(then the kārya-kāraņa relationship between the two would be established). (39)	main via surya_layout
22	(Answer) It is true.	annotation_inline parent ligne 21 via heuristic_height
23	Although the kārya-kāraņa difference (between svara and śruti) is evident,	main via surya_layout
24	(40)	annotation_inline parent ligne 23 via heuristic_height
25	yet the kāraņatva (causality) of śrutis is impossible.	main via surya_layout
26	(This is so) because (here) the cause (śruti) is available (perceptible) (even)	main via surya_layout
27	when the kāryas (svaras) are present, (but) when the jar and the like are	main via surya_layout
28	existent, the lump of clay is not available (perceptible).	main via surya_layout
29	(41)	annotation_inline parent ligne 28 via heuristic_height
30	Pariņāma 58 (transformation) (and, or) abhivyakti (manifestation) is	main via surya_layout
31	understood to be the justified proposition by the wise; thus the alternatives	main via surya_layout
32	(42)	annotation_inline parent ligne 31 via heuristic_height
33	starting with tādātmya have been spoken of by me.	main via surya_layout

162 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p051 RIGHT — 29 lignes

vol_II_p088 RIGHT — 29 lignes

vol_II_p125 RIGHT — 30 lignes

vol_II_p162 RIGHT — 41 lignes

vol_I_p019 RIGHT — 33 lignes