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 20654). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p137 LEFT — 43 lignes

L#	Texte OCR	Role auto
1	1, 1	unknown via fallback
2	<b>(4) 90 公司的第三人</b>	annotation_inline parent ligne 5 via heuristic_height
3	256	page_number via heuristic_pagenum
4	BRHADDEŚĨ	page_header via surya_layout
5	Note: Şadjamadhyamā and raktagāndhārī have been repeated in the interpo-	main via surya_layout
6	lated portion.	main via surya_layout
7	Chapter III (Rāgalakṣana)	section_header via surya_layout
8	कश्यपप्रमुखैरत्र यथास्वमति वर्णितम् ।	main via surya_layout
9	l.cf.	annotation_inline parent ligne 8 via heuristic_height
10	स्वरूपं रागशब्दस्य यथावत्तदिहोच्यते ॥	main via surya_layout
11	स्वरवर्णविशिष्टेन ध्वनिभेदेन यत्परम् ।	main via surya_layout
12	रज्यते येन सततं (सच्चित्तं) स राग: सम्मत: सताम् ॥	main via surya_layout
13	योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:।	main via surya_layout
14	रञ्जको जनचित्तानां स राग: कथितो बुधै: ॥	main via surya_layout
15	S Rāj II. 2.I.10-12.	main via surya_layout
16	2. Reading in Sam Sa Sā, I. 58 and c.r. in Kalā. on SR. II.1.1, p.2.	list_item via surya_layout
17	3. Reconstruction based on ibid. (Kalā)	list_item via surya_layout
18	4. Reading in BhaKo p. 921.	list_item via surya_layout
19	5. C.r. in Kalā on SR. II .1.1, p. 2, Sudhā on the same, p. 3 and Rā Vi,	list_item via surya_layout
20	p. 101.	list_item via surya_layout
21	6. Reading in Sam Sa Sā, IV.76.	list_item via surya_layout
22	7. P.t.; neuter gender has been preferred by us in deference to the	list_item via surya_layout
23	gender of the noun being qualified, viz. lakṣaṇam.	list_item via surya_layout
24	8, 9,10. Reading in Sam Sa Sā, IV. 76.	list_item via surya_layout
25	11. The two lines of this verse are transposed in p.t.	list_item via surya_layout
26	12. Reconstruction based on c.r. in Sudhā on SR.II.I.I., p. 3; c.r. in	list_item via surya_layout
27	Kalā on ibid, p.2 reads 'vāpi manthavat' and so does c.r. in Rā Vi, p. 101.	list_item via surya_layout
28	13. C.r. in Rā Vi, p.101.	list_item via surya_layout
29	14. Reconstruction based on consideration of grammar and metre.	list_item via surya_layout
30	15. Reconstruction based on c.r. in Sudhā on SR.II.I.2-5, p.5 and	list_item via surya_layout
31	S.Rāj II.2.1.28d, 29c.	list_item via surya_layout
32	16. P.t. adds- 'teşam lakşanamucyate'- after 'iti', which is redundant.	list_item via surya_layout
33	17. Actually the gîtis spoken of by Bharata are 'modes' of textual	list_item via surya_layout
34	rendering, i.e., are related to pada, but they have been cited here in the	list_item via surya_layout
35	context of rāga.	list_item via surya_layout
36	One minor reading variant in this verse is -NS reads 'tu' in the place of 'ca' in	main via surya_layout
37	the third foot.	annotation_inline parent ligne 36 via heuristic_height
38	18. 'Matanga' of p.t. has been replaced with 'Kasyapa' because -	list_item via surya_layout
39	(i) the opinion of Matanga has been given in verses 268-270,	list_item via surya_layout
40	(ii) S.Rāj II.2.1.30 d, 31b ascribes these two gītis to Kasyapa, and	list_item via surya_layout
41	(iii) citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do	list_item via surya_layout
42	the same.	list_item via surya_layout
43	and the second second	annotation_inline parent ligne 42 via heuristic_height

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_p041 RIGHT — 47 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	65	page_number via heuristic_pagenum
3	dhā nī sā sā rī rī rī rī	table via surya_layout
4	(3)	table via surya_layout
5	sā sā sā rī gā mā mā mā	table via surya_layout
6	(4)	table via surya_layout
7	mā dhā nī dhā mā dhā mā pā	table via surya_layout
8	.	annotation_inline parent ligne 24 via heuristic_height
9	<b>(5)</b>	table via surya_layout
10	gā rī sā dhani rī rī rī rī	table via surya_layout
11	(6)	table via surya_layout
12	gā rī sā sā pā dhā mā mā	table via surya_layout
13	(7)	table via surya_layout
14	gā gā gā mā pā nidhani nī nī	table via surya_layout
15	(8)	table via surya_layout
16	gã gã nĩ nĩ gã gã gã gã	table via surya_layout
17	(9)	table via surya_layout
18	gā gā nī nī nidha pā pā pā	table via surya_layout
19	(10)	table via surya_layout
20	mā pā mā pā pā pā mā mā	table via surya_layout
21	(11)	table via surya_layout
22	sā mā gā nidha nī nī gā gā	table via surya_layout
23	(12)	table via surya_layout
24	Thus ends <i>Kaišikī</i>.	section_header via surya_layout
25	[5. Madhyamodicyavā]	section_header via surya_layout
26	Madhyamodīcyavā is known to be always complete and having pañcama as	main via surya_layout
27	amsa.	annotation_inline parent ligne 26 via heuristic_short
28	(14)	main via surya_layout
29	The remaining lakṣaṇa should be known to be as in gāndhārodīcyavā. The	main via surya_layout
30	mūrchanā beginning with madhyama obtains. Caccatpuța is known as the	main via surya_layout
31	(prescribed) <i>tāla</i>.	main via surya_layout
32	(15)	annotation_inline parent ligne 31 via heuristic_short
33	The application is (prescribed) in the dhruvā of the fourth act.	main via surya_layout
34	Madhyama is the nyāsa in this jāti. Ṣadja and dhaivata are the apanyāsas. The	main via surya_layout
35	prastāra is thus –	main via surya_layout
36	pā dhani nī nī mā mā nī pā	table via surya_layout
37	(1)	table via surya_layout
38	rī rī rī gā sā riga gā gā .	table via surya_layout
39	(2)	table via surya_layout
40	nī nī nī nī nī nī nī nī	table via surya_layout
41	(3)	table via surya_layout
42	nī nī dhapa mā nidha nidha pā pā	table via surya_layout
43	<b>(4)</b>	table via surya_layout
44	pā pā rī rī rī rī rī rī	table via surya_layout
45	(5)	table via surya_layout
46	mā riga sā sadha nī nī nī nī	table via surya_layout
47	(6)	table via surya_layout

vol_II_p009 RIGHT — 8 lignes

L#	Texte OCR	Role auto
1	Property.	annotation_inline parent ligne 2 via heuristic_height
2	श्रीमतङ्गमुनिप्रणीता	main via surya_layout
3	बृहद्देशी<br>BRHADDEŚĪ	main via surya_layout
4	)F	annotation_inline parent ligne 3 via heuristic_short
5	ŚRĪ MATANGA MUNI	main via surya_layout
6	(Volume II)	main via surya_layout
7	•	annotation_inline parent ligne 6 via heuristic_height
8	ι,	annotation_inline parent ligne 6 via heuristic_height

vol_II_p015 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	13	page_number via heuristic_pagenum
3	[2. The definition of amsa]	section_header via surya_layout
4	[Anu. 120]	editorial_bracket parent ligne 3 via heuristic_brackets
5	After this amsa is being spoken of; that is known as tenfold according to	main via surya_layout
6	the division of its angas (lit. limbs, here functions). Anisa is that which leads	main via surya_layout
7	to the manifestation of raga (delight) in the course of its operation; this is its	main via surya_layout
8	first (function). And the second anisa (in its functioning) is that with which	main via surya_layout
9	gīta (melodic organisation and performance) begins and proceeds, which is	main via surya_layout
10	vikalpita (alternatively arranged) as graha, this is its second (function). That	main via surya_layout
11	amsa is third (in its functioning) which is the cause of the manifestation of	main via surya_layout
12	tāra (high) and mandra (low). The ascent up to the fifth svara is (the range	main via surya_layout
13	of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just	main via surya_layout
14	as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).	main via surya_layout
15	Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator	main via surya_layout
16	.	annotation_inline parent ligne 15 via heuristic_height
17	ofmandra is also amsa on account of descent in seven svaras. Just as in the	main via surya_layout
18	ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā	main via surya_layout
19	<math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela	main via surya_layout
20	amśa which is used profusely; this is the fourth (function). That svara is also	main via surya_layout
21	amsa which stands as the object (here content) of raga; this is the fifth	main via surya_layout
22	(function). That is also amsa which is perceptible in (the operation of)	main via surya_layout
23	graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,	main via surya_layout
24	eighth, ninth and tenth (function).<sup>16</sup>	main via surya_layout
25	[The definition of apanyasa forming part of that of amsa	section_header via surya_layout
26	[Anu. 121]	section_header via surya_layout
27	•	annotation_inline parent ligne 26 via heuristic_height
28	That is apanyāsa, where gīta (melodic rendering) is supposed or appears	main via surya_layout
29	to be ending; this occurs in the middle of all vidārīs (sub-sections). That	main via surya_layout
30	vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and	main via surya_layout
31	pada-vidārī 18 (splitting of the melodic- cum-textual units).	main via surya_layout
32	(Contention) What is signified by the word vidārī (?) It is the splitting or	main via surya_layout
33	separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma	main via surya_layout
34	(melodic structure) could be (understood) as such.	main via surya_layout
35	[The definition of samnyāsa forming part of that of amśa]	section_header via surya_layout
36	[Anu. 122]	section_header via surya_layout
37	Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when	main via surya_layout

164 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p137 LEFT — 43 lignes

vol_II_p051 RIGHT — 29 lignes

vol_II_p041 RIGHT — 47 lignes

vol_II_p009 RIGHT — 8 lignes

vol_II_p015 RIGHT — 37 lignes