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 20672). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_I_p054 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	91	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down)	main via surya_layout
4	(27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29)	main via surya_layout
5	Hunkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or	main via surya_layout
6	juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33)	main via surya_layout
7	Gātravarṇa (the colour of the body).	main via surya_layout
8	(Anu. 70)	annotation_inline parent ligne 7 via heuristic_height
9	Now the definition of these alankāras is being given (said). That is thus—the	main via surya_layout
10	gradual ascent beginning from 'low' upto the starting point of 'high' is (known	main via surya_layout
11	as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā	main via surya_layout
12	mā pā dhā nī sā.29	annotation_inline parent ligne 11 via heuristic_height
13	(1)	annotation_inline parent ligne 11 via heuristic_height
14	Thus is (ends) prasannādi.	annotation_inline parent ligne 11 via heuristic_height
15	(Anu. 71)	annotation_inline parent ligne 11 via heuristic_height
16	Beginning from tara 30 (high) and (reaching) upto mandra (low) is	main via surya_layout
17	prasannānta. As - sā<sup>31</sup> nī dhā pā mā gā nī sā. Thus is (ends) prasannānta.	main via surya_layout
18	(2)	annotation_inline parent ligne 17 via heuristic_height
19	(Anu. 72)	annotation_inline parent ligne 17 via heuristic_height
20	Where there is 'low' in the beginning and end and 'high' in the middle,	main via surya_layout
21	that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī	main via surya_layout
22	(3)	annotation_inline parent ligne 21 via heuristic_height
23	sā. Thus is (ends) prasannādyanta.	main via surya_layout
24	(Anu. 73)	annotation_inline parent ligne 23 via heuristic_height
25	Where there is 'low' in the middle and 'high' in the beginning and end,	main via surya_layout
26	that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni	main via surya_layout
27	(4)	annotation_inline parent ligne 26 via heuristic_height
28	sā.34 Thus is (ends) prasannamadhya.	main via surya_layout
29	(Anu. 74)	annotation_inline parent ligne 28 via heuristic_height
30	The pronunciation (sounding) of the seven svaras with a similar sound in	main via surya_layout
31	the three registers is sama. This is being said. (A svara) should be made	main via surya_layout
32	(sounded) in the three registers with the same number of śrutis 35 as it is	main via surya_layout
33	composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama	main via surya_layout
34	(comes into being) on account of the pronunciation of pairs of samvādin	main via surya_layout
35	(consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma	main via surya_layout
36	changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special	main via surya_layout
37	<b>(5)</b>	annotation_inline parent ligne 36 via heuristic_height
38	(structure of pairs). Thus is (ends) sama.	main via surya_layout

vol_II_p150 RIGHT — 44 lignes

L#	Texte OCR	Role auto
1	71/	unknown via fallback
2	PÄTHAVIMARŚA	page_header via surya_layout
3	283	page_number via heuristic_pagenum
4	सापन्यासा मन्द्रसगधा शुद्धा दीर्घपञ्चमा ॥	main via surya_layout
5	Kalā(appendix) on SR II. p.121.	main via surya_layout
6	(ii)	annotation_inline parent ligne 5 via heuristic_short
7	शुद्धा भाषा भित्रषड्जे ग्रहांशन्यासधैवता ।	main via surya_layout
8	गापन्यासा धभूयिष्ठा रिहीना मृदुषड्जिका ॥	main via surya_layout
9	धतारा पश्चमेनापि रहिता याष्ट्रिके मते ॥	main via surya_layout
10	S Rāj II.2.1.1038.	annotation_inline parent ligne 9 via heuristic_short
11	40. Since verse 32 is identified by us as pertaining to śuddhā and not	main via surya_layout
12	to madhyamā, the description of madhyamā seems to be lost in the MSS.	main via surya_layout
13	मध्यमा भित्रपड्जस्य भाषा मान्ता ग्रहांशधा ।	main via surya_layout
14	cſ.	annotation_inline parent ligne 13 via heuristic_short
15	Kalā (appendix) on SR II.140.	main via surya_layout
16	ग्रहांशधैवता पड्जप्रान्ता पूर्णा च मध्यमा ॥	main via surya_layout
17	S Rāj II.2.1.1033.	annotation_inline parent ligne 16 via heuristic_short
18	41. Reconstruction based on the demands of metre.	main via surya_layout
19	Chapter V (Desī rāgas)	section_header via surya_layout
20	1. The portion within[] has been added here from the citation in	list_item via surya_layout
21	Sudhā on SR II.2.9-19 and Kalā on SR II.2.1,2.	list_item via surya_layout
22	2. C.r. in Kalā (ibid) reads -	list_item via surya_layout
23	ग्रामोक्तानां तु रागाणां छायामात्रं भवेदिति ।	main via surya_layout
24	3. C.r. in ibid.	list_item via surya_layout
25	4. C.r. in Sudhā on SR II.2.9 -19,p.19 -	list_item via surya_layout
26	शोकोत्साहकरुणादिदीपकात्मक्रियाऽऽदितः ।	main via surya_layout
27	जायन्ते च यतो नाम कियाङ्गास्तेन हेतुना ॥	main via surya_layout
28	5. This verse is found only in c.r. in Kalā (ibid).	list_item via surya_layout
29	6. Reconstruction based on 'ga - dha - hīnā 'in (i) below (note 7).	list_item via surya_layout
30	7.cf. (i)	list_item via surya_layout
31	पड्जग्रहांशा मन्यासा कूटतानसमाश्रया ।	list_item via surya_layout
32	गधहोना भित्रपड्जे कच्छेलीं तां विदु: परे ॥	list_item via surya_layout
33	मग्रहांशा मन्द्रतारर्षभा च गनिवर्जिता ॥	list_item via surya_layout
34	Kalā (appendix) on SR II. p.121.	main via surya_layout
35	(ii)	annotation_inline parent ligne 34 via heuristic_short
36	मध्यमांशग्रहन्यासा निगाभ्यां स (प)रिवर्जिता ।	main via surya_layout
37	प्रसन्नपिंड्जका यो(सा)रि-भूयसी शासने स्मृता ॥	main via surya_layout
38	कछेली भाषिका भिन्नपङ्जे मध्यमगानयुक् ॥	main via surya_layout
39	S Rāj II. 2.1.1027.	annotation_inline parent ligne 38 via heuristic_short
40	8. cf. (i)	main via surya_layout
41	भित्रपड्जेऽस्ति बाङ्गाली ग्रहांशन्यासधैवता ।	main via surya_layout
42	मध्यमान्दोलिता गापन्यासा धैवतमन्द्रिका ॥	main via surya_layout
43	उद्दीपने नियोक्तव्या .....॥	main via surya_layout
44	S Rāj II.2.1.1050.	main via surya_layout

vol_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_I_p013 LEFT — 37 lignes

L#	Texte OCR	Role auto
1	8	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	नकारः प्राण इत्याहुर्दकारश्चानलो भतः ।	main via surya_layout
4	%र	annotation_inline parent ligne 3 via heuristic_short
5	नादस्य द्विपदार्थोऽयं समीचीनो मयोदितः ॥२०॥	main via surya_layout
6	10हि	annotation_inline parent ligne 5 via heuristic_short
7	ग्गनादोऽयं नदतेर्धातोः स च पञ्चविधो भवेत् ।	main via surya_layout
8	<sup>12</sup>सूक्ष्मश्चैवातिसूक्ष्मश्च व्यक्तोऽव्यक्तश्च कृत्रिमः ॥२१॥	main via surya_layout
9	सूक्ष्मो नादो गुहावासी हृदये चातिसूक्ष्मकः	main via surya_layout
10	कण्ठमध्ये स्थितो । ३२॥	main via surya_layout
11	॰क्तः अ॰	annotation_inline parent ligne 10 via heuristic_markers
12	1471:	annotation_inline parent ligne 10 via heuristic_height
13	कृत्रिमो मुखदेशे तु ज्ञेयः पञ्चविद्यो बुधैः।	main via surya_layout
14	इति तावन्मया प्रोक्ता नादोत्पत्तिर्मनोहरा ॥२३॥	main via surya_layout
15	।। इति नादोत्पत्तिः	annotation_inline parent ligne 14 via heuristic_short
16	П	main via surya_layout
17	III [ श्रुति-प्रकरणम् ]	section_header via surya_layout
18	[ तत्र श्रुतिलक्षणम्, तत्संख्या च ]	section_header via surya_layout
19	---------------------------------------	unknown via fallback
20	इदानी तु प्रवक्ष्यामि श्रुतीनां च विनिश्चयम् ।	main via surya_layout
21	श्रु श्रवणे चास्य धातोः क्ति [ न् ] प्रत्ययसमुद्भवः ॥	editorial_bracket parent ligne 20 via heuristic_brackets
22	<sup>1</sup> अवणार्पस्य धातोः क्तिन्प्रत्यये च सुसक्रिते ॥	main via surya_layout
23	श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञैः य्कर्मसाधनः ॥२४॥	main via surya_layout
24	नेर्मावः	annotation_inline parent ligne 23 via heuristic_short
25	[ अनु. १ ]	editorial_bracket parent ligne 23 via heuristic_brackets
26	श्र्यतः इति श्रुतिः । सा चैकाऽनेका वा ।	main via surya_layout
27	न्त	annotation_inline parent ligne 26 via heuristic_height
28	•तयः	annotation_inline parent ligne 26 via heuristic_height
29	तत्रैकैव श्रुतिरिति । तद्यथा-श्तत्रादौ तावद्देहाग्निपवनसंयोगात्	main via surya_layout
30	<b>‘देहाकाश</b>	annotation_inline parent ligne 29 via heuristic_short
31	पुरुषप्रयत्नप्रेरितो ध्वनिर्नाभेरूध्वमाकाशदेशमाक्रामन् धूमवत्	main via surya_layout
32	नामेरूध्वकार	unknown via fallback
33	र्घ	annotation_inline parent ligne 31 via heuristic_height
34	₹	annotation_inline parent ligne 31 via heuristic_height
35	सोपानपदक्रमेण पवनेच्छयाऽनेकधाऽऽरोह्नन्नर्न्यूतपूरणप्रत्ययार्थतया	unknown via fallback
36	🛥 "पदावस्थान -	annotation_inline parent ligne 31 via heuristic_height
37	- भाइह् रोइद्स्तर्भृत प्रातिनिपार्याखतया (?)	unknown via fallback

222 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p057 RIGHT — 37 lignes

vol_I_p054 RIGHT — 38 lignes

vol_II_p150 RIGHT — 44 lignes

vol_I_p104 RIGHT — 66 lignes

vol_I_p013 LEFT — 37 lignes