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 20677). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p068 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	119	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	[Anu. 202]	editorial_bracket parent ligne 4 via heuristic_brackets
4	(Contention) Why has Kasyapa Muni described narta-rāga in the	main via surya_layout
5	beginning? It is being answered. In the opinion of Kasyapa its prominence	main via surya_layout
6	is due to its application in passionate performance of caris, mandalas and	main via surya_layout
7	situations of combat. In the opinion of Durgaśakti, on the other hand,	main via surya_layout
8	sadjakaisika alone is prominent. Why? On account of its falling under the	main via surya_layout
9	order of the state of sādava (rāga).76 That is thus -	main via surya_layout
10	[1. Narta-rāga]	section_header via surya_layout
11	Having pañcama as its amśa and madhyama as its concluding note, being	main via surya_layout
12	born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat	main via surya_layout
13	as sparse the svaras comprised of two śrutis each.	main via surya_layout
14	(333)	annotation_inline parent ligne 13 via heuristic_height
15	[Anu. 203]	editorial_bracket parent ligne 13 via heuristic_brackets
16	Its meaning is thus - narta-rāga is related to madhyamagrāma on account of	main via surya_layout
17	being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa,	main via surya_layout
18	madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is	main via surya_layout
19	kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the lik	main via surya_layout
20	mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alankāra.	main via surya_layout
21	Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa.	main via surya_layout
22	[Anu. 204]	editorial_bracket parent ligne 21 via heuristic_brackets
23	In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī	main via surya_layout
24	jātis. It should be known to be related to şadjagrāma itself. Why? On account	main via surya_layout
25	of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is	main via surya_layout
26	related to şadjagrāma.	annotation_inline parent ligne 25 via heuristic_height
27	[2. Saka]	section_header via surya_layout
28	That is said to be śaka which has a weak pañcama, is combined with ṣaḍja	main via surya_layout
29	as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis.	main via surya_layout
30	(334)	annotation_inline parent ligne 29 via heuristic_height
31	[Anu. 205]	editorial_bracket parent ligne 29 via heuristic_brackets
32	Its meaning is thus - śaka is related to şadjagrāma on account of being born	main via surya_layout
33	of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. There is the	main via surya_layout
34	sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And	main via surya_layout
35	this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta	main via surya_layout

vol_II_p086 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	154	page_number via heuristic_pagenum
3	एता[हि]याष्टिकप्रोक्ता [भाषा मालवकैशिके] ॥ ७१॥	editorial_bracket parent ligne 4 via heuristic_brackets
4	याष्टिकेन प्रयुक्ताः	main via surya_layout
5	[३. अथ ककुभे]	section_header via surya_layout
6	धैवताद्यन्तसंयुक्ता काम्बोजा पूर्णसुस्वरा ।	main via surya_layout
7	षड्जधैवतसंवाद: पञ्चमर्षभयोस्तथा ॥	main via surya_layout
8	एषा भाषा तु देशाख्या प्रथमा ककुभोद्भवा ॥ ७२॥	main via surya_layout
9	उदाहरणम् - धासागागा । मागारीसासासनिसासा । धापापा । धामासारिगा मागारीसासा	main via surya_layout
10	सनिधाधा पापामधा निरिसनिधाधा ।[काम्बोजा]।[१]	editorial_bracket parent ligne 9 via heuristic_brackets
11	मध्यमांशा धैवतान्ता पूर्णा मध्यमग्रामिका ।	main via surya_layout
12	परस्परं तु दृश्येते सहितावृषभधैवतौ ॥	main via surya_layout
13	दुश्येत	annotation_inline parent ligne 12 via heuristic_height
14	एषा भाषा च सङ्कीर्णा रम्या ककुभसम्भवा<sup>५८</sup>॥ ७३॥	main via surya_layout
15	उदाहरणम् - मामा । गरिधासारीसामा । निगरिसनिसानिधा । साधासाधनिरिसा । धनिरिरि ।	main via surya_layout
16	मापापमागा । रिरिरिरि । गाम । गाम । धाधामापामागारीसासाधा धधध । मध्यमग्रामिका । [२]	editorial_bracket parent ligne 15 via heuristic_brackets
17	ऋषभांशा धैवतान्ता विज्ञेया <sup>५९</sup>सातवाहिनी ।	main via surya_layout
18	परस्परं तु दृश्येते ६०सङ्गतौ मध्यमर्षभौ ॥	main via surya_layout
19	दुश्यन्ते मध्यमर्पभसङ्गतौ	annotation_inline parent ligne 18 via heuristic_height
20	सप्तमं बहुमिच्छन्ति केचित् तेनैव दुर्बलम् ॥ ७४॥	main via surya_layout
21	केचिदिच्छन्ति	annotation_inline parent ligne 20 via heuristic_height
22	उदाहरणम् - [रिरि] गधरिरिमा । मामानिमाधाधधाधा पमपममरिममासिर ।	editorial_bracket parent ligne 20 via heuristic_brackets
23	मामपपामपपापा-	annotation_inline parent ligne 20 via heuristic_height
24	पापमरिमरिमामासरि। पापपससानि।धाधारि। सासासासारीमनिधाधाधा पधासाधपाधा	main via surya_layout
25	पमपापामरिमामासारि मापापामासानिधाधा । सातवाहिनी । [३]	editorial_bracket parent ligne 24 via heuristic_brackets
26	<sup>६१</sup>मध्यमांशा निषादान्ता ऋषभेण तु दुर्बला ।	main via surya_layout
27	सङ्गतिर्दृश्यते यत्र द्विश्रुत्यो: पञ्चमस्य च ॥	main via surya_layout
28	भाषेयं षाडवा ज्ञेया ककुभे भोगवर्धनी ॥ ७५॥	main via surya_layout
29	उदाहरणम् -[मामा] निनी । गगमा । पामापमा । धाधा । सनिसनि । धपधाधपमापाम । गगगग।	editorial_bracket parent ligne 28 via heuristic_brackets
30	मपधाधानी । सससस । मागसानिधाधाधा [नी]। भोगवर्धनी ।[४]	editorial_bracket parent ligne 28 via heuristic_brackets

vol_II_p034 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	51	page_number via heuristic_pagenum
3	pañcama and șadja. In the complete state there is the sparseness of șadja,	main via surya_layout
4	madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness	main via surya_layout
5	of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness	main via surya_layout
6	of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is	main via surya_layout
7	upto the nyāsa or upto the svara next to it.	main via surya_layout
8	[Anu. 153]	section_header via surya_layout
9	The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla.	main via surya_layout
10	There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga),	main via surya_layout
11	eight in citra (mārga). It is ten-fold. There are ten amśas. Šuddhā (is one).	main via surya_layout
12	There are three vikṛtās in the complete state, three in the ṣāḍava state and	main via surya_layout
13	three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is	main via surya_layout
14	prescribed in the singing of dhruvās in the first scene (or act).	main via surya_layout
15	[5. Şadjakaisiki]	section_header via surya_layout
16	[Anu. 154]	section_header via surya_layout
17	Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The	main via surya_layout
18	tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara	main via surya_layout
19	next to it. It is always complete. There is the sparseness of dhaivata, niṣāda	main via surya_layout
20	and madhyama. Rṣabha is even more sparse, there is abundance of the	main via surya_layout
21	remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are	main via surya_layout
22	apanyāsas.	main via surya_layout
23	[Anu. 155]	section_header via surya_layout
24	It has no śuddhā state, there are three amśas in the complete state.	main via surya_layout
25	Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī	main via surya_layout
26	gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In	main via surya_layout
27	catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is	main via surya_layout
28	karuṇa. Its application (viniyoga) is (prescribed) in the first song associated	main via surya_layout
29	with entry in the second scene (or act).	main via surya_layout
30	[6. Şadjodicyava]	section_header via surya_layout
31	[Apu. 156]	section_header via surya_layout
32	Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā.	main via surya_layout
33	The tara extends up to five svaras. The mandra is upto the nyasa or the svara	main via surya_layout
34	next to it. The şādava formation is devoid of rṣabha, the auduvita formation	main via surya_layout
35	is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of	main via surya_layout

vol_I_p045 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	73	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and	main via surya_layout
4	(114)	annotation_inline parent ligne 3 via heuristic_height
5	vișnuvikrama.	annotation_inline parent ligne 3 via heuristic_height
6	Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama-	main via surya_layout
7	grāma.	annotation_inline parent ligne 6 via heuristic_height
8	Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the	main via surya_layout
9	(115)	annotation_inline parent ligne 8 via heuristic_height
10	seventh is known as mokşada.	annotation_inline parent ligne 8 via heuristic_height
11	[ Thus end the names of auduvita tanas devoid of ni and ga in madhyama-	editorial_bracket parent ligne 8 via heuristic_brackets
12	grāma.]	editorial_bracket parent ligne 8 via heuristic_brackets
13	Thus end the fourteen names of auduvita tānas in madhyamagrāma.	main via surya_layout
14	[Thus end the thirty-five names of auduvita tanas seated in the two gramas.]	editorial_bracket parent ligne 13 via heuristic_brackets
15	(Anu. 46)	annotation_inline parent ligne 13 via heuristic_height
16	The auduvita (tānas) of both the grāmas are thirty-five. The sādava and	main via surya_layout
17	auduva (tānas) of both the grāmas taken together are eithty-four tānas.	main via surya_layout
18	(Anu. 47)	annotation_inline parent ligne 17 via heuristic_height
19	Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said -	main via surya_layout
20	sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that	main via surya_layout
21	begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and	main via surya_layout
22	kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda).	main via surya_layout
23	How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or	main via surya_layout
24	already expressed through 'sādhāraṇa' (the term forming part of the name of	main via surya_layout
25	the fourth type of murchanā viz. sadharaņakṛtā).	main via surya_layout
26	(116)	annotation_inline parent ligne 25 via heuristic_height
27	And thus I have spoken of the fourfold mūrchanās.	main via surya_layout
28	[The performance of tanas]	section_header via surya_layout
29	(Anu. 48)	annotation_inline parent ligne 28 via heuristic_height
30	How should the performance of these tanas be made, if this be asked, it is	main via surya_layout
31	being answered. The performance 41 of tana is twofold viz. with pravesa (lit.	main via surya_layout
32	entering) and nigraha (lit. restraint).	main via surya_layout
33	Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be	main via surya_layout
34	omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the	main via surya_layout
35	pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same	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

201 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p068 RIGHT — 35 lignes

vol_II_p086 LEFT — 30 lignes

vol_II_p034 RIGHT — 35 lignes

vol_I_p045 RIGHT — 35 lignes

vol_I_p104 RIGHT — 66 lignes