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 20706). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p007 RIGHT — 81 lignes

L#	Texte OCR	Role auto
1	CONTENTS	section_header via surya_layout
2	ix	table via surya_layout
3	Foreword by Kapila Vatsyayan	table via surya_layout
4	XI	table via surya_layout
5	Introduction	table via surya_layout
6	xvii	table via surya_layout
7	<b>Abbreviations</b>	table via surya_layout
8	Brhaddesi of Śri Matanga Muni	table via surya_layout
9	3	page_number via heuristic_pagenum
10	<b>Text and Translation</b>	table via surya_layout
11	3	page_number via heuristic_pagenum
12	Section I: Deśī	table via surya_layout
13	3	page_number via heuristic_pagenum
14	The desi nature of Dhvani	table via surya_layout
15	5	page_number via heuristic_pagenum
16	The definition of desi and marga	table via surya_layout
17	7	page_number via heuristic_pagenum
18	Section II: Nāda	table via surya_layout
19	7	page_number via heuristic_pagenum
20	The glory, origin, definition and kinds of Nāda	table via surya_layout
21	9	page_number via heuristic_pagenum
22	Section III: Sruti	table via surya_layout
23	9	page_number via heuristic_pagenum
24	The definition of śruti and its numeration	table via surya_layout
25	Five alternatives in the relationship between sruti and svara	table via surya_layout
26	19	page_number via heuristic_pagenum
27	The demonstration of visual representation of srutis by	table via surya_layout
28	25	page_number via heuristic_pagenum
29	Mandala-prastāra	table via surya_layout
30	<b>29</b>	table via surya_layout
31	Section IV: Svara	table via surya_layout
32	29	page_number via heuristic_pagenum
33	The laksana of svara	table via surya_layout
34	The fourfoldness of svaras according to kinds beginning	table via surya_layout
35	33	page_number via heuristic_pagenum
36	with vādin	table via surya_layout
37	35	page_number via heuristic_pagenum
38	The samvādi-mandala in sadjagrāma	table via surya_layout
39	37	page_number via heuristic_pagenum
40	The anuvādi-maṇḍala in ṣaḍjagrāma	table via surya_layout
41	39	page_number via heuristic_pagenum
42	The vivādi-maṇḍala in ṣaḍjagrāma	table via surya_layout
43	41	page_number via heuristic_pagenum
44	The saṃvādi-maṇḍala in madhyama-grāma	table via surya_layout
45	41	page_number via heuristic_pagenum
46	The anuvādi-maṇḍala in madhyama-grāma	table via surya_layout
47	43	page_number via heuristic_pagenum
48	The vivādi-maṇḍala in madhyama-grāma	table via surya_layout
49	The sevenfold combination of svaras according to the	table via surya_layout
50	43	page_number via heuristic_pagenum
51	types beginning with arcika	table via surya_layout
52	43	page_number via heuristic_pagenum
53	The etymology of svara-names	table via surya_layout
54	45	page_number via heuristic_pagenum
55	The castes of svaras	table via surya_layout
56	45	page_number via heuristic_pagenum
57	The drawing out of svara signs as contained in agama	table via surya_layout
58	47	page_number via heuristic_pagenum
59	Assignment of community, colour and the like to svaras	table via surya_layout
60	51	page_number via heuristic_pagenum
61	Section V: Grāma-mūrchanā	table via surya_layout
62	51	page_number via heuristic_pagenum
63	The treatment of grāma	table via surya_layout
64	<b>53</b>	table via surya_layout
65	The treatment of mūrchanā	table via surya_layout
66	57	page_number via heuristic_pagenum
67	Mūrchanā-maṇḍala	table via surya_layout
68	67	page_number via heuristic_pagenum
69	The distinction between Mürchanā and tāna	table via surya_layout
70	69	page_number via heuristic_pagenum
71	The yajña-names of tanas	table via surya_layout
72	<b>73</b>	table via surya_layout
73	The performance of tanas	table via surya_layout
74	83	page_number via heuristic_pagenum
75	The mūrchanā of twelve svaras	table via surya_layout
76	85	page_number via heuristic_pagenum
77	Section VI: Varņas and Alankāras	table via surya_layout
78	85	page_number via heuristic_pagenum
79	The Varnas	table via surya_layout
80	89	page_number via heuristic_pagenum
81	The Alankaras	table via surya_layout

vol_I_p101 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	185	page_number via heuristic_pagenum
2	<b>VIMARŠA</b>	page_header via surya_layout
3	45. In the absence of any notational sign, all the three viz. kampita, kuharita	main via surya_layout
4	and recita are identically illustrated.	main via surya_layout
5	46. Here kalā stands not only for a phrase, but for a component unit of a	main via surya_layout
6	phrase, if sani risa these two are taken to complete a phrase.	main via surya_layout
7	47. The word 'amsa' means the initial note of a phrase and this is a limited	list_item via surya_layout
8	meaning because amsa stands for the fundamental svara of a jāti or rāga which	list_item via surya_layout
9	is a much bigger and much more complex structure.	list_item via surya_layout
10	48. The name tāra-mandra-prasanna is interesting because it uses both mandra	list_item via surya_layout
11	and prasanna which individually stand for 'low'.	unknown via fallback
12	49. The sa belongs to the tāra-sthāna.	list_item via surya_layout
13	50. The second sa here belongs to the tāra-sthāna.	list_item via surya_layout
14	51. The sthāyin varņa spoken of here could be understood only in the sense	list_item via surya_layout
15	that the phrase begins and ends at the same svara all throughout.	list_item via surya_layout
16	52. The sa at the end of the preceding phrase and at the beginning of the	list_item via surya_layout
17	succeeding one belongs to tāra-sthāna.	list_item via surya_layout
18	53. The ascent operates upto nisa and descent starts with sani.	list_item via surya_layout
19	54. Identical with note 52 above.	list_item via surya_layout
20	55. The word sthāyin is used here as a synonym of amsa. BrD is the first	list_item via surya_layout
21	extant text to introduce this word. S R (III, 191, 193) uses it in the decription	list_item via surya_layout
22	of Rāgālapti.	list_item via surya_layout
23	56. Different names for identical forms are also found in abundance in desi	list_item via surya_layout
24	tālas. (cf. deśī-tāla section of SRV)	list_item via surya_layout
25	57. Identical with note 52 above.	list_item via surya_layout
26	58. The word kalā is used here both as a time-unit and a phrase-unit.	list_item via surya_layout
27	59. sa in the beginning of the three phrase-units belongs to tāra-sthāna.	list_item via surya_layout
28	60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would	list_item via surya_layout
29	mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a	list_item via surya_layout
30	mālrā.	list_item via surya_layout
31	61. The sa belongs to tāra-sthāna.	list_item via surya_layout
32	62. Here kalā stands both for a time-unit and phrase because there are eight	list_item via surya_layout
33	phrases and each phrase is of the duration of one kalā (two-mātrā-unit).	list_item via surya_layout
34	63. Identical with note 52 above.	list_item via surya_layout
35	64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of	list_item via surya_layout
36	rāga. That is a kind of gamaka, but here in the description of the alankāra there	list_item via surya_layout
37	is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī	list_item via surya_layout
38	comes in which is hard to comprehend; at the most it could be understood to	list_item via surya_layout
39	¥	unknown via fallback
40	indicate special voice-production similar to ohāţī, which could be identified with	list_item via surya_layout
41	1	page_number via heuristic_pagenum
42	the hudaka of present-day oral tradition of dhrupad which also is associated with	list_item via surya_layout
43	the 'ha' sound (cf. DA I, p. 46).	list_item via surya_layout
44	(vide)	unknown via fallback
45	65,66. Identical with note 52 above.	list_item via surya_layout
46	7	page_number via heuristic_pagenum
47	67. There are twelve phrases in this alankara. From the way they are notated,	list_item via surya_layout
48	the duration of each of them could be taken to be either a kalā composed of	list_item via surya_layout
49	two mātrās or four mātrās, as follows-	list_item via surya_layout

vol_II_p128 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	,	annotation_inline parent ligne 4 via heuristic_height
2	TRANSLATION	page_header via surya_layout
3	239	page_number via heuristic_pagenum
4	[37. Dhvanikuṭṭanī]	section_header via surya_layout
5	Here there are <i>mātr</i>ās of even number and there is <i>dhvuni</i>, sometimes there is	main via surya_layout
6	a pause after that. If there are two tālas in this, then that is dhvanikuṭṭanī.	main via surya_layout
7	(480)	main via surya_layout
8	[38.<i>Dheńki</i>]	section_header via surya_layout
9	Where <math>n\bar{a}da_{*}^{86}</math> synthesised with syllable is taken up at will without <math>t\bar{a}la</math> and	main via surya_layout
10	then there is tāla, that is said to be <i>dhenkikā</i>.	main via surya_layout
11	(481)	main via surya_layout
12	[39. Ekatālī]	section_header via surya_layout
13	Where there is alliteration without break <math>^{87}</math> (and) where yati is formed in each	main via surya_layout
14	druta<sup>88</sup>(?), that is known to be ekatālikā by those knowledgeable in the essence	main via surya_layout
15	of music.	annotation_inline parent ligne 14 via heuristic_short
16	(482)	main via surya_layout
17	[40. <i>Mātṛkā</i>]	section_header via surya_layout
18	Where the letters of the alphabet are taken up one by one and are sung	main via surya_layout
19	in combination with the desired meaning, that is called mātṛkā.89	main via surya_layout
20	(483)	main via surya_layout
21	[41. Svarārtha]	section_header via surya_layout
22	Where the song is properly accomplished with the svaras (solfa syllables)	main via surya_layout
23	yielding the desired meaning, that is known as svarārtha among the songs made	main via surya_layout
24	of vastu.	annotation_inline parent ligne 23 via heuristic_short
25	(484)	main via surya_layout
26	[42. <i>Karana</i>]	section_header via surya_layout
27	Where two sections are composed of svaras alone without any break, that has	main via surya_layout
28	been said here to be karaṇa, being (endowed) with the yati named karaṇa (?).91	main via surya_layout
29	(485)	main via surya_layout

vol_II_p096 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	175	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration-.....Sādhāritā [iii]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is	main via surya_layout
5	complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in	main via surya_layout
6	karuna (rasa).<sup>57</sup>	main via surya_layout
7	(123)	annotation_inline parent ligne 6 via heuristic_height
8	Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv]	editorial_bracket parent ligne 6 via heuristic_brackets
9	Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>.	main via surya_layout
10	[8. After this are being described the bhāṣās in bhinna-paācama]	section_header via surya_layout
11	Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note,	main via surya_layout
12	is complete, there is concert between dhaivata-ṛṣabha and similarly between	main via surya_layout
13	șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It	main via surya_layout
14	is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people.	main via surya_layout
15	(124-125)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā	main via surya_layout
17	pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i]	editorial_bracket parent ligne 16 via heuristic_brackets
18	Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha,	main via surya_layout
19	this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert	main via surya_layout
20	between şadja-dhaivata and the svaras comprised of two śrutis each alongwith	main via surya_layout
21	dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59	main via surya_layout
22	<math>(126-127)</math>	annotation_inline parent ligne 21 via heuristic_height
23	Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā.	main via surya_layout
24	Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Lower (mandra) ṛṣabha should be used and so also dhaivata again and	main via surya_layout
26	again. (The gamaka) sphurita60 should be used there as fast, medium and	main via surya_layout
27	One should bring about movement in high and low and similarly	main via surya_layout
28	slow.<sup>61</sup>	annotation_inline parent ligne 27 via heuristic_short
29	ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama.	main via surya_layout
30	<math>(128-129)</math>	main via surya_layout

vol_I_p083 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	149	page_number via heuristic_pagenum
2	VIMARŚA	page_header via surya_layout
3	As for the distinction between vowel and musical note, Abhinavagupta has	main via surya_layout
4	made a remarkable contribution in the conception of the autonomy of musical	main via surya_layout
5	note; this will be dealt with under the definition of svara in our text.	main via surya_layout
6	16. In language vyañjana, consonant ( lit. the act or instrument of mani-	list_item via surya_layout
7	festation ) is the phonetic unit that brings about specificity, but it can be	list_item via surya_layout
8	pronounced only with the help of vowel, otherwise it is impotent or ineffective.	list_item via surya_layout
9	Hence svara has been identified here with the śakti (supreme energy or power)	list_item via surya_layout
10	that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and	list_item via surya_layout
11	Garland of Letters, p. 260). The underlying idea is that Siva obtains His state	list_item via surya_layout
12	only from the association with Sakti, otherwise it is like Sava (a dead body).	list_item via surya_layout
13	Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in	list_item via surya_layout
14	Sabdakalpadruma Pt. V, p. 5)	list_item via surya_layout
15	17. Svarūpa (lit. own form) means the phonetic form of word and	list_item via surya_layout
16	sentence without reference to meaning. The whole world being a manifestation	list_item via surya_layout
17	of dhvani (sound), the very form of word and sentence without reference to	list_item via surya_layout
18	meaning, delineates or 'paints' the world because this form itself is a stage of	list_item via surya_layout
19	manifestation that in itself is the basis of further manifestation.	list_item via surya_layout
20	18. The sentence is the basic semantic unit, the 'word' becomes meaningful	list_item via surya_layout
21	when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa )	list_item via surya_layout
22	which is mentioned here.	list_item via surya_layout
23	19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the	list_item via surya_layout
24	suffix sup or tin (nominal or verbal suffixes), it is not just a combination of	list_item via surya_layout
25	syllables.	list_item via surya_layout
26	20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing	list_item via surya_layout
27	about the action denoted by verb (Monier Williams), Kāraka is the hetu or	list_item via surya_layout
28	nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini,	list_item via surya_layout
29	viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha	list_item via surya_layout
30	(genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses	list_item via surya_layout
31	the relation of two nouns to each other, but not the relation of a noun and a	list_item via surya_layout
32	verb.' ( Monier Williams )	list_item via surya_layout
33	The sentence is formed with padas that have sup or tin suffixes combined	main via surya_layout
34	with nouns and verbs respectively, standing, in turn, for kāraka and kriyā.	main via surya_layout
35	22. Mahāvākya has four primary connotations as follows -	list_item via surya_layout
36	(a) An aggregation of sentences where the apprehension of the meaning of	list_item via surya_layout
37	the individual components (sentences) leads to the apprehension of the total	list_item via surya_layout
38	meaning of the aggregate, just as in the aggregate of five components in the	list_item via surya_layout
39	nyāya-vākya used for inference. This is the view of nyāya.	list_item via surya_layout
40	(b) An aggregate of sentences where one sentence is primary and the others	list_item via surya_layout
41	are secondary. This is the view of Mimāmsā.	list_item via surya_layout
42	(c) A sentence that expresses deep philosophical meaning. This is the view	list_item via surya_layout
43	of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I	list_item via surya_layout
44	am brahman ) etc. are accepted as mahā-vākyas.	list_item via surya_layout
45	(d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any	list_item via surya_layout
46	literary composition.	list_item via surya_layout

235 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p007 RIGHT — 81 lignes

vol_I_p101 RIGHT — 49 lignes

vol_II_p128 RIGHT — 29 lignes

vol_II_p096 RIGHT — 30 lignes

vol_I_p083 RIGHT — 46 lignes