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)	—

vol_II_p085 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	153	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	Being combined with sadja as the initial and concluding note, being	main via surya_layout
4	complete and born of deśa (region), having concert between ṛṣabha and	main via surya_layout
5	șadja, the svaras comprised of two śrutis each being of sparse nature, this	main via surya_layout
6	ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī.	main via surya_layout
7	(68)	annotation_inline parent ligne 6 via heuristic_height
8	Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī,	main via surya_layout
9	Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā.	main via surya_layout
10	Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā.	main via surya_layout
11	Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā	main via surya_layout
12	sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī.	main via surya_layout
13	Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā.	main via surya_layout
14	Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī.	main via surya_layout
15	Mapāgāri. Sanisāsā. Ābhīrī [vi]	editorial_bracket parent ligne 14 via heuristic_brackets
16	Khañjanî has pañcama as amśa, ṣaḍja as the concluding note, is devoid of	main via surya_layout
17	dhaivata, there is concert between ṣaḍja and niṣāda and similarly between	main via surya_layout
18	madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed),	main via surya_layout
19	giving delight to all people.	main via surya_layout
20	(69)	annotation_inline parent ligne 19 via heuristic_short
21	Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni.	main via surya_layout
22	Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā.	main via surya_layout
23	Ni. Nimanisarisagasāsā. Khanjanī [vii]	editorial_bracket parent ligne 22 via heuristic_brackets
24	Having niṣāda as amśa, ṣadja as the concluding note, gurjarī is born of deśa	main via surya_layout
25	(region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of	main via surya_layout
26	madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones	main via surya_layout
27	in music as being complete.	main via surya_layout
28	(70)	annotation_inline parent ligne 27 via heuristic_short
29	Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī.	main via surya_layout
30	Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā.	main via surya_layout
31	Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari.	main via surya_layout
32	Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari.	main via surya_layout
33	Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]	editorial_bracket parent ligne 32 via heuristic_brackets

vol_II_p071 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	125	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 210]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha	main via surya_layout
5	and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it	main via surya_layout
6	sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete.	main via surya_layout
7	Its application is prescribed in the passionate performance of cārīs, maṇḍalas and	main via surya_layout
8	(situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning	main via surya_layout
9	with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the	main via surya_layout
10	dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in	main via surya_layout
11	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and	main via surya_layout
12	pada	annotation_inline parent ligne 11 via heuristic_height
13	[9. Revagupta]	section_header via surya_layout
14	Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as	main via surya_layout
15	its amsa and madhyama as its concluding note and is with complete svaras.	main via surya_layout
16	(340)	annotation_inline parent ligne 15 via heuristic_height
17	[Anu. 211]	editorial_bracket parent ligne 15 via heuristic_brackets
18	Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born	main via surya_layout
19	of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of	main via surya_layout
20	pañcama being comprised of four śrutis. Rṣabha is its graha and amśa,	main via surya_layout
21	<math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he	main via surya_layout
22	svaras. Its application is prescribed in the passionate performance of cārīs,	main via surya_layout
23	mandalas and (situations of) combat. Vira and the like is the rasa. The	main via surya_layout
24	mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is	main via surya_layout
25	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in	main via surya_layout
26	the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like	main via surya_layout
27	caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
28	[10. Takkasaindhava]	section_header via surya_layout
29	The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is	main via surya_layout
30	combined with sadja as amsa and nyāsa and is weak in pancama.	main via surya_layout
31	(341)	annotation_inline parent ligne 30 via heuristic_height
32	[Anu. 212]	editorial_bracket parent ligne 30 via heuristic_brackets
33	Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on	main via surya_layout
34	account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and	main via surya_layout
35	nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of	main via surya_layout
36	pañcama and this (rāga) is complete in svaras. Its application is prescribed	main via surya_layout

vol_II_p086 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	155	page_number via heuristic_pagenum
3	These are the bhāṣās spoken of by Yaṣṭika in mālavakaiśika.	main via surya_layout
4	(71)	main via surya_layout
5	[3. Bhāṣās in kakubha]	section_header via surya_layout
6	Combined with dhaivata as the initial and concluding note, kāmbojā is	main via surya_layout
7	complete in svaras, (and) there is the concert of sadja-dhaivata and similarly	main via surya_layout
8	pañcama-ṛṣabha. This bhāṣā bears the name of deśa (region) 28 and is the first	main via surya_layout
9	one born of kakubha.	annotation_inline parent ligne 8 via heuristic_height
10	(72)	main via surya_layout
11	Illustraion - Dhāsāgāgā. Māgārīsāsāsanisāsā. Dhāpāpā. Dhāmāsārigā.	main via surya_layout
12	Māgārīsāsā. Sanidhādhā pāpāmadhā nirisanidhādhā. Kāmbojā [i]	editorial_bracket parent ligne 11 via heuristic_brackets
13	Having madhyama as amśa and dhaivata as the concluding note,	main via surya_layout
14	madhyamagrāmikā is complete and this bhāṣā is sankīrṇā (mixed), a beautiful	main via surya_layout
15	one born of kakubha. Rṣabha and dhaivata are seen to be together in mutual	main via surya_layout
16	concert.	annotation_inline parent ligne 15 via heuristic_height
17	(73)	annotation_inline parent ligne 15 via heuristic_height
18	٨.	annotation_inline parent ligne 15 via heuristic_height
19	Illustration - Māmā. Garidhāsārīsāmā. Nigarisanisānidhā. Sādhāsādhanirisā.	main via surya_layout
20	Dhaniriri. Māpāpamāgā. Riririri. Gāma. Gāma. Dhādhāmāpāmāgārīsāsādhā	main via surya_layout
21	dhadhadha. Madhyamagrāmikā [ii]	editorial_bracket parent ligne 20 via heuristic_brackets
22	<math>S\bar{a}tav\bar{a}hin\bar{i}^{29}</math> should be known to have <math>r\bar{s}abha</math> as <math>am\bar{s}a</ma	main via surya_layout
23	concluding note. Madhyama and ṛṣabha are seen to be in mutual concert.	main via surya_layout
24	Some people desire the seventh (niṣāda) to be profuse and others (desire)	main via surya_layout
25	the same to be weak.	annotation_inline parent ligne 24 via heuristic_height
26	(74)	main via surya_layout
27	Illustration - [Riri]gadharirimā. Māmānimādhādhadhādhāpamapama	editorial_bracket parent ligne 26 via heuristic_brackets
28	marimamāsari. Māmapapāmapapāpāpāpamarimarimāmāsari. Pāpapasasāni.	main via surya_layout
29	Dhādhāri. Sāsāsāsīrīmanidhādhādhā padhāsādhapādhā pamapāpāmarimāmāsīri	main via surya_layout
30	māpāpāmāsānidhādhā. Sātavāhinī [iii]	editorial_bracket parent ligne 29 via heuristic_brackets
31	Having madhyama as amśa, niṣāda as the concluding note, being weak in	main via surya_layout
32	ṛṣabha, this bhāṣā, bhogavardhanī should be known to be hexatonic in	main via surya_layout
33	kakubha, where there is concert between the two svaras comprised of two	main via surya_layout
34	śrutis<sup>30</sup> each and pañcama.	main via surya_layout
35	<b>(75)</b>	annotation_inline parent ligne 34 via heuristic_short
36	Illustration - [Mamā] Ninī. Gagamā. Pāmāpamā. Dhādhā. Sanisani.	editorial_bracket parent ligne 34 via heuristic_brackets
37	Dhapa dhādhapamāpāma. Gagagaga. Mapadhādhāni. Sasasasa.	main via surya_layout
38	Māgasānidhādhādhā [nī.] Bhogavardhanī [iv]	editorial_bracket parent ligne 37 via heuristic_brackets

vol_II_p099 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	181	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya-	main via surya_layout
4	mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the	main via surya_layout
6	mandra (sthāna, lower register), this (bhāṣā) nādākhyā<sup>68</sup> should be made	main via surya_layout
7	hexatonic in rāga ṣāḍava. This (bhāṣā) has been said to be hexatonic, with	main via surya_layout
8	the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\	main via surya_layout
9	delightful to the people.	main via surya_layout
10	<math>(139-140)</math>	main via surya_layout
11	Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā.	main via surya_layout
12	Nādākhyā [ii]	editorial_bracket parent ligne 11 via heuristic_brackets
13	These two are there in vesarașādava.	main via surya_layout
14	13. Now the bhāṣās in bhinnatāna	section_header via surya_layout
15	Having pañçama as amsa and the same as the concluding note, this	table via surya_layout
16	sādhāraņakṛtā<sup>70</sup> bhāṣā is known to be tānodbhavā. It has to be made devoid	table via surya_layout
17	of rṣabha, by the knowledgeable ones in music.	table via surya_layout
18	(141)	table via surya_layout
19	.....[Tānodbhavā]	table via surya_layout
20	[This one is in bhinnatāna]	table via surya_layout
21	[14. Bhāṣās in gāndhārapancama]	table via surya_layout
22	.....[Gāndhārī]	table via surya_layout

vol_II_p026 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŠĪ	page_header via surya_layout
2	34	page_number via heuristic_pagenum
3	पूर्वरङ्गे कृते शुद्धा[:] कर्तव्या गीतयोक्तृभि:।	editorial_bracket parent ligne 4 via heuristic_brackets
4	आसारितपाणिकादौ ततो जात्यंशकल्पनम् ॥२४९॥	main via surya_layout
5	र्गद	annotation_inline parent ligne 4 via heuristic_height
6	<b>ल्कं</b> वा॰	annotation_inline parent ligne 4 via heuristic_markers
7	स्वराणामङ्गहारैर्यत एवासारितक्रमै:।	main via surya_layout
8	वर्धमानपदे तासां कार्या स्यादंशकल्पना ॥२५०॥	main via surya_layout
9	[८. जातीनां षाडवौडुवविधि:]	section_header via surya_layout
10	८९इति त्रिषष्टिरंशा ये तेषामेकैकशोंऽशताम् ।	main via surya_layout
11	प्रकल्प्यापोह्यते प्राप्तं षाडवौडुवितं क्वचित् ॥२५१॥	main via surya_layout
12	(॰वो?वौ)	annotation_inline parent ligne 11 via heuristic_markers
13	॰पोद्यते	annotation_inline parent ligne 11 via heuristic_markers
14	[अनु॰ १३४]	editorial_bracket parent ligne 11 via heuristic_brackets
15	त्रिषष्टिरंशा ये उक्तास्तेषां मध्ये <sup>९०</sup>प्रत्येकमंशानाम् [अंशतां]	editorial_bracket parent ligne 11 via heuristic_brackets
16	परिकल्प्य	annotation_inline parent ligne 11 via heuristic_height
17	षाडवितत्वमौडुवितत्वं प्राप्तं क्वचिदिति जातिविषय: अपोह्यते । एतदेव स्फुटयति -	main via surya_layout
18	न्छते	annotation_inline parent ligne 17 via heuristic_height
19	अषाडवा निषादें ऽशे सित स्यात् षड्जमध्यमा ।	main via surya_layout
20	गान्धारे च यतो लोपो नांशसंवादिनो मत: ॥२५२॥	main via surya_layout
21	(तं?त:)	annotation_inline parent ligne 20 via heuristic_height
22	[अनु॰ १३५]	editorial_bracket parent ligne 20 via heuristic_brackets
23	अस्यार्थ: - निषादेंऽशे षड्जमध्या जातिरषाडवा कथम् ? षड्जग्रामे षाडविवधौ	main via surya_layout
24	गान्धारस्य लोपो नास्ति । गान्धारेंऽशे निषादेन अषाडवा बोद्धव्या अंशसंवादिनो	main via surya_layout
25	(संचा?संवा)	annotation_inline parent ligne 24 via heuristic_short
26	...याः	annotation_inline parent ligne 24 via heuristic_height
27	लोपाभावात्।	section_header via surya_layout
28	कैशिकी रक्तगान्धारी गान्धारी चैव पञ्चमे ।	main via surya_layout
29	तथा षाड्जी तु गान्धारे धैवते तदुदीच्यवा ॥ २५३॥	main via surya_layout
30	॰ता तदा॰	annotation_inline parent ligne 29 via heuristic_markers

Legende des roles

vol_II_p085 RIGHT — 33 lignes

vol_II_p071 RIGHT — 36 lignes

vol_II_p086 RIGHT — 38 lignes

vol_II_p099 RIGHT — 22 lignes

vol_II_p026 LEFT — 30 lignes