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 20724). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p072 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	127	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	mā mā sā sā	annotation_inline parent ligne 10 via heuristic_height
4	de - vam -	annotation_inline parent ligne 10 via heuristic_height
5	mā sā sā mā	annotation_inline parent ligne 10 via heuristic_height
6	de vam sa rvam	annotation_inline parent ligne 10 via heuristic_height
7	sasa masa mama nn	annotation_inline parent ligne 10 via heuristic_height
8	devam sarvam vande	annotation_inline parent ligne 10 via heuristic_height
9	(Anu. 112)	annotation_inline parent ligne 10 via heuristic_height
10	Māgadhī is (known as such) because of its origin in the magadha deśa (south	main via surya_layout
11	Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated').	main via surya_layout
12	Ardhamāgadhi is (called so) because of there being the state of half 'pada',56	main via surya_layout
13	thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to	main via surya_layout
14	'pada'. In the repetition of half a pada the verbal meaning should not be	main via surya_layout
15	construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or	main via surya_layout
16	acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is	main via surya_layout
17	predominantly musical, the verbal meaning is not cared for in the repetitions. It	main via surya_layout
18	has been said - the word jātavedasam (fire) that is repetitive, here (in the	main via surya_layout
19	context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī,	main via surya_layout
20	on the other hand, is based on the predominance of laghu (short syllables);	main via surya_layout
21	on account of the profusion of the grouping (grāma) of padas (syllabic units) it	main via surya_layout
22	is called pṛthulā (lit. broad or large).	main via surya_layout
23	(Anu. 113)	annotation_inline parent ligne 22 via heuristic_height
24	In the three margas in the prescription about gitis, the use of laya should be	main via surya_layout
25	seen to be ninefold.	annotation_inline parent ligne 24 via heuristic_height
26	He (the author) shows the use of laya as - daksina marga, vartika marga and	main via surya_layout
27	citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina	main via surya_layout
28	mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas	main via surya_layout
29	in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus	main via surya_layout
30	are the three layas in the operation of citra-marga. Thus has been propounded	main via surya_layout
31	in the chapter on gitis. As - in the daksina marga there are four gurus (long	main via surya_layout
32	units) two gurus and one guru. In vārtika mārga there are two gurus, one guru	main via surya_layout
33	and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half	main via surya_layout
34	- mātrā unit).	annotation_inline parent ligne 33 via heuristic_height

vol_I_p035 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	53	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	This has been said—	annotation_inline parent ligne 4 via heuristic_height
4	"Two grāmas named şadja and madhyama are well-known in the world."10	main via surya_layout
5	(Anu. 33)	annotation_inline parent ligne 4 via heuristic_height
6	But why are there only two grāmas? It is being answered; here two grāmas	main via surya_layout
7	have been formulated on account of (musical) performance being rooted in	main via surya_layout
8	the usage of two svaras.11	main via surya_layout
9	"The svaras have attained the state of grāma through jātis and śrutis."12	main via surya_layout
10	(Anu. 34)	annotation_inline parent ligne 9 via heuristic_height
11	"Through the jātis" means through śuddhās and vikṛtās (both types of jātis)	main via surya_layout
12	and through śrutis. Hence the svaras that are there in the śuddhā and vikṛtā	main via surya_layout
13	jātis, on account of disruption13 in their śrutis, (their) slight augmentation14 and	main via surya_layout
14	diminution and mixing up,15 (these) svaras have attained the state of grāma.	main via surya_layout
15	ṣaḍja - (grāma) is born of the śuddhā-(jātis) and madhyama (grāma) of the vikṛtās	main via surya_layout
16	and from the two (types of jātis) are born sankīrņās (jātis)16. From them (jātis) is	main via surya_layout
17	born rāga.17 On account of the change 18 of grāma the change in the jāti and	main via surya_layout
18	rāga occurs.	annotation_inline parent ligne 17 via heuristic_height
19	[ Thus ends the treatment of grāma ].	editorial_bracket parent ligne 17 via heuristic_brackets
20	[ The treatment of Mürchanā ]	section_header via surya_layout
21	(Anu. 35)	annotation_inline parent ligne 20 via heuristic_height
22	Now the murchanas that befit the occasion or context are being spoken of.	main via surya_layout
23	But what is the etymology of the word murchana and what is its lakşana	main via surya_layout
24	(definition)? It is being answered. The etymology of 'mūrchanā' is thus - (the	main via surya_layout
25	root) mūrch stands for moha (loss of consciousness, stupefaction, infatuation)	main via surya_layout
26	and samucchrāya 19 (increase, growth).	main via surya_layout
27	That through which raga 20 (colour, delightfulness) grows or increases, is	main via surya_layout
28	(90)	annotation_inline parent ligne 27 via heuristic_height
29	called mūrchanā.	annotation_inline parent ligne 27 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

vol_II_p101 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	-- 1	annotation_inline parent ligne 4 via heuristic_height
2	History of the State of the State of the State of the State of the State of the State of the State of the State of the S	annotation_inline parent ligne 4 via heuristic_height
3	184	page_number via heuristic_pagenum
4	BRHADDEŚĪ	section_header via surya_layout
5	[१. अथ टके]	section_header via surya_layout
6	पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्।	main via surya_layout
7	..(ता? न्ता)	annotation_inline parent ligne 6 via heuristic_height
8	भाषे	annotation_inline parent ligne 6 via heuristic_height
9	<sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥	main via surya_layout
10	चैषा ॰	annotation_inline parent ligne 9 via heuristic_markers
11	उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा	main via surya_layout
12	धासासानीधानीधा[सा सा]। देवालवर्धनी । [१]	editorial_bracket parent ligne 11 via heuristic_brackets
13	मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा ।	main via surya_layout
14	सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥	main via surya_layout
15	उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि-	main via surya_layout
16	सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा-	main via surya_layout
17	सानिसा। पौराली । [२]	editorial_bracket parent ligne 16 via heuristic_brackets
18	धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता ।	main via surya_layout
19	(वैध ? धैव)	annotation_inline parent ligne 18 via heuristic_height
20	टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥	main via surya_layout
21	शकभाषा	annotation_inline parent ligne 20 via heuristic_height
22	उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा-	main via surya_layout
23	माधमागसासासा । त्रावणी । [३]	editorial_bracket parent ligne 22 via heuristic_brackets
24	मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा ।	main via surya_layout
25	विपा	annotation_inline parent ligne 24 via heuristic_height
26	मान	annotation_inline parent ligne 24 via heuristic_height
27	विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥	main via surya_layout
28	॰रागस्यैपा	annotation_inline parent ligne 27 via heuristic_markers
29	मूढलालिता	annotation_inline parent ligne 27 via heuristic_height
30	उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा ।	main via surya_layout
31	रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४]	editorial_bracket parent ligne 30 via heuristic_brackets
32	तानल॰	annotation_inline parent ligne 30 via heuristic_markers
33	भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा ।	main via surya_layout
34	साधारणा तु पङ्जांशान्ता	main via surya_layout
35	पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥	main via surya_layout
36	<b>ल्होनं</b>	annotation_inline parent ligne 35 via heuristic_height
37	স্ত(?)	annotation_inline parent ligne 35 via heuristic_height
38	1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE	annotation_inline parent ligne 35 via heuristic_height

vol_II_p153 LEFT — 47 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	288	page_number via heuristic_pagenum
3	प्रथमार्धं स्वरैज्ञेंयं द्वितीयं बिरूदै: पुन: ।	main via surya_layout
4	17. cf.(i)	annotation_inline parent ligne 3 via heuristic_short
5	हयलीलागणैर्बद्धं हयलीलाक्रमस्त्वयम् ॥	main via surya_layout
6	Mānaso IV.16.332.	annotation_inline parent ligne 5 via heuristic_short
7	हयलीलेन तालेन हयलीलाऽपि गीयते ।	main via surya_layout
8	(ii)	annotation_inline parent ligne 7 via heuristic_short
9	अन्यलक्षणमेतस्यां गजलीलावदिष्यते ॥	main via surya_layout
10	छन्दसा हयतालेन (लीलेन) केचिदेतां विदुर्विद:॥	main via surya_layout
11	S Rāj II.4.3.111.	annotation_inline parent ligne 10 via heuristic_short
12	यत्र पूर्वार्धमार्यायाः सतालं परिगीयते ।	main via surya_layout
13	(iii)	annotation_inline parent ligne 12 via heuristic_short
14	स(अ ?) तालमुत्तरार्घं तु हयलीला निगद्यते ॥	main via surya_layout
15	Ra Kau III.117.	annotation_inline parent ligne 14 via heuristic_short
16	18. Reconstruction in the first and second foot based on SR IV.	main via surya_layout
17	212c, 213b.	annotation_inline parent ligne 16 via heuristic_short
18	हयलीलाप्रकारेण भवेद् या लक्षणान्विता ।	main via surya_layout
19	<b>cf.(i)</b>	annotation_inline parent ligne 18 via heuristic_short
20	तालेन गजलीलेन गजलीला प्रकीर्त्यते ॥	main via surya_layout
21	गजलीलस्य तालस्य प्राणैर्बद्धं पदं बुधै: ।	main via surya_layout
22	गीयते यत्र गीतज्ञैर्गजलीला हि सा भवेत् ॥	main via surya_layout
23	Mānaso IV.16,333,335.	main via surya_layout
24	आर्यैव यदि गीयेत तालेन गजलीलया ।	main via surya_layout
25	(ii)	annotation_inline parent ligne 24 via heuristic_short
26	गजलीला तदा, गद्यपद्यजेति द्विधैव सा ॥	main via surya_layout
27	पद्यजा तत्र विज्ञेया चतुर्धा, तद्विविच्यते ।	main via surya_layout
28	स्वरैराद्यं दलं गीत्वा बिरुदैर्गीयते परम् ॥	main via surya_layout
29	सतालैरेकिकास्तिस्र: परा[:]स्यु: क्रमतो यथा ।	editorial_bracket parent ligne 28 via heuristic_brackets
30	पूर्वार्धे चोत्तरार्धे चोभयार्धो तालयोगत: ॥	main via surya_layout
31	S Rāj 11.4.3.108-110.	main via surya_layout
32	स्वरै: पाटैश्च विरुदैस्तेनकैयां विरच्यते ॥	main via surya_layout
33	19. cf.	annotation_inline parent ligne 32 via heuristic_short
34	सिंहलीलेन तालेन सिंहलील: स उच्यते ।	main via surya_layout
35	SR IV.279,280.	annotation_inline parent ligne 34 via heuristic_short
36	स्वरपदान्वितान्यष्टी पदकानि भवन्ति चेत् ।	main via surya_layout
37	20. cf.	annotation_inline parent ligne 36 via heuristic_short
38	अष्टौ रागास्तथा ताला: स स्यात् शरभलीलक: ॥	main via surya_layout
39	पदे पदे भवेद् रागस्तालश्चान्य: पदे पदे ।	main via surya_layout
40	पादान्तस्वरपाटाभ्यां ज्ञेयं शरभलीलकम् ॥	main via surya_layout
41	Mānaso IV.16.336 -338.	main via surya_layout
42	स्वरै: पाटै: पदैरुक्तस्त्रिभङ्गि: स च पश्चधा ।	main via surya_layout
43	21. cf.	annotation_inline parent ligne 42 via heuristic_short
44	एकस्त्रिमङ्गितालेन वृत्तेनान्यस्त्रिमङ्गिना ॥	main via surya_layout
45	रागैस्तालैस्त्रिभियंद्वा यद्वा यृत्तत्रयान्वित: 🕽	main via surya_layout
46	यद्वा देवत्रयस्तुत्या तालद्वैगुण्यमुक्तकः ॥	main via surya_layout
47	SR IV.283,284.	main via surya_layout

185 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p072 RIGHT — 34 lignes

vol_I_p035 RIGHT — 29 lignes

vol_II_p015 RIGHT — 37 lignes

vol_II_p101 LEFT — 38 lignes

vol_II_p153 LEFT — 47 lignes