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_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_p090 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	163	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Māngālī has pancama as its concluding note and is said to have dhaivata	main via surya_layout
4	as amśa. There is concert between şadja-dhaivata and similarly madhyama-	main via surya_layout
5	ṛṣabha; it is held to be always complete and should be known to be born of	main via surya_layout
6	٠	page_number via heuristic_pagenum
7	deśa<sup>37</sup> (region). This bhāṣā is said to be born of pañcama (rāga) by the	main via surya_layout
8	knowledgeable ones in music.	main via surya_layout
9	<math>(92-93)</math>	main via surya_layout
10	Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri	editorial_bracket parent ligne 9 via heuristic_brackets
11	mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam	main via surya_layout
12	adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma.	main via surya_layout
13	Pamāmāpāpā. Mārigālī [iii]	editorial_bracket parent ligne 12 via heuristic_brackets
14	Having pañcama as amsa and the same as the concluding note, being	main via surya_layout
15	complete and brilliant with pañcama, saindhavī has been known to be a	main via surya_layout
16	vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama	main via surya_layout
17	is seen again and again.	main via surya_layout
18	(94)	annotation_inline parent ligne 17 via heuristic_short
19	Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari	main via surya_layout
20	sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī	main via surya_layout
21	māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv]	editorial_bracket parent ligne 20 via heuristic_brackets
22	Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with	main via surya_layout
23	sparse madhyama. It has concert between sadja and madhyama, (and) is	main via surya_layout
24	always complete. This vibhāṣā born of pañcama<sup>39</sup> (rāga) is said to be	main via surya_layout
25	complete.	annotation_inline parent ligne 24 via heuristic_short
26	(95)	main via surya_layout
27	Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim-	main via surya_layout
28	ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa-	main via surya_layout
29	dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā-	main via surya_layout
30	nismismidhāmapāpā. Gūrjari [v]	editorial_bracket parent ligne 29 via heuristic_brackets
31	Combined with pañcama as the initial and concluding note, dākṣiṇātyā is	main via surya_layout
32	beautiful. This is complete and is said to be born in gandharapancama. 40 It	main via surya_layout
33	should always be known as a vibhāṣā born of pañcama bearing a regional	main via surya_layout
34	name.41	annotation_inline parent ligne 33 via heuristic_short
35	(96)	main via surya_layout
36	Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari-	main via surya_layout
37	garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri	main via surya_layout
38	gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi]	editorial_bracket parent ligne 37 via heuristic_brackets

vol_II_p057 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	96	page_number via heuristic_pagenum
3	[१. भिन्नषड्जः]	section_header via surya_layout
4	धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः ।	main via surya_layout
5	षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥	main via surya_layout
6	(जमा?जातो)	annotation_inline parent ligne 5 via heuristic_height
7	[अनुः १७५]	editorial_bracket parent ligne 5 via heuristic_brackets
8	[अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो	editorial_bracket parent ligne 5 via heuristic_brackets
9	ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ।	main via surya_layout
10	सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य	main via surya_layout
11	विजातीयो निरणानियृत्तस्य (?)	annotation_inline parent ligne 10 via heuristic_height
12	विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः ।	main via surya_layout
13	दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
14	[२.भिन्नपञ्चमः]	section_header via surya_layout
15	[अन्॰ १७६]	editorial_bracket parent ligne 14 via heuristic_brackets
16	.असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा -	main via surya_layout
17	शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः।	main via surya_layout
18	स्वर(न्ग्रे?ई)	annotation_inline parent ligne 17 via heuristic_short
19	धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥	main via surya_layout
20	[अन्॰ १७७]	editorial_bracket parent ligne 19 via heuristic_brackets
21	अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात्	main via surya_layout
22	पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰	annotation_inline parent ligne 21 via heuristic_markers
23	ण्या(म)	annotation_inline parent ligne 21 via heuristic_height
24	भिन्न(सं?)पञ्चमो	annotation_inline parent ligne 21 via heuristic_height
25	ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण-	main via surya_layout
26	श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः ।	main via surya_layout
27	प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः ।	main via surya_layout

vol_II_p092 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	167	page_number via heuristic_pagenum
3	Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda),	main via surya_layout
4	there is (mutual) movement between madhyama-dhaivata and abundance of	main via surya_layout
5	pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā	main via surya_layout
6	(mixed).	annotation_inline parent ligne 5 via heuristic_short
7	(102)	main via surya_layout
8	Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั-	main via surya_layout
9	sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x]	editorial_bracket parent ligne 8 via heuristic_brackets
10	These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika.	main via surya_layout
11	(103)	main via surya_layout
12	[6. Bhāṣāsin bhinnaṣaḍja]	section_header via surya_layout
13	After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>.	main via surya_layout
14	(104)	annotation_inline parent ligne 13 via heuristic_short
15	Having dhaivata as amsa and the same as concluding note, being devoid	main via surya_layout
16	of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja-	main via surya_layout
17	gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist	main via surya_layout
18	in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46	main via surya_layout
19	(105)	annotation_inline parent ligne 18 via heuristic_short
20	lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg	main via surya_layout
21	ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี	main via surya_layout
22	gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā	main via surya_layout
23	dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā	main via surya_layout
24	Suddhā [i]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Having dhaivata as amsa, dhaivata as the concluding note, the concert	main via surya_layout
26	between sadja-dhaivata, there being (mutual) movement between sadja-	main via surya_layout
27	dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa	main via surya_layout
28	(region)<sup>47</sup> and is born of (bhinna) şadja.	main via surya_layout
29	(106)	main 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_p071 RIGHT — 36 lignes

vol_II_p090 RIGHT — 38 lignes

vol_II_p057 LEFT — 27 lignes

vol_II_p092 RIGHT — 29 lignes

vol_II_p026 LEFT — 30 lignes