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 20769). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p042 LEFT — 34 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	66	page_number via heuristic_pagenum
3	मपधनिसरि X	main via surya_layout
4	[ хमपधनिसरी]	editorial_bracket parent ligne 3 via heuristic_brackets
5	रि 🗙 म प ध नि स	main via surya_layout
6	सरि ४ म प ध नि	annotation_inline parent ligne 5 via heuristic_short
7	निसरि X म प ध	main via surya_layout
8	गहीनाः [इति षाडवाः।]	editorial_bracket parent ligne 7 via heuristic_brackets
9	धनिसरिप्रमप	unknown via fallback
10	मप x निस x ग	main via surya_layout
11	गमप X निस X	annotation_inline parent ligne 10 via heuristic_short
12	[хगमपх निस]	editorial_bracket parent ligne 10 via heuristic_brackets
13	स X गमप X नि	main via surya_layout
14	निस X ग म प X	annotation_inline parent ligne 13 via heuristic_short
15	[ x न स x ग म प ]	editorial_bracket parent ligne 13 via heuristic_brackets
16	प x नि स x ग म	main via surya_layout
17	म प ध 🗶 स रि 🗶	annotation_inline parent ligne 16 via heuristic_short
18	[ хमपध	editorial_bracket parent ligne 16 via heuristic_brackets
19	रि 🗶 म प ध 🗶 स	main via surya_layout
20	सरि 🗶 म प ध 🗶	annotation_inline parent ligne 19 via heuristic_short
21	[ ४ सरि ४ म प ध ]	editorial_bracket parent ligne 19 via heuristic_brackets
22	ध x स रि x म प	main via surya_layout
23	निगहीनाः । इत्यौडुविताः ।	main via surya_layout
24	पध X स रि X म	main via surya_layout
25	[ मूर्छनातानयोर्भेदः ]	section_header via surya_layout
26	[ अनु. ४५ ]	editorial_bracket parent ligne 25 via heuristic_brackets
27	23ननु मूर्छनातानयोः को भेदः? उच्यते—	main via surya_layout
28	मूर्जनातानयोर्नार्थान्तरत्वमिति24 विशाखिलः । एतच्चा-	main via surya_layout
29	26,ਜ਼ੂ	annotation_inline parent ligne 28 via heuristic_short
30	<sup>25</sup>योः अणुत्वा.	main via surya_layout
31	•श्राह्	annotation_inline parent ligne 30 via heuristic_short
32	•नुनुत्वा	main via surya_layout
33	सङ्गतम्। २७ संग्रहश्लोके तु मूर्छनातानयोर्भेदस्य प्रतिपादितत्वात्।	unknown via fallback
34	28तत् कथम् ? [ 29आरोहावरोहक्रमयुक्तः स्वरसमुदायो ]	editorial_bracket parent ligne 32 via heuristic_brackets

vol_I_p026 LEFT — 21 lignes

L#	Texte OCR	Role auto
1	34	page_number via heuristic_pagenum
2	<b>BRHADDES!</b>	page_header via surya_layout
3	स	annotation_inline parent ligne 8 via heuristic_height
4	नि	annotation_inline parent ligne 8 via heuristic_height
5	रि	annotation_inline parent ligne 8 via heuristic_height
6	. <b>u</b>	annotation_inline parent ligne 8 via heuristic_height
7	ग	annotation_inline parent ligne 8 via heuristic_height
8	[ इति षड्जग्रामे संवादिमण्डलम् ]	section_header via surya_layout
9	[ अनु. २२ ]	section_header via surya_layout
10	संवादिप्रयोगो यथा—	section_header via surya_layout
11	यस्मिन् गीते योऽशत्वेन परिकल्पितः षड्जस्तस्य स्थाने	main via surya_layout
12	मध्यमः क्रियमाणो रागहा न भवेत् । यस्मिन् स्थाने मूर्छनावशात्	main via surya_layout
13	मध्यमः प्रयुक्तः तस्मिन् स्थाने क्रियमाणः षड्जो जातिरागहा न भवेत्।	main via surya_layout
14	ग्र	annotation_inline parent ligne 13 via heuristic_height
15	षड्जपञ्चमयोः स्थाने पञ्चमषड्जौ प्रयुज्यमानौ जातिरागहानिकरौ न	main via surya_layout
16	भवतः । एवम् ऋषभधैवतयोः स्थाने धैवतर्षभी प्रयुज्यमानौ जातिराग-	main via surya_layout
17	विनाशकरौ न भवतः। एवं गान्धारनिषादयोः स्थाने निषादगान्धारौ	main via surya_layout
18	17[ प्रयुज्यमानौ जातिरागहानिं न कुरुतः । ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	18ककुभस्य धैवतांशत्वेन 19रेवगुप्तस्य ऋषभांशत्वेन	main via surya_layout
20	तदुभयरागजनन्याश्चार्षभीजातेऋिषभांशपरिग्रहात् परस्परसम्बद्धौ च प्रयुज्यमानौ	main via surya_layout
21	जातिरागविनाशकरौ न भवतः ।	main via surya_layout

vol_II_p050 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	83	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[3. Gaudī giti and its component ohāțī]	section_header via surya_layout
4	The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said	main via surya_layout
5	to consist of a combination of the sound 'ha' and 'o'.	main via surya_layout
6	(277)	annotation_inline parent ligne 5 via heuristic_height
7	Ohāţī belongs to the low (register); (it is produced) by placing the chin on	main via surya_layout
8	the chest. It is to be made fast and faster, being pressed with the shake 15 of	main via surya_layout
9	svara.	annotation_inline parent ligne 8 via heuristic_height
10	(278)	annotation_inline parent ligne 8 via heuristic_height
11	And ohāţī is also beautiful with seen and unseen actions; it comprises of	main via surya_layout
12	actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements	main via surya_layout
13	in the three registers.	annotation_inline parent ligne 12 via heuristic_height
14	(279)	annotation_inline parent ligne 12 via heuristic_height
15	Similarly, ohāţī has to be used by the knowledgeable ones in vocal music	main via surya_layout
16	in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth),	main via surya_layout
17	in ascent and in descent. Ohāṭī is obtained in performance as being born in	main via surya_layout
18	the low (register) with shakes 19 of sound.	main via surya_layout
19	(280)	annotation_inline parent ligne 18 via heuristic_height
20	Gaudī gīti is said to subsist without rest in the three registers.	main via surya_layout
21	(281)	annotation_inline parent ligne 20 via heuristic_height
22	[4. Rāga giti]	section_header via surya_layout
23	Rāgagīti is said to be with attractive gamakas,20 with variegated low	main via surya_layout
24	(prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or	main via surya_layout
25	delightful arrangements of svaras.	main via surya_layout
26	(282)	annotation_inline parent ligne 25 via heuristic_height
27	The rāgas (melodic configurations) are so called because the beautiful	main via surya_layout
28	rāga (colourfulness or delightfulness) that comes about in all the four varņas	main via surya_layout
29	is seen in them in its completeness.	main via surya_layout
30	(283)	annotation_inline parent ligne 29 via heuristic_height
31	[5. Sādhāraṇī gīti]	section_header via surya_layout
32	(This gīti) should be made with straight, attractive, somewhat minute and	main via surya_layout
33	large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or	main via surya_layout
34	soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined	main via surya_layout

vol_I_p084 RIGHT — 51 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	Ė	annotation_inline parent ligne 6 via heuristic_height
3	151	page_number via heuristic_pagenum
4	VIMARŚA	page_header via surya_layout
5	ì	annotation_inline parent ligne 6 via heuristic_height
6	2. Gita (lit. song or the act of singing) stands for the melodic aspect of	main via surya_layout
7	music which is rendered through the voice or stringed and wind instruments.	main via surya_layout
8	BṛD does not mention vādya along with gīta here, nor in verse 14 where desī	main via surya_layout
9	music is defined as 'that which is sung.' Since voice sets the model followed by	main via surya_layout
10	stringed and wind instruments, gita is the word for the melodic aspect of music	main via surya_layout
11	and the content of the above instruments is included in it. This extension of the	main via surya_layout
12	meaning of gita gets established when the word vādya is juxtaposed with it,	main via surya_layout
13	because in that case vādya gets restricted to drums. But here, in absence of that	main via surya_layout
14	juxtaposition, gita would acquire a further extension by way of also including	main via surya_layout
15	vādya in its orbit. Hence gīta stands here for the totality of music. It is notable	main via surya_layout
16	that gita is followed by svara in this verse. This looks like a repetition because	main via surya_layout
17	svara is the main constituent of gita. This could be construed as an emphasis on	main via surya_layout
18	'svara' through an independent reference to it.	main via surya_layout
19	3. Nrtta generally stands for pure dance where the delineation of artha	main via surya_layout
20	(meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263).	main via surya_layout
21	Nṛtta is dependent on nāda, because it has to be accompanied on instruments,	main via surya_layout
22	specially drums.	annotation_inline parent ligne 21 via heuristic_height
23	4. The statement that the world is made up of nāda seems to be somewhat	main via surya_layout
24	out of place here, because the context is that of nada being the essence of	main via surya_layout
25	music and dance. But if one recalls the exposition of the order of manifestation	main via surya_layout
26	or formation of gandharva beginning from bindu and moving forward through	main via surya_layout
27	nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its	main via surya_layout
28	auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva)	main via surya_layout
29	incorporates all the stages upto gandharva and hence the fundamental nature	main via surya_layout
30	of nāda as established in gīta could be logically extended to the 'world' because	main via surya_layout
31	the world or phenomenon itself is a manifestation of nāda through the above	main via surya_layout
32	stages. SR expresses the same idea in the following manner -	main via surya_layout
33	"Nāda manifests the letters ( of alphabet ), letters constitute the word and	main via surya_layout
34	words make a sentence; so, the entire business of life is carried on through	main via surya_layout
35	language and therefore, the whole phenomenon (i.e. the world) is based on	main via surya_layout
36	nāda". (SR1, 2.2)	annotation_inline parent ligne 35 via heuristic_height
37	Just as SR has related the business of life with nāda through verbal	main via surya_layout
38	communication that is based on the same, BrD has used gita in an extended	main via surya_layout
39	meaning, including in it all the manifestations of nada and has expounded nada	main via surya_layout
40	to be the essence of the whole world.	annotation_inline parent ligne 39 via heuristic_height
41	It would be interesting to note here that S R also speaks of nāda being the	main via surya_layout
42	essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in	main via surya_layout
43	that context.	annotation_inline parent ligne 42 via heuristic_height
44	"Nāda is the very essence of vocal music, instrumental music is enjoyable as	main via surya_layout
45	it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental	main via surya_layout
46	music); therefore, all the three together depend on nāda". (SRI, 2.1)	main via surya_layout
47	5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva	main via surya_layout
48	(three gods), representing three aspects of the manifestation of the Ultimate	main via surya_layout
49	Reality into the phenomenon of the universe, viz. creation, preservation and	main via surya_layout
50	destruction. Although the three of them occur in Vedic literature, yet the idea	main via surya_layout
51	(vide)	annotation_inline parent ligne 50 via heuristic_height

vol_I_p091 LEFT — 43 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	164	page_number via heuristic_pagenum
3	52. Abhivyañjakatā means the process of manifestation of something that is	list_item via surya_layout
4	already in existence. In Grammar Philosophy śabda is eternal and its subtle and	list_item via surya_layout
5	imperceptible element called sphota (lit. 'bursting' or flash on the mind) is	list_item via surya_layout
6	vyangya (object of vyanjanā). Matanga seems to be influenced by this line of	list_item via surya_layout
7	thought which later culminated in the dhvani theory in literature.	list_item via surya_layout
8	53. The visista dharma (specific quality or nature) i.e. the differentia of a	list_item via surya_layout
9	thing is svalakṣaṇa. This is understood at two levels, one is the specific nature of	list_item via surya_layout
10	a thing i.e. it is related to the <i>vyakti</i> or particular or individual, the other is the	list_item via surya_layout
11	dharma or nature that is common to many i.e. the generic nature or jāti. The	list_item via surya_layout
12	first one is according to the Bauddha system and the second one is according to	list_item via surya_layout
13	all those systems that accept jāti, e.g. Mīmāṃsā. Bauddha logic has given	list_item via surya_layout
14	elaborate treatment and discussion of svalakşana in the context of pratyakşa	list_item via surya_layout
15	(perception ). It does not seem probable that Matanga was influenced by this	list_item via surya_layout
16	system, because non-existence of a common quality or attribute or nature of a	list_item via surya_layout
17	thing accepted in majority of the schools of Bauddha logic could not perhaps be	list_item via surya_layout
18	congenial to the explanation of the perception of sruti and svara which would	list_item via surya_layout
19	require a 'continuity' of their common features.	list_item via surya_layout
20	54. Nabhaḥpuṣpa i.e. a flower grown in the sky is a classic example of an	list_item via surya_layout
21	absurdity or impossibility just like vandhyāputra, the son of a sterile woman.	list_item via surya_layout
22	55. Arthāpatti is one of the pramāņas i.e. means of valid knowledge	list_item via surya_layout
23	propounded specially by the mimāmsā system and accepted by Advaita Vedānta.	list_item via surya_layout
24	Nyāya includes it under anumāna. It has been defined as -	list_item via surya_layout
25	अर्थापतिरपि दृष्टः श्रुतो वाऽर्थः अन्यथा नोपपद्यते इत्यर्थकल्पना ।	main via surya_layout
26	( Śabarabhāṣya on Mīm Sū I, 1.5 )	main via surya_layout
27	When a seen or heard thing is not proved right in another way, then the	main via surya_layout
28	imagination of something is known as arthāpatti.	main via surya_layout
29	For example, if Devadatta is alive and is not at home, it is imagined that he	main via surya_layout
30	is outside, or, the classic example is that if Devadatta is fat, but does not eat	main via surya_layout
31	during the day, then it is imagined that he eats at night, because his fatness that	main via surya_layout
32	is seen could not be explained or proved through non-consumption of food.	main via surya_layout
33	Hence arthāpatti is translated as negative inference.	main via surya_layout
34	56. All the systems of Indian philosophy except the Carvaka system, accept	main via surya_layout
35	anumāna as a pramāņa. The Nyāya system has given its elaborate treatment. It	main via surya_layout
36	has to be preceded by perception ( pratyaksa ). One who has not seen the	main via surya_layout
37	concomitance of smoke and fire, could not infer fire on the basis of the	main via surya_layout
38	perception of smoke. The classic example of anumana is —	main via surya_layout
39	पर्वतोऽयं विश्वमान् धूमवत्त्वात् ।	main via surya_layout
40	This hill is fiery because of there being smoke. This inference presumes or	main via surya_layout
41	is preceded by vyāpti-graha (apprehension of universal concomitance) which is	main via surya_layout
42	thus expressed -	main via surya_layout
43	यत्र यत्र धूमस्तत्र तत्र बह्निः ।	unknown via fallback

183 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p042 LEFT — 34 lignes

vol_I_p026 LEFT — 21 lignes

vol_II_p050 RIGHT — 34 lignes

vol_I_p084 RIGHT — 51 lignes

vol_I_p091 LEFT — 43 lignes