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 20787). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p102 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	187	page_number via heuristic_pagenum
3	75. If ekakala is related to phrasing then sarigā and each of the other units	list_item via surya_layout
4	will be taken to be forming one phrase each; if it is taken to be related to the	list_item via surya_layout
5	duration of kalā, then the duration of each phrase will have to be taken as two	list_item via surya_layout
6	mātrās; there also each kalā of time will be related to each phrase.	list_item via surya_layout
7	76,77. Identical with note 52 above.	list_item via surya_layout
8	78. All the four sa belong to the tāra-sthāna.	list_item via surya_layout
9	79. See note 47 above.	list_item via surya_layout
10	80. Samyuktam is used as an adverb, its implication is not very clear, most	list_item via surya_layout
11	probably it has been used because the units of phrases here are not equal, they	list_item via surya_layout
12	are 3+2+2=7. There is no other alankāra like this in BrD.	list_item via surya_layout
13	81. Here the traditional rule of having a shake only on svaras with three	list_item via surya_layout
14	<i>śrutis</i> seems to have been abandoned.	list_item via surya_layout
15	82. Kalā obviously means phrase-unit here.	list_item via surya_layout
16	83. Ekakula could not, perhaps, be understood as the first degree of kalā	list_item via surya_layout
17	being of the measure of 2 mātrās. It perhaps indicates that each svara will be of	list_item via surya_layout
18	the duration of one mātrā; that would make each phrase of the duration of	list_item via surya_layout
19	seven mātrās which would not fit into the ancient tāla system and could,	list_item via surya_layout
20	perhaps, be taken as the first indication of the advent of desi talas.	list_item via surya_layout
21	84. It is notable that BrD has not classified alankāras into varņas.	list_item via surya_layout
22	85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31)	list_item via surya_layout
23	but they have not been described.	list_item via surya_layout
24	It is notable that NS has the name dipta for tara and prasanna for mandra.	main via surya_layout
25	While BrD profusely uses prasanna for mandra, it does not even once use dipta	main via surya_layout
26	for <i>tāra</i>.	main via surya_layout
27	86. The seven gitakas are described in NS XXXI. They are - madraka,	list_item via surya_layout
28	aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these,	list_item via surya_layout
29	āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are	list_item via surya_layout
30	outside the above seven, but are very important on account of special tala	list_item via surya_layout
31	patterns and association with dance. All these forms are prescribed in	list_item via surya_layout
32	pūrvaranga (preliminaries of drama). Since no dramatic situation is required	list_item via surya_layout
33	to be highlighted in Pūrvaranga, the music there could be autonomous and	list_item via surya_layout
34	hence the units of text of songs could be stretched by the melody through	list_item via surya_layout
35	alankāras, the comprehension of the meaning of the text of songs being not	list_item via surya_layout
36	important there.	list_item via surya_layout
37	87. In dhruvās (songs prescribed for highlighting different situations in	list_item via surya_layout
38	drama), as distinct from gîtaka, the comprehension of meaning of text by the	list_item via surya_layout
39	listener is very important and hence stretching of the syllables of the text is not	list_item via surya_layout
40	desirable.	list_item via surya_layout
41	88. The implication of this statement is not clear, because alankaras of the	list_item via surya_layout
42	sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ	list_item via surya_layout
43	XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in	list_item via surya_layout
44	dhruvās ); there is no restriction prescribed for them.	list_item via surya_layout
45	89. Brightening means movement towards high svaras.	list_item via surya_layout
46	90. Reverse order would mean proceeding from high to low.	list_item via surya_layout
47	(vide)	annotation_inline parent ligne 46 via heuristic_height
48	e le par Alle	annotation_inline parent ligne 46 via heuristic_height
49	and the second	annotation_inline parent ligne 46 via heuristic_height

vol_II_p125 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	233	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[D. Once again the group of seven Varņailās]	section_header via surya_layout
4	Ramaņī, candrikā, lakṣmī, padminī, similarly rañjinī, mālatī and mohinī -	main via surya_layout
5	thus is the group of seven varņailās.	main via surya_layout
6	(459)	main via surya_layout
7	[1. <i>Ramaņi</i>]	section_header via surya_layout
8	Where there is samā yati<sup>68</sup> in the first and second foot and that which is	main via surya_layout
9	adorned with nāda in each foot, that satpadī 69 is ramaņī.	main via surya_layout
10	(460)	main via surya_layout
11	[2. Candrikā]	section_header via surya_layout
12	Where srotogată<sup>70</sup> and samā yati obtain in two feet and (that which) is	main via surya_layout
13	combined with bindu-gamakas, that is called candrini.	main via surya_layout
14	(461)	main via surya_layout
15	[3. Lakşmi]	section_header via surya_layout
16	Where gopucchā, 71 sumā and srotogatā (yatis) obtain in the three feet (respectively)	main via surya_layout
17	(and) there is mūrchanā <sup>72</sup> accompanied by nāda, that clā is known as laksmī.	main via surya_layout
18	(462)	main via surya_layout
19	[4. <i>Padminī</i> ]	section_header via surya_layout
20	(That) elä which is comprised of varņadhvani<sup>73</sup> in the first, second and	main via surya_layout
21	third and fourth foot, is said to be padminī.	main via surya_layout
22	(463)	main via surya_layout
23	[5. Rañjini]	section_header via surya_layout
24	(Where) there is samā (yati) in the first and second (feet) and gopucchā	main via surya_layout
25	(yati) in the third (foot) and that which is adorned with gamakas is rañjinī.	main via surya_layout
26	(464)	main via surya_layout
27	[6. Mālatī]	section_header via surya_layout
28	That elā which is composed with short and long syllables and with alliterations,	main via surya_layout
29	having four feet at will, i.e. of variable length, is held to be malati.	main via surya_layout
30	(465)	main via surya_layout

vol_I_p097 RIGHT — 43 lignes

L#	Texte OCR	Role auto
1	177	page_number via heuristic_pagenum
2	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
3	85. Assigning a seer to each svara is, again, an extension of the Vedic	main via surya_layout
4	tradition.	annotation_inline parent ligne 3 via heuristic_height
5	86. The association of rasas with svaras is reproduced from NS XXVII, 103 cd-	list_item via surya_layout
6	105 ab.	list_item via surya_layout
7	87. The location of svaras in the human body as described here is quite	list_item via surya_layout
8	different from the seven sthanas discussed above in note No. 63.	list_item via surya_layout
9	88. 'Desi' here stands for the manifest realm of sound.	list_item via surya_layout
10	Section V ( Grāma-mūrchanā )	section_header via surya_layout
11	1. Grāma is not just any group of svaras, it is a specific grouping which is the	main via surya_layout
12	basis of the perception of śruti and is also a fundamental categorisation of	main via surya_layout
13	melodies with the consonance of fifth between sa-pa and with the consonance	main via surya_layout
14	of fourth between ri-pa.	annotation_inline parent ligne 13 via heuristic_height
15	2. The analogy of a village inherent in the word grāma is being made	main via surya_layout
16	explicit. BrD is the only text that has explained this point.	main via surya_layout
17	3. NŚ does not mention gāndhāra-grāma; Dattilam (11) and Nā Ši (1.2.6,7)	main via surya_layout
18	do mention it; Dattilam clearly states that it is not to be found here in this world.	main via surya_layout
19	( See glossary )	annotation_inline parent ligne 18 via heuristic_height
20	4. The statement that svaras are born of Sāmaveda should be viewed	list_item via surya_layout
21	alongwith the backdrop of the common belief and oft-repeated platitude that	list_item via surya_layout
22	Indian music is born of Sāmaveda. When something is said to be the origin of	list_item via surya_layout
23	another thing, the general impression is that the origin precedes in time the	list_item via surya_layout
24	thing born of it. But in the case of music this impression could not hold good. It	list_item via surya_layout
25	would be absurd to say that there was no music among the people before	list_item via surya_layout
26	Sāmaveda became formalised or codified. The balanced view would be that	list_item via surya_layout
27	Sāmavedic music was the first to be codified and the codification of the music	list_item via surya_layout
28	of the people came later and that the 'vision' that inspired or guided the Vedic	list_item via surya_layout
29	codification continued to guide the later codification. The statement of our	list_item via surya_layout
30	author that svaras are born of Sāmaveda matches the statement in NŚ (I,17)	list_item via surya_layout
31	that gita (music) was taken by Brahmä from Sāmaveda, just as pāthya (text)	list_item via surya_layout
32	was taken from Rgueda, abhinaya (gesture) from Yajurveda and rasa from	list_item via surya_layout
33	Atharvaveda. To go a step further it would be pertinent to say that the mention	list_item via surya_layout
34	of the Vedic origin of a thing need not be taken to imply Vedic anteriority in	list_item via surya_layout
35	time; it could be interpreted to mean that the Vedic world-view and 'vision' was	list_item via surya_layout
36	the guiding spirit.	list_item via surya_layout
37	5. The number 'two' given here for grāma indicates that the author, in spite	main via surya_layout
38	of mentioning gandhara-grama, does not subscribe to the theory of three gramas.	main via surya_layout
39	6. The objective of grāma, stated here as the systematisation of svara, śruti,	list_item via surya_layout
40	mūrchanā, tāna, jāti and nāga is significant. Being a specific arrangement of intervals	list_item via surya_layout
41	in terms of śruti, grāma systematises svara and śruti; the intervals established in grāma	list_item via surya_layout
42	are strictly followed in murchana, the omission of svaras in tana is guided by the grama	list_item via surya_layout
43	(e.g. pañcama being the distinctive svara in madhyama-grāma, cannot be omitted in the	list_item via surya_layout

vol_I_p046 LEFT — 34 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	74	page_number via heuristic_pagenum
3	इति विप्रकर्षेण प्रवेशनम् ७५।	main via surya_layout
4	-धेन	annotation_inline parent ligne 3 via heuristic_height
5	मार्ववेन यथा- तस्यैव षड्जस्य निषादापेक्षया उत्तरीभूतस्य मार्दवं	main via surya_layout
6	66नाय	annotation_inline parent ligne 5 via heuristic_height
7	शिथिलीकरणं निषादापादनम् इति द्विविधं प्रवेशनम्।	main via surya_layout
8	्द ब्दाः <sup>67</sup>यावत्। इति द्विविधः प्रवेशः	main via surya_layout
9	[ अनु॰ ४९ ]	editorial_bracket parent ligne 8 via heuristic_brackets
10	<b>७</b> निग्रहस्त्वनन्तरस्वरपरित्यागोऽसंस्पर्शनम्।	main via surya_layout
11	०रः स्वपरित्यागास्पदं दर्शनम्	main via surya_layout
12	प्रयोगस्तु यथा—सा सा ग रि, पा पा मा रि।	main via surya_layout
13	तथा चाह भरतः -	annotation_inline parent ligne 12 via heuristic_short
14	69 द्विविधा तानक्रिया तन्त्र्यां प्रवेशनं निग्रहस्तथा। तत्र प्रवेशनमधर-	main via surya_layout
15	.याः	annotation_inline parent ligne 14 via heuristic_height
16	स्वरप्रकर्षादुत्तरस्वरमार्दवाद्वा। निग्रहश्चासंस्पर्शः।"	main via surya_layout
17	•श्चाह ∙स	annotation_inline parent ligne 16 via heuristic_height
18	दत्तिलेनाप्युक्तम् -	main via surya_layout
19	"तानक्रिया द्विधा तन्त्र्या प्रवेशान्निग्रहात्तथा।	main via surya_layout
20	प्रवेशो ध्वनिसादृश्यमसंस्पर्शस्तु निग्रहः।"	main via surya_layout
21	70तत्र प्रध्यन्येक्यमः [दत्तिलम् ३६]	editorial_bracket parent ligne 20 via heuristic_brackets
22	[ अनु₀ ५0 ]	editorial_bracket parent ligne 20 via heuristic_brackets
23	ननु त्रिषु स्थानेषु स्वरप्रयोग इत्युक्तं काकुविधाने। तत्र कतमं स्वर—	main via surya_layout
24	71。代保。	annotation_inline parent ligne 23 via heuristic_height
25	सप्तकमवलम्ब्य मूर्छना कार्येति ये संशेरते तान् प्रत्याह - मध्यम-	main via surya_layout
26	72。红石。	annotation_inline parent ligne 25 via heuristic_height
27	सप्तकेन मूर्जनानिर्देशो भवति मन्द्रतारसंसिद्ध्यर्थम्। कुतः ? मध्यम-	main via surya_layout
28	∘शः <sup>73</sup>कार्यो	annotation_inline parent ligne 27 via heuristic_height
29	74साव ( ? )	annotation_inline parent ligne 27 via heuristic_height
30	सप्तकस्याविनाशित्वादित्यर्थः। भरतेनाप्युक्तम् -	main via surya_layout
31	75"मध्यमस्वरेण [ वैणेन ] मूर्छना-निर्देशो भवत्यविनाशित्वान्मध्यमस्य	editorial_bracket parent ligne 30 via heuristic_brackets
32	CANADA STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, STREET, S	unknown via fallback
33	निग्रहे पर्यग्रहे वा।"	main via surya_layout
34	ंदि	annotation_inline parent ligne 33 via heuristic_height

vol_II_p094 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	171	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Combined with dhaivata as the initial and concluding note, complete,	main via surya_layout
4	delightful to the people, having concert between dhaivata - niṣāda and ṣadja-	main via surya_layout
5	gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full	main via surya_layout
6	of rasa and is also dear to the deity. 50 In performance, it is characterised	main via surya_layout
7	by smoothness and continuity by the singers bedecked with svaras.	main via surya_layout
8	<math>(111-112)</math>	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā	main via surya_layout
10	dhādhārisāmādhānidhādhā. Bāṅgālī [vi]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having madhyama as amśa, dhaivata as the concluding note, being weak in	main via surya_layout
12	pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja-	main via surya_layout
13	gāndhāra, saindhavī has been known to be born of the Sindhu region and to	main via surya_layout
14	bear a regional name.	main via surya_layout
15	(113)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā	main via surya_layout
17	māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā	main via surya_layout
18	mādhādhādhā. Saindhavī [vii]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is	main via surya_layout
20	comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in	main via surya_layout
21	niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is	main via surya_layout
22	beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga).	main via surya_layout
23	<math>(114-115)</math>	annotation_inline parent ligne 22 via heuristic_height
24	Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā	main via surya_layout
25	dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama	main via surya_layout
27	being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja-	main via surya_layout
28	dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known	main via surya_layout
29	as pulindikā, is pentatonic and subsists in (bhinna) sadja.54	main via surya_layout
30	<math>(116-117)</math>	annotation_inline parent ligne 29 via heuristic_height

186 lignes a valider — change uniquement les roles incorrects.

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vol_I_p102 RIGHT — 49 lignes

vol_II_p125 RIGHT — 30 lignes

vol_I_p097 RIGHT — 43 lignes

vol_I_p046 LEFT — 34 lignes

vol_II_p094 RIGHT — 30 lignes