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 20801). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p053 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	89	page_number via heuristic_pagenum
3	The first alternative does not hold good. Why? Because of this rāga being	main via surya_layout
4	complete (with seven svaras). Hence the second alternative alone is	main via surya_layout
5	stronger. Why is it said to be prominent among the six rāgas? Because of	main via surya_layout
6	the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On	main via surya_layout
7	account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been	main via surya_layout
8	indicated in the beginning.	main via surya_layout
9	Suddhaṣāḍava is born of the modified madhyamā jāti.	main via surya_layout
10	Its <i>nyāsa</i> is	annotation_inline parent ligne 9 via heuristic_height
11	madhyama, which is also the amśa and gāndhāra is weak in it.	main via surya_layout
12	(300)	annotation_inline parent ligne 11 via heuristic_height
13	[ Anu. 165 ]	section_header via surya_layout
14	This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high)	main via surya_layout
15	madhyama is its graha. Madhyama is the amśa and nyāsa and there is the	main via surya_layout
16	sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33	main via surya_layout
17	It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is	main via surya_layout
18	the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins.	main via surya_layout
19	There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā	main via surya_layout
20	beginning with madhyama obtains here. The avarohin (descending) varņa,34	main via surya_layout
21	prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla	main via surya_layout
22	The kalā<sup>37</sup> (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains	main via surya_layout
23	in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38	main via surya_layout
24	obtains in the svaras and padas (units of text).	main via surya_layout
25	Ākṣiptikā.....	table via surya_layout
26	[2. Suddhapañcama]	table via surya_layout
27	*********	table via surya_layout
28	[ Anu. 166 ]	table via surya_layout
29	Šuddhapancama is known to be born of şadjodicyavatī jāti.	table via surya_layout
30	---------------------------------------	table via surya_layout
31	[3. Šuddhasādhārita]	section_header via surya_layout
32	It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis	main via surya_layout
33	(gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti	main via surya_layout
34	is the śuddhasādhārita.	annotation_inline parent ligne 33 via heuristic_height
35	(301)	annotation_inline parent ligne 33 via heuristic_height
36	A Section of the second section of the section of the section of the section of the section of the section of the sectio	annotation_inline parent ligne 33 via heuristic_height

vol_II_p059 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	101	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 180]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-leaving the other jāti and taking up its own root i.e. bedecked	main via surya_layout
5	with its own jāti and kula (is formed the śuddhabhinna).54	main via surya_layout
6	[4. Bhinnakaisika]	section_header via surya_layout
7	[Anu. 181]	editorial_bracket parent ligne 6 via heuristic_brackets
8	The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika.	main via surya_layout
9	What is then the difference? The difference is formed by gīti. Śuddhakaiśika	main via surya_layout
10	is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung	main via surya_layout
11	This is being said -	annotation_inline parent ligne 10 via heuristic_height
12	The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in	main via surya_layout
13	śuddhakaiśika, the rāga is not elaborated with the same svasthāna in	main via surya_layout
14	bhinnakaisika. And its description is thus -	main via surya_layout
15	Bhinnakaiśika is known by the knowledgeable ones in svara to have a form	main via surya_layout
16	similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa	main via surya_layout
17	(and) is complete with the seven svaras.	main via surya_layout
18	(311)	annotation_inline parent ligne 17 via heuristic_height
19	[Anu. 182]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means - bhinnakaiśika is related to madhyamagrāma on account of being	main via surya_layout
21	born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the	main via surya_layout
22	nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like	main via surya_layout
23	śuddhakaiśika, yet there is a difference. This has abundance of mandra (low	main via surya_layout
24	notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in	main via surya_layout
25	śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that	main via surya_layout
26	svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and	main via surya_layout
27	thus it becomes distinct on account of difference in form. Its application is	main via surya_layout
28	prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas.	main via surya_layout
29	The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is	main via surya_layout
30	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
31	vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains	main via surya_layout
32	in the songs comprised of svara and pada.	main via surya_layout
33	(Śruti-bhinna)	section_header via surya_layout
34	Now he (the author) has spoken of the definition of śruti-bhinna -	main via surya_layout
35	Where the svara comprised of four śrutis is modified by the one comprised of two	main via surya_layout
36	śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.	main via surya_layout
37	(312)	annotation_inline parent ligne 36 via heuristic_height

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_p059 LEFT — 53 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	100	page_number via heuristic_pagenum
3	उद्घट्टितः। [ यथा - ] सरिमप पमरिस, रिगपध धपगरि, गमधनि निधमग, मपनिस	editorial_bracket parent ligne 9 via heuristic_brackets
4	रि	annotation_inline parent ligne 9 via heuristic_height
5	सा	annotation_inline parent ligne 9 via heuristic_height
6	धा	annotation_inline parent ligne 9 via heuristic_height
7	सा	annotation_inline parent ligne 9 via heuristic_height
8	पा	annotation_inline parent ligne 9 via heuristic_height
9	सनिपम् अपधनिस । सनिपम मपनिस, निधमग गमधनि, धपगरि रिगमध, पमरिस	main via surya_layout
10	नी	annotation_inline parent ligne 9 via heuristic_short
11	री	main via surya_layout
12	सा	annotation_inline parent ligne 11 via heuristic_height
13	गा	annotation_inline parent ligne 11 via heuristic_height
14	धा	annotation_inline parent ligne 11 via heuristic_height
15	सा	annotation_inline parent ligne 11 via heuristic_height
16	मा	annotation_inline parent ligne 11 via heuristic_height
17	सरिमप, मगरिस [ इति ] उद्घट्टितः।	editorial_bracket parent ligne 11 via heuristic_brackets
18	[ २५ ]	editorial_bracket parent ligne 11 via heuristic_brackets
19	पा	annotation_inline parent ligne 11 via heuristic_height
20	सा	annotation_inline parent ligne 11 via heuristic_height
21	अन्₀ ९५ ]	section_header via surya_layout
22	त्रिभिः स्वररारोहक्रमेण वा एककलादारभ्य यावत् षट्कलमित्येवं	main via surya_layout
23	कलामानादाक्षिप्तकः। [ यथा - ] सरिगा नु रिगमा नु गमपा नु मपधा नु पधनी नु	editorial_bracket parent ligne 22 via heuristic_brackets
24	धनिसा नु सनिधा नु निधपा नु धपमा नु पमगा नु मगरी नु गरिसा नु	main via surya_layout
25	२६ ।	annotation_inline parent ligne 24 via heuristic_short
26	इत्याक्षिप्तकः ।	main via surya_layout
27	अनु, ९६	section_header via surya_layout
28	प्रथमात् स्वरा [ द ] नन्तरं परित्यज्य स्वरद्वये च गत्वा तेनैव	editorial_bracket parent ligne 27 via heuristic_brackets
29	क्रमेणा-	main via surya_layout
30	व ] रोहणादेककलादवरोहणेऽपि चैककल इति द्विकलसम्प्रदानश्च द्वाविंशतिकलः। [यथा -]	editorial_bracket parent ligne 29 via heuristic_brackets
31	सगमा मरिसा, रिमपा पगरी, गपधा धमगा, मधनी निपमा, पनिसा	main via surya_layout
32	संधपा, धनिसा। संधपा पनिसा, निपमा मधनी, धमगा गपधा, पगरी रिमपा, मरिसा संगमा,	main via surya_layout
33	गरिसा सम्प्रदानः। अथवा सगमा मगसा, रिमपा पमरी, गपधा धपगा, मधनी निधमा,	main via surya_layout
34	पा	annotation_inline parent ligne 33 via heuristic_height
35	म	annotation_inline parent ligne 33 via heuristic_height
36	पनिसा सनिपा, धनिसा। सधपा पधसा, निपमा मपनी, धमगा गमधा, पगरी रिगपा,	main via surya_layout
37	[ २७ ]	editorial_bracket parent ligne 36 via heuristic_brackets
38	मरिसा सरिमा, गरिसा इति सम्प्रदानः ।	main via surya_layout
39	अन्० ९७	section_header via surya_layout
40	सम्प्रदानस्यैव द्विकलयोगेन हसनाद्धसितः। [ यथा -] सग मम रिस, रिम पप गरि,	editorial_bracket parent ligne 39 via heuristic_brackets
41	गप धध मग, मध निनि पम, पनि सस धप, अधनिस सध पप निस, निप मम धनि,	main via surya_layout
42	₹,	annotation_inline parent ligne 41 via heuristic_height
43	धम गग पध, पग रिरि मप, मरि सस गम, गरिस [ इति ] हसितः।	editorial_bracket parent ligne 41 via heuristic_brackets
44	Ⅰ २८ ]	editorial_bracket parent ligne 41 via heuristic_brackets
45	गा	annotation_inline parent ligne 41 via heuristic_height
46	धा	annotation_inline parent ligne 41 via heuristic_height
47	मा	annotation_inline parent ligne 41 via heuristic_height
48	सा	annotation_inline parent ligne 41 via heuristic_height
49	सा	annotation_inline parent ligne 41 via heuristic_height
50	पा	annotation_inline parent ligne 41 via heuristic_height
51	[ अनु。 ९८ ]	section_header via surya_layout
52	ह्सितवत् स्वरत्रयारोहणेन चतुष्टयारोहणेन वा उभयथाप्येककलो हुद्कारः। [यथा -]	editorial_bracket parent ligne 51 via heuristic_brackets
53	सरिगा गरिसा, रिगमा मगरी, गमपा पमगा, मपधा धपमा, पधनी निधपा, धनिसा	main via surya_layout

vol_I_p036 LEFT — 29 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDES!</b>	page_header via surya_layout
2	54	page_number via heuristic_pagenum
3	आरोहणावरोहणक्रमेण स्वरसप्तकम्।	main via surya_layout
4	मूर्छनाशब्दवाच्यं हि विज्ञेयं तद् विचक्षणैः ॥ ९१ ॥	main via surya_layout
5	अनु. ३६	section_header via surya_layout
6	सा च मूर्छना द्विविधा-सप्तस्वरमूर्छना द्वादशस्वरमूर्छना चेति। तत्र	main via surya_layout
7	सप्तस्वरमूर्छना चतुर्विधा- पूर्णा, षाडवा, औडुविता, साधारणा चेति।	main via surya_layout
8	तत्र सप्तभिः स्वरैर्या गीयते सा पूर्णा। षड्भिः स्वरैर्या गीयते सा	main via surya_layout
9	षाडवा। पञ्चिभः स्वरैर्या गीयते सा औडुविता। काकल्यन्तरस्वरैर्या	main via surya_layout
10	13:56	annotation_inline parent ligne 9 via heuristic_short
11	गीयते सा साधारणा।	main via surya_layout
12	,पी14	main via surya_layout
13	[ अनु. ३७ ]	section_header via surya_layout
14	ii<br>L	unknown via fallback
15	इदानीं मूर्छनामण्डलमुच्यते। तत्र परिपाट्याहितत्वेन प्रवृत्तत्वात्	main via surya_layout
16	सप्तस्वराणां मूर्छनानां प्रतिग्राममेकोनपञ्चाशत् स्वराः कोष्ठाश्च भवन्ति।	main via surya_layout
17	तद्यथा—	section_header via surya_layout
18	एकोनाः खलु पञ्चाशत् कर्तव्याः स्वरसंयुताः।	main via surya_layout
19	₀ण्डू ( ? )	annotation_inline parent ligne 18 via heuristic_markers
20	तिर्यगृध्वं च रेखाभिरष्टभिश्चैव कोष्ठकाः ॥९२॥	main via surya_layout
21	[ अनु. ३८ ]	section_header via surya_layout
22	तत्र स-नि-ध-प-म-ग-रीत्याद्याः सप्त षड्जग्रामे।	main via surya_layout
23	म-ग-रि-स-नि-ध-पाद्याः सप्त मध्यमग्रामे।	main via surya_layout
24	तिर्यगृर्ध्वगा अपि स्वरा:15 कार्या:1 तद्यथा—	main via surya_layout
25	नि-ध-प-म-ग-रि-सा इति षड्जग्रामे।	main via surya_layout
26	ग-रि-सं-नि-ध-प-मा16 इति 17मध्यमग्रामे॥	main via surya_layout
27	एवं तावदुभयग्रामिक्यश्चतुर्दश मूर्छनाः संपूर्णाः।	main via surya_layout
28	स-रि-ग-म-प-ध-नि	annotation_inline parent ligne 27 via heuristic_short
29	नि-स-रि-ग-म-प-ध	main via surya_layout

198 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p053 RIGHT — 36 lignes

vol_II_p059 RIGHT — 37 lignes

vol_I_p097 RIGHT — 43 lignes

vol_I_p059 LEFT — 53 lignes

vol_I_p036 LEFT — 29 lignes