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_p040 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	63	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mā mā mā mā mā mā mā mā	table via surya_layout
4	(4)	table via surya_layout
5	dhā nī pā mapa dhā nī pā pā	table via surya_layout
6	(5)	table via surya_layout
7	(6)	table via surya_layout
8	mā pā mā dhani pā pā pā pā	table via surya_layout
9	(7)	table via surya_layout
10	rî gā mā pā pā pā mā pā	table via surya_layout
11	(8)	table via surya_layout
12	rī gā mā pā pā pā mā pā	table via surya_layout
13	(9)	table via surya_layout
14	pā pā pā pā pā pā pā pā	table via surya_layout
15	(10)	table via surya_layout
16	rī gā sā sā rī gā gā gā	table via surya_layout
17	(11)	table via surya_layout
18	gã gã pã dhama dhã nidha pã pã	table via surya_layout
19	(12)	table via surya_layout
20	mā pā mā pariga gā gā gā gā	table via surya_layout
21	Thus ends raktagāndhārī.	section_header via surya_layout
22	[4. Kaiśikī]	section_header via surya_layout
23	In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the	main via surya_layout
24	amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis	main via surya_layout
25	(gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know	main via surya_layout
26	niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas.	main via surya_layout
27	(11)	annotation_inline parent ligne 26 via heuristic_short
28	The hexatonic and pentatonic forms are known to come into being with	main via surya_layout
29	the omission of <i>rṣabha</i> and <i>rṣabha-dhaivata</i>. <i>Rṣabha</i> is sparse, there is the	main via surya_layout
30	abundance of niṣāda and pañcama. The amsas have mutual concert.	main via surya_layout
31	(12)	annotation_inline parent ligne 30 via heuristic_short
32	Pañcama and dhaivata are averse to the hexatonic and pentatonic forms	main via surya_layout
33	respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā	main via surya_layout
34	beginning with gāndhāra obtains.	main via surya_layout
35	(13)	annotation_inline parent ligne 34 via heuristic_short
36	The application is (prescribed) in the dhruvā pertaining to the fifth act.	main via surya_layout
37	Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting	main via surya_layout
38	rṣabha or seven svaras are apanyāsas. The prastāra is thus -	main via surya_layout
39	(1)	table via surya_layout
40	pā dhani pā dhani gā gā gā gā	table via surya_layout
41	pā pā mā nidha nidha pā pā pā	table via surya_layout
42	(2)	table via surya_layout

vol_II_p072 LEFT — 31 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	126	page_number via heuristic_pagenum
3	युद्धवीरेऽस्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नान्तोऽलङ्कारः ।	main via surya_layout
4	॰(र्य?रे)	annotation_inline parent ligne 3 via heuristic_markers
5	दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
6	[साधारणरागाणां ग्रामविभागः]	section_header via surya_layout
7	इदानीं साधारणानां ग्रामविभाग: प्रदर्श्यते -	main via surya_layout
8	भम्माणपञ्चमो ज्ञेयो मध्यमग्रामसम्भव:।	main via surya_layout
9	गान्धारपञ्चमो नर्त: षड्जकैशिक एव च ॥ ३४२॥	main via surya_layout
10	रूपसाधारितो रागः शकः ककुभ एव च।	main via surya_layout
11	रेवगुप्तस्तु षड्जाख्ये ज्ञेयः पञ्चमषाडवः ॥	main via surya_layout
12	(뭐)	annotation_inline parent ligne 11 via heuristic_height
13	सप्त[नव ?] साधारणाः प्रोक्ता ग्रामद्वयसमाश्रयाः ॥३४३॥	editorial_bracket parent ligne 11 via heuristic_brackets
14	(माश्र)	annotation_inline parent ligne 11 via heuristic_height
15	[ग्रामरागाणां मूर्छना-निर्देशस्य आधार:]	section_header via surya_layout
16	[अनु॰२१३]	editorial_bracket parent ligne 15 via heuristic_brackets
17	ननु पूर्वोक्तानां[ग्रामरागाणां]<sup>१११</sup> मूर्छनाविशेष-निर्देश: कस्माज्जायत इति [चेत्]<sup>११२</sup>	editorial_bracket parent ligne 15 via heuristic_brackets
18	उच्यते । आसवचनान्पूर्छनानिर्देशो ज्ञायते । तथा चाह काश्यप: -	main via surya_layout
19	११३कश्यप:	annotation_inline parent ligne 18 via heuristic_height
20	(आसवचनाद्)	annotation_inline parent ligne 18 via heuristic_height
21	९१४‘‘ज्ञात्वा जात्यंशबाहुल्यं निर्देश्या मूर्छना बुधै:।”	main via surya_layout
22	[गीतरागयोर्भेद:]	section_header via surya_layout
23	[अनु॰ २१४] .	editorial_bracket parent ligne 22 via heuristic_brackets
24	नन् गीतरागयो: को भेद:<sup>११५ ।</sup> उच्यते । दशलक्षणलिक्षतं गीतं रागशब्दाभिधेयम् ।	main via surya_layout
25	<sup>११६</sup> शब्देनाभिधीयते	annotation_inline parent ligne 24 via heuristic_height
26	॰(यो:को)	annotation_inline parent ligne 24 via heuristic_markers
27	गीतं चतुरङ्गेपेतम् , ध्रुवायोगात् पञ्चविधम् । कुत <sup>११७</sup>एतद् विज्ञायते ? आसवचनात् ।	main via surya_layout
28	तथा	annotation_inline parent ligne 27 via heuristic_height
29	एव	annotation_inline parent ligne 27 via heuristic_height
30	चाह काश्यप: -	annotation_inline parent ligne 27 via heuristic_height
31	११८कश्यप:	main via surya_layout

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_I_p011 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	5	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	The state of being consonant (vyanjanatva) is common to all the (seven)	main via surya_layout
4	groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the	main via surya_layout
5	state of Siva simply on account of (its) manifestation through Sakti (svara). (8)	main via surya_layout
6	Varņas (letters and syllables) are known as such because they delineate the	main via surya_layout
7	whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18	main via surya_layout
8	(sentence) and through the conveying of the meaning of sentence. (9)	main via surya_layout
9	This pada 19 is always known by the wise to be preceded by syllable (varna)	main via surya_layout
10	i.e. the former presupposes the latter. The sentence, on the other hand, is a	main via surya_layout
11	combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing	main via surya_layout
12	about the action denoted by a verb) (and) is made up of words. (10)	main via surya_layout
13	From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great	main via surya_layout
14	sentence) and in succession (arise) the Vedas with their angas 23 (anciliary	main via surya_layout
15	disciplines); all those are manifested from dhvani. From there (Vedas) is the	main via surya_layout
16	origin of Gandharva<sup>24</sup> (music). (11)	main via surya_layout
17	Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of	main via surya_layout
18	everything. The whole world of immobile and mobile (beings) is encompassed	main via surya_layout
19	by dhvani. (12)	annotation_inline parent ligne 18 via heuristic_height
20	Dhvani is said to be twofold according to (its) division into manifest and	main via surya_layout
21	unmanifest (states). Being manifest on account of the obtaining of varnas 26 it	main via surya_layout
22	(dhvani) has reached the countenance (beginning) of desi. (13)	main via surya_layout
23	Thus ends the origin of desi.	main via surya_layout
24	[The definition of dest and marga ]	section_header via surya_layout
25	That which is sung by women, children, cowherds and kings<sup>27</sup> out of their	main via surya_layout
26	own will with love (and pleasure) in their own (respective) regions is called desi	main via surya_layout
27	(music). (14)	annotation_inline parent ligne 26 via heuristic_height
28	This mārga 28 (course) (of deśi) is known to be twofold viz. that which is	main via surya_layout
29	nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound,	main via surya_layout
30	relatively less structured). That which is structured through ālāpa (melodic	main via surya_layout
31	elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is	main via surya_layout
32	called desi. (15, 16ab).	annotation_inline parent ligne 31 via heuristic_height

vol_II_p062 LEFT — 29 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	106	page_number via heuristic_pagenum
3	[अनु॰ १८८]	editorial_bracket parent ligne 4 via heuristic_brackets
4	अस्यार्थ: - गौडकैशिको रागो मध्यमग्रामसम्बन्ध: कैशिकोषड्जमध्यमाभ्यां जात:	main via surya_layout
5	रा(मो?गो)	annotation_inline parent ligne 4 via heuristic_height
6	षड्जोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यास:। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति<sup>६४</sup>।	main via surya_layout
7	त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि	main via surya_layout
8	ग्रामद्वयजातौ जात:, तथापि मध्यमोऽस्य ग्राम:, न षड्ज:<sup>६५</sup> । तथा दर्शनात् । करुणे चास्य	main via surya_layout
9	पद्जी	annotation_inline parent ligne 8 via heuristic_height
10	मध्यम:	annotation_inline parent ligne 8 via heuristic_height
11	विनियोगः । वीरादिको रसः। षड्जादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला,	main via surya_layout
12	वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
13	[३.गौडकैशिकमध्यम:]	section_header via surya_layout
14	<sup>६६</sup>षड्जांशो मध्यमन्यास: षड्जमध्यमया कृत: ।	main via surya_layout
15	॰मध्यम(वा?या)	annotation_inline parent ligne 14 via heuristic_markers
16	परिपूर्णस्वर: प्रोक्तो गौडकैशिकमध्यम: ॥ ३१८॥	main via surya_layout
17	[अन्॰ १८९]	section_header via surya_layout
18	अस्यार्थ: - गौडकैशिकमध्यम: षड्जग्रामसम्बन्ध: षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य	main via surya_layout
19	प(इज)मध्यमाजाते(त?)र्जातत्वात्	main via surya_layout
20	ग्रहोंऽशश्च । मध्यमो न्यास: । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोग: ।	main via surya_layout
21	वीरादिको रस:। षड्जादिमूर्छना। आरोही वर्ण:। प्रसन्नमध्योऽलङ्कार:। दक्षिणे कला, वार्तिके	main via surya_layout
22	कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	unknown via fallback
23	[गौडरागाणां ग्रामविभाग:]	section_header via surya_layout
24	इदानीं गौडानां ग्रामविभागमाह -	main via surya_layout
25	गौडपञ्चमक: षड्जे गौडकैशिकमध्यम:।	main via surya_layout
26	॰पञ्चं(ग?क):	annotation_inline parent ligne 25 via heuristic_markers
27	गौडकैशिकरागस्तु मध्यमग्रामसंश्रय:॥	main via surya_layout
28	त्रयो गौडा: समाख्याता रागान् वक्ष्याम्यत: परम् ॥ ३१९॥	main via surya_layout
29	(vide)	annotation_inline parent ligne 28 via heuristic_height

Legende des roles

vol_II_p040 RIGHT — 42 lignes

vol_II_p072 LEFT — 31 lignes

vol_II_p071 RIGHT — 36 lignes

vol_I_p011 RIGHT — 32 lignes

vol_II_p062 LEFT — 29 lignes