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_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_I_p029 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	41	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The vadi-maṇḍala in madhyama-grāma is thus - ma pa dha ni sa ri ga.	main via surya_layout
4	The samvādi-mandala in madhyama-grāma is thus-	main via surya_layout
5	ma	unknown via surya_layout
6	pa	unknown via surya_layout
7	ga	unknown via surya_layout
8	Γi	unknown via surya_layout
9	dha	unknown via surya_layout
10	ni	unknown via surya_layout
11	sa	unknown via surya_layout
12	•	annotation_inline parent ligne 4 via heuristic_height
13	The anuvādi-maṇḍala in madhyama-grāma is thus -	main via surya_layout
14	ŧ	annotation_inline parent ligne 13 via heuristic_height
15	ma	unknown via surya_layout
16	pa	unknown via surya_layout
17	ga	unknown via surya_layout
18	<math>\vec{\Pi}</math>	unknown via surya_layout
19	dha	unknown via surya_layout
20	.	annotation_inline parent ligne 13 via heuristic_height
21	ni	unknown via surya_layout
22	sa	unknown via surya_layout

vol_II_p054 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	91	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 167]	section_header via surya_layout
4	This means – śuddhasādhārita rāga is related to ṣaḍjagrāma on account of	main via surya_layout
5	being born of şadjamadhyamā jāti. Tāra (high) şadja is the graha and amśa	main via surya_layout
6	and madhyama is the nyāsa. There is the sparseness of niṣāda and gāndhāra.	main via surya_layout
7	It is complete (with all the svaras). Its application is prescribed in the garbha-	main via surya_layout
8	sandhi. 39 Vīra, raudra and the like (perhaps adbhuta also) are the rasas. The	main via surya_layout
9	mūrchanā beginning with ṣaḍja obtains. Avarohin (descending) is the varṇa	main via surya_layout
10	and prasannānta the alarikāra. The kalā is formed in the dakṣiṇa (mārga), the	main via surya_layout
11	kalā obtains in the vṛtti (mārga), the kalā prevails in the citra (mārga). In the	main via surya_layout
12	song comprised of svaras and padas a tāla like caccatpuṭa obtains.	main via surya_layout
13	[4. Śuddhakaiśikamadhyama]	section_header via surya_layout
14	Suddhakaisikamadhyama is born of kaisikī and şadjamadhyamā. Şadja is its	main via surya_layout
15	amśa, madhyama the nyāsa and ṛṣabha – pañcama are omitted.	main via surya_layout
16	(302)	annotation_inline parent ligne 15 via heuristic_height
17	[Anu. 168]	section_header via surya_layout
18	This means—the <i>rāga śuddhakaiśikamadhyama</i> is related to <i>ṣaḍjagrāma</i> on	main via surya_layout
19	account of being born of kaiśikī and şadjamadhyamā jātis. (Contention) Kaiśikī	main via surya_layout
20	ŧ	annotation_inline parent ligne 19 via heuristic_height
21	is related to madhyamagrāma and ṣadjamadhyamā to ṣadjagrāma, hence this	main via surya_layout
22	(<math>r\bar{a}ga</math>) is related to both the <math>gr\bar{a}mas^{40}</math>. This is the implication. On account	main via surya_layout
23	of being devoid of ṛṣabha-pañcama, this is related only to ṣaḍjagrāma. In	main via surya_layout
24	madhyamagrāma, the omission of ṛṣabha-pañcama does not take place; this is	main via surya_layout
25	the implication. Tāra (high) ṣaḍja is its graha and aniśa. Madhyama is the	main via surya_layout
26	nyāsa. There is the weakness of niṣāda and gāndhāra. The omission of	main via surya_layout
27	pañcama and ṛṣabha obtains. Niṣāda is kākalī here. It is pentatonic. It is used	main via surya_layout
28	in the <i>nirvahaṇa (sandhi</i>).<sup>41</sup> The <i>mūrchanā</i> beginning with <i>ṣaḍja</i> obtains.	main via surya_layout
29	Raudra, vīra and the like is the rasa. Prasannānta is the alankāra.	main via surya_layout
30	..................	annotation_inline parent ligne 29 via heuristic_height
31	[5. Šuddhakaisika]	section_header via surya_layout
32	Kaišika has ṣaḍja as its amśa and pañcama as its nyāsa, is born of kaišikī jāti	main via surya_layout
33	and kārmāravī jāti and is with complete svaras.	main via surya_layout
34	(303)	annotation_inline parent ligne 33 via heuristic_height

vol_II_p103 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	189	page_number via heuristic_pagenum
3	panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā.	main via surya_layout
4	Ravicandrā [ii]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Having madhyama as amśa and ṣaḍja as the concluding note, (that which)	main via surya_layout
6	is known as complete in <i>hindola</i> (lit. swing) by the spectators (of drama), is	main via surya_layout
7	bhinnapaurālī bhāṣā, always sung with proper svaras.	main via surya_layout
8	(10)	annotation_inline parent ligne 7 via heuristic_short
9	Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā	main via surya_layout
10	maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having pañcama as amśa and ṣaḍja as the concluding note, this (bhāṣā)	main via surya_layout
12	born of drāvida region is always sung in the (context of the ) search on the	main via surya_layout
13	part of one who has lost his way.8	main via surya_layout
14	(11)	annotation_inline parent ligne 13 via heuristic_short
15	Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā	main via surya_layout
16	nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv]	editorial_bracket parent ligne 15 via heuristic_brackets
17	Having gāndhāra as amśa and ṣadja as the concluding note, the vibhāṣā	main via surya_layout
18	pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by	main via surya_layout
19	Umādevī.9	annotation_inline parent ligne 18 via heuristic_short
20	(12)	main via surya_layout
21	Illustration - <math>G</math>āgāgāri sādhāsāsī rīgāgā māgārisī. <math>D</math>hāsāpādhā pagāpādhāsu irigāpā.	main via surya_layout
22	<math>M</math>āgarisāmā risādhārisāsāri. <math>D</math>hāsārigāgā māmāgarisā ririgā ririsā rīsāpā. <math>D</math>hāsapā.	main via surya_layout
23	Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v]	editorial_bracket parent ligne 22 via heuristic_brackets
24	Combined with <i>ṣadja</i> as <i>amśa</i> and <i>nyāsa</i>, complete, born in the mountainous	main via surya_layout
25	region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of)	main via surya_layout
26	women excelling in bashfulness or men excelling in fame.<sup>10</sup>	main via surya_layout
27	(13)	annotation_inline parent ligne 26 via heuristic_short
28	Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani	main via surya_layout
29	sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā.	main via surya_layout
30	Risāmāgāri sānīsāsāsā. Pārvatī [vi]	editorial_bracket parent ligne 29 via heuristic_brackets
31	Thus end the <i>bhāṣās</i> in <i>hindolaka</i> according to	main via surya_layout
32	the opinion of Śārdūla.	main 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

Legende des roles

vol_II_p057 RIGHT — 37 lignes

vol_I_p029 RIGHT — 22 lignes

vol_II_p054 RIGHT — 34 lignes

vol_II_p103 RIGHT — 32 lignes

vol_I_p046 LEFT — 34 lignes