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 20861). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p060 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	103	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 183]	editorial_bracket parent ligne 5 via heuristic_brackets
4	[This means -] when niṣāda takes up the two śrutis of pañcama<sup>58</sup> that is	editorial_bracket parent ligne 5 via heuristic_brackets
5	comprised of four śrutis, then it is called śrutibhinna. (Contention)-Because	main via surya_layout
6	pañcamais comprised of three śrutisin madhyamagrāma, how does niṣāda take	main via surya_layout
7	up two śrutis? It is being answered. It is said to be comprised of four śrutis	main via surya_layout
8	on the analogy of its former position. Just as in bhinnakaiśika rāga, the	main via surya_layout
9	pañcama comprised of three śrutis has been omitted in şadjagrāma, 59 taking	main via surya_layout
10	recourse to its form comprised of four śrutis, similarly it will happen here also	main via surya_layout
11	and hence there is no fault. And its description is thus -	main via surya_layout
12	. . . . . . . . . . . . . . . . . . . .	annotation_inline parent ligne 11 via heuristic_height
13	[5. Bhinnatāna]	section_header via surya_layout
14	Tāna has madhyama as nyāsa, pañcama as amsa, is with sparse seventh	main via surya_layout
15	(niṣāda), comes of madhyamā and pañcamī jātis and is weak in respect of	main via surya_layout
16	rsabha.	annotation_inline parent ligne 15 via heuristic_height
17	(313)	annotation_inline parent ligne 15 via heuristic_height
18	[Anu. 184]	editorial_bracket parent ligne 15 via heuristic_brackets
19	This means-bhinnatāna is related to madhyamagrāma on account of being	main via surya_layout
20	born of madhyamā and pañcamī jātis. Pañcama is the graha and amśa,	main via surya_layout
21	madhyama is the nyāsa. There is the sparseness of madhyama and niṣāda.	main via surya_layout
22	Niṣāda is kākalī here and this (rāga) is complete. It is used in mature karuņa	main via surya_layout
23	(rasa).60 The mūrchanā beginning with pañcama obtains. Sañcārin is the	main via surya_layout
24	varņa, prasannādi is the alarikāra. The kalā is formed in the dakṣiṇa (mārga),	main via surya_layout
25	the <math>kal\bar{a}</math> obtains in the <math>v_itti</math> (<math>m\bar{a}rga</math>) and the <math>kal\bar{a}</math	main via surya_layout
26	A tāla like caccatpuţa obtains in the songs comprised of svara and pada.	main via surya_layout
27	[The assignment of bhinna-rāgas to grāmas]	section_header via surya_layout
28	[Anu. 185]	editorial_bracket parent ligne 27 via heuristic_brackets
29	The assignment of bhinna (rāgas) to grāmas has been said by Kāsyapa. That	main via surya_layout
30	is thus -	annotation_inline parent ligne 29 via heuristic_height
31	٠	page_number via heuristic_pagenum
32	"Bhinna-ṣaḍja pertains to ṣaḍja (grāma) and so does bhinnakaiśikamadhyama.	main via surya_layout
33	(Bhinna) pañcama, (bhinna) kaiśika, (bhinna) tāna are seated in madhyamagrāma."	main via surya_layout
34	Thus bhinnas have been explained, now listen to the gaudas.	main via surya_layout
35	(314)	annotation_inline parent ligne 34 via heuristic_height

vol_I_p055 LEFT — 40 lignes

L#	Texte OCR	Role auto
1	92	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	[ अनु₀ ७५ ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	स्वरे षड्जादिरूपे स्थित्वा तदीयतारमग्निवत् स्पृष्ट्वा कलामेकां च	main via surya_layout
5	चिरमेकस्मिन्	annotation_inline parent ligne 4 via heuristic_short
6	स्थित्वा यत्र पुनरपि सहसा मन्द्र आगम्यते, स बिन्दुः । यथा - सा [ स ] सा इति	editorial_bracket parent ligne 4 via heuristic_brackets
7	ुमा	annotation_inline parent ligne 4 via heuristic_height
8	या	annotation_inline parent ligne 4 via heuristic_height
9	[६]	editorial_bracket parent ligne 4 via heuristic_brackets
10	बिन्दुः।	main via surya_layout
11	[ अनु₀ ७६ ]	editorial_bracket parent ligne 10 via heuristic_brackets
12	एककलान्तरं स्पृष्ट्वा बिन्दोरेव विपर्ययोच्चारणा [ -त् ]	editorial_bracket parent ligne 10 via heuristic_brackets
13	प्रवृत्तविनिवृत्तत्वान्निवृत्तप्रवृत्ताख्यः। यथा— सा सासा [ इति ] निवृत्तप्रवृत्तः ।	editorial_bracket parent ligne 10 via heuristic_brackets
14	[ 9 ]	editorial_bracket parent ligne 10 via heuristic_brackets
15	द्निवृत्तास्यः।	main via surya_layout
16	,तो,	annotation_inline parent ligne 15 via heuristic_short
17	₀त (?)	annotation_inline parent ligne 15 via heuristic_markers
18	[ अनु₀ ७७ ]	editorial_bracket parent ligne 15 via heuristic_brackets
19	आक्रीडितवदारोहावरोहक्रमेण सप्तकलो वेणुः। यथा—सरिगमपधनि निधपमगरिस ।	main via surya_layout
20	ष (ष्क ? द्क ) लो	annotation_inline parent ligne 19 via heuristic_short
21	6	page_number via heuristic_pagenum
22	इति विणुः।	main via surya_layout
23	[ अनु。 ७८ ]	editorial_bracket parent ligne 22 via heuristic_brackets
24	मन्द्रसप्तकमध्ये पवननिरोधेन १६त्रिश्रुतेः कम्पनात् कम्पितस्त्रिकलः। यथा-	main via surya_layout
25	<b>.म. ्नी (?)</b> हि	main via surya_layout
26	सरिगमपधनिस [ इति ] कम्पितः।	editorial_bracket parent ligne 25 via heuristic_brackets
27	[९]	editorial_bracket parent ligne 25 via heuristic_brackets
28	सा₀	annotation_inline parent ligne 25 via heuristic_markers
29	[ अनु₀ ७९ ]	editorial_bracket parent ligne 25 via heuristic_brackets
30	मध्यसप्तके त्रिश्रुतेः कम्पनात् त्रिकलः कुहरितः। यथा—सरिगमपधनिस [ इति ]	editorial_bracket parent ligne 25 via heuristic_brackets
31	,सा	main via surya_layout
32	कुहरितः।	annotation_inline parent ligne 31 via heuristic_short
33	[ 80 ]	editorial_bracket parent ligne 31 via heuristic_brackets
34	[ अनु。 ८० ]	editorial_bracket parent ligne 31 via heuristic_brackets
35	तारसप्तके त्रिश्रुतेः कम्पनात् त्रिकलो रेचितः । [ यथा - ] सरिगमपधनिसा [ इति ]	editorial_bracket parent ligne 31 via heuristic_brackets
36	रेचितः।	main via surya_layout
37	[ ११ ]	editorial_bracket parent ligne 36 via heuristic_brackets
38	[ अनु₀ ८१ ]	editorial_bracket parent ligne 36 via heuristic_brackets
39	द्वयोः स्वरयोर्बहुनां च स्वराणां समकलगमागमाच्चतुर्दशकलः प्रेङ्खोलितः। यथा—	unknown via fallback
40	ο₹ο	annotation_inline parent ligne 36 via heuristic_height

vol_II_p073 RIGHT — 19 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	129	page_number via heuristic_pagenum
3	"Sometimes the aniśa, sometimes the nyāsa, sometimes ṣāḍava and auḍuvita	main via surya_layout
4	(becomes obvious). The wise should arrange (the melody) after knowing	main via surya_layout
5	the sparseness and abundance combined with graha and apanyasa and	main via surya_layout
6	similarly low and high (mandra-tāra). The grāma-rāgas should be used in	main via surya_layout
7	daśarūpaka 97 according to the prescribed rules. The gāna that is five-fold as	main via surya_layout
8	praveśa (entry), ākṣepa (sudden change in emotive state), niṣkrāma (exit),	main via surya_layout
9	prāsādika (pacifying) and āntara (filler of gaps) should be performed in	main via surya_layout
10	these rāgas."	annotation_inline parent ligne 9 via heuristic_height
11	[The application of gītis]	section_header via surya_layout
12	In pūrvaraiga, the śuddhā should be there, the bhinnā is based on	main via surya_layout
13	prastāvanā, 98 the vesarā should be 'done ' in the two mukhas (mukha and	main via surya_layout
14	pratimukha sandhi),99 gauḍi is prescribed in the garbha (sandhi) and	main via surya_layout
15	similarly sādhārita should be there in avamarsa sandhi<sup>101</sup> and nirvahana	main via surya_layout
16	(sandhi).	annotation_inline parent ligne 15 via heuristic_height
17	(344)	annotation_inline parent ligne 15 via heuristic_height
18	Thus ends the third chapter entitled "Raga-laksana" in	annotation_inline parent ligne 15 via heuristic_height
19	Bṛhaddeśi composed by Matanga Muni.	main via surya_layout

vol_I_p024 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	31	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the	main via surya_layout
4	undifferentiated state there is one svara; in the form of sadja and the like svara is	main via surya_layout
5	many.	annotation_inline parent ligne 4 via heuristic_height
6	Similarly also said Kohala -	annotation_inline parent ligne 4 via heuristic_height
7	"Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā	main via surya_layout
8	etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and	main via surya_layout
9	is to be combined with alankāra10 and (used in) rasas." 11	main via surya_layout
10	(It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained	main via surya_layout
11	in or permeating everything).	annotation_inline parent ligne 10 via heuristic_height
12	Similarly said Kohala -	annotation_inline parent ligne 10 via heuristic_height
13	"By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all	main via surya_layout
14	'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka	main via surya_layout
15	(pervasive) (and) para (beyond).15	main via surya_layout
16	(Anu. 17)	annotation_inline parent ligne 15 via heuristic_height
17	But how is the svaratva 16 of (svara-names) şadja and the like, on account of	main via surya_layout
18	their being consonants? If the svaratva of consonants is spoken of, then there	main via surya_layout
19	should be the svaratva of (consonants) beginning with ka?	main via surya_layout
20	Here it is being said (answered) that there is the svaratva of only şadja and	main via surya_layout
21	the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of	main via surya_layout
22	(consonants) beginning with ka.	main via surya_layout
23	But why (or how) is the uncommon or special nature of sadja and the like?	main via surya_layout
24	(Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones)	main via surya_layout
25	the asadharanatva (uncommonness, special nature) of svaras is there.	main via surya_layout
26	So did say Maheśvara<sup>19</sup> in Kohala —	main via surya_layout
27	"The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks	main via surya_layout
28	gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time	main via surya_layout
29	(common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy	main via surya_layout
30	season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same	main via surya_layout
31	way, the elephant always speaks niṣāda."	main via surya_layout
32	Or, only sadja and the like have uncommonness or special nature because of	main via surya_layout
33	their movement in upward sound, or şadja and the like are not svaras, only	main via surya_layout
34	(vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the	main via surya_layout
35	pronunciation of (vowels) beginning with ākāra, so (it is said).	main via surya_layout

vol_II_p052 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	86	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	षाडव: पञ्चमश्चैव तथा कैशिकमध्यम:।	main via surya_layout
4	चोक्षसाधारितश्चैव चोक्षकैशिक इत्यपि ॥	main via surya_layout
5	एते चोक्षास्तु विज्ञेया, भिन्नकान् साम्प्रतं शृणु ॥२९३॥	main via surya_layout
6	भित्रषड्जश्च तानश्च भित्रकैशिकमध्यम:।	main via surya_layout
7	भित्रपञ्चमसंज्ञश्च पञ्चमो भित्रकैशिक: ॥२९४॥	main via surya_layout
8	भिन्नपञ्चम इत्युक्तस्त्रयो गौडा:	annotation_inline parent ligne 7 via heuristic_height
9	प्रकीर्तिताः	annotation_inline parent ligne 7 via heuristic_height
10	गौडपञ्चम इत्येको गौडकैशिक इत्यपि ।	main via surya_layout
11	गौडकैशिकमध्यमस्त्रयो गौडा: प्रकीर्तिता: ॥२९५॥	main via surya_layout
12	टकरागश्च सौवीरस्तथा मालवपञ्चम:।	main via surya_layout
13	टङ्क	annotation_inline parent ligne 12 via heuristic_height
14	षाडवो बोट्टरागश्च तथा हिन्दोलक: पर: ॥२९६॥	main via surya_layout
15	ट[क]ककैशिक इत्युक्तस्तथा मालवकैशिक:।	editorial_bracket parent ligne 14 via heuristic_brackets
16	एते रागाः समाख्याता नामतो मुनिपुङ्गवैः ॥२९७॥	main via surya_layout
17	नर्तः शकाख्यः ककुभस्तथा भम्माणपञ्चमः ।	main via surya_layout
18	(नर्तः)	annotation_inline parent ligne 17 via heuristic_height
19	हमीण	annotation_inline parent ligne 17 via heuristic_height
20	रूपसाधारितश्चैव तथा गान्धारपञ्चम: ।	main via surya_layout
21	षड्जकैशिकसंज्ञश्च सप्त साधारणा: स्मृता: ॥२९८॥	main via surya_layout
22	[॥ इति रागसङ्ख्या, उद्देशश्च ॥]	editorial_bracket parent ligne 21 via heuristic_brackets
23	[रागाणां विशेषलक्षणानि]	section_header via surya_layout
24	[क. तत्र शुद्धरागाः]	section_header via surya_layout
25	इदानीं शुद्धानां लक्षणमाह -	main via surya_layout
26	<sup>३५</sup>अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका: ।	main via surya_layout
27	<sup>३६</sup>स्वजा(?)	main via surya_layout
28	निरपेक्षा॰	annotation_inline parent ligne 27 via heuristic_markers
29	स्वजात्यन्यतमाश्चेव ते शुद्धाः परिकीर्तिताः ॥२९९॥	main via surya_layout
30	[१.शुद्धषाडव:]	section_header via surya_layout
31	[अनु॰ १६४]	section_header via surya_layout
32	तत्र षाडव इति कस्मात्३७ ? किं षड्भि: स्वरैगीयत इति षाडव:, यद् वा षट्सु रागेषु	main via surya_layout
33	(vide)	annotation_inline parent ligne 32 via heuristic_height

162 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p060 RIGHT — 35 lignes

vol_I_p055 LEFT — 40 lignes

vol_II_p073 RIGHT — 19 lignes

vol_I_p024 RIGHT — 35 lignes

vol_II_p052 LEFT — 33 lignes