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 20867). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p072 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	127	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	mā mā sā sā	annotation_inline parent ligne 10 via heuristic_height
4	de - vam -	annotation_inline parent ligne 10 via heuristic_height
5	mā sā sā mā	annotation_inline parent ligne 10 via heuristic_height
6	de vam sa rvam	annotation_inline parent ligne 10 via heuristic_height
7	sasa masa mama nn	annotation_inline parent ligne 10 via heuristic_height
8	devam sarvam vande	annotation_inline parent ligne 10 via heuristic_height
9	(Anu. 112)	annotation_inline parent ligne 10 via heuristic_height
10	Māgadhī is (known as such) because of its origin in the magadha deśa (south	main via surya_layout
11	Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated').	main via surya_layout
12	Ardhamāgadhi is (called so) because of there being the state of half 'pada',56	main via surya_layout
13	thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to	main via surya_layout
14	'pada'. In the repetition of half a pada the verbal meaning should not be	main via surya_layout
15	construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or	main via surya_layout
16	acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is	main via surya_layout
17	predominantly musical, the verbal meaning is not cared for in the repetitions. It	main via surya_layout
18	has been said - the word jātavedasam (fire) that is repetitive, here (in the	main via surya_layout
19	context of this word), sambhāvitā (gītī) ends at the word veda, 57 the pṛthulā gītī,	main via surya_layout
20	on the other hand, is based on the predominance of laghu (short syllables);	main via surya_layout
21	on account of the profusion of the grouping (grāma) of padas (syllabic units) it	main via surya_layout
22	is called pṛthulā (lit. broad or large).	main via surya_layout
23	(Anu. 113)	annotation_inline parent ligne 22 via heuristic_height
24	In the three margas in the prescription about gitis, the use of laya should be	main via surya_layout
25	seen to be ninefold.	annotation_inline parent ligne 24 via heuristic_height
26	He (the author) shows the use of laya as - daksina marga, vartika marga and	main via surya_layout
27	citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina	main via surya_layout
28	mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas	main via surya_layout
29	in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus	main via surya_layout
30	are the three layas in the operation of citra-marga. Thus has been propounded	main via surya_layout
31	in the chapter on gitis. As - in the daksina marga there are four gurus (long	main via surya_layout
32	units) two gurus and one guru. In vārtika mārga there are two gurus, one guru	main via surya_layout
33	and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half	main via surya_layout
34	- mātrā unit).	annotation_inline parent ligne 33 via heuristic_height

vol_I_p065 RIGHT — 43 lignes

L#	Texte OCR	Role auto
1	113	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	Sampradana is said here to be in the order of a gap after each svara; 105 (it is)	main via surya_layout
4	like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in	main via surya_layout
5	(158)	annotation_inline parent ligne 4 via heuristic_height
6	due course. 107	annotation_inline parent ligne 4 via heuristic_height
7	Hasita (is known as such as it) is pronounced in a manner similar to	main via surya_layout
8	1	page_number via heuristic_pagenum
9	laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka	main via surya_layout
10	(159)	annotation_inline parent ligne 9 via heuristic_height
11	by the wise, being made up of gapless svaras.	main via surya_layout
12	(That which) ascends in gapless svaras like hasita with three or four svaras	main via surya_layout
13	(in each phrase) in ekakala 109 (form), should be known as one named hunkāra.	main via surya_layout
14	(160)	annotation_inline parent ligne 13 via heuristic_height
15	Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is	main via surya_layout
16	catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending	main via surya_layout
17	(161)	annotation_inline parent ligne 16 via heuristic_height
18	another sthana (register).	annotation_inline parent ligne 16 via heuristic_height
19	1	page_number via heuristic_pagenum
20	In the beginning, after having pronounced a pada 112 (syllabic unit) where	main via surya_layout
21	there is a short varna 113 (?) composed of two svaras and (which) ascends in one	main via surya_layout
22	(162)	annotation_inline parent ligne 21 via heuristic_height
23	kalā (phrase) without a gap that is vidhuta.	main via surya_layout
24	In the beginning it is arohin; (like) prastara where there is descent	main via surya_layout
25	according to definite measure (pramāṇa),114 that is said to be udgīta alankāra.	main via surya_layout
26	(163)	annotation_inline parent ligne 25 via heuristic_height
27	One should ascend (in) gapless svaras like hunkāra in the other two kalās	main via surya_layout
28	(phrases) there are two svaras each that are shaking 115 and then there are two	main via surya_layout
29	(164)	annotation_inline parent ligne 28 via heuristic_height
30	lower svaras.	annotation_inline parent ligne 28 via heuristic_height
31	Thus should be known gatravarna in the prescription (vidhi) of varna and	main via surya_layout
32	alankāra. With ākāra 116 and okāra other long syllables should also be combined.	main via surya_layout
33	(165)	annotation_inline parent ligne 32 via heuristic_height
34	ı	annotation_inline parent ligne 32 via heuristic_height
35	Thus has been indicated the prescription about alankarana (ornamentation	main via surya_layout
36	or the act of 'making adequate') pertaining to the alankara of gita (melodic	main via surya_layout
37	rendering). The giti musical rendering should be ornamented with these	main via surya_layout
38	(166)	annotation_inline parent ligne 37 via heuristic_height
39	without conflicting with the varna.117	main via surya_layout
40	One should 'do' (use) an alankāra at the proper place; one should not tie	main via surya_layout
41	the kānci (ornament for the waist) on the bosom. There could be many	main via surya_layout
42	(167)	annotation_inline parent ligne 41 via heuristic_height
43	alankāras, they should not be used without varņa.118	main via surya_layout

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_II_p036 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	55	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[8. Gändhārī]	section_header via surya_layout
4	Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas,	main via surya_layout
5	the same are amsas of gandhari. The tara extends upto five svaras. The mandra	main via surya_layout
6	, extends upto the nyāsa or upto the svara next to it. The sādava state is devoid	main via surya_layout
7	of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete	main via surya_layout
8	state there is sparseness of rṣabha-dhaivata, and abundance of the remaining	main via surya_layout
9	ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara,	main via surya_layout
10	gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is	main via surya_layout
11	sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That	main via surya_layout
12	is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}<	main via surya_layout
13	prayoga (performance).	main via surya_layout
14	Thus is the performance. When it is sung with the omission of rṣabha then	main via surya_layout
15	while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch)	main via surya_layout
16	mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic	main via surya_layout
17	form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the	main via surya_layout
18	performance. Mā-pa-ri-dhā is never to be performed.	main via surya_layout
19	[Anu. 161]	editorial_bracket parent ligne 18 via heuristic_brackets
20	This is eleven-fold. There are eleven ainsas - there is one in the suddhā	main via surya_layout
21	state, five in the vikṛtā complete state, four are hexatonic (and) one is	main via surya_layout
22	pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța	main via surya_layout
23	is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala	main via surya_layout
24	vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there	main via surya_layout
25	is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā	main via surya_layout
26	in the third act of a drama.	annotation_inline parent ligne 25 via heuristic_height
27	[9. Raktagāndhāri]	section_header via surya_layout
28	[Anu. 162]	editorial_bracket parent ligne 27 via heuristic_brackets
29	Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas	main via surya_layout
30	of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra	main via surya_layout
31	extends up to the nyāsa or the svara next to it. The hexatonic form is devoid	main via surya_layout
32	of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the	main via surya_layout
33	paucity of rṣabha and dhaivata in the complete form. The remaining (svaras)	main via surya_layout
34	have abundance. On account of niṣāda being the amśa, its abundance is	main via surya_layout
35	indicated. Its non-abundance comes about on account of the stated	main via surya_layout
36	prescription. Dhaivata being non-aniśa, its sparseness is indicated, its	main via surya_layout

vol_II_p089 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	160	page_number via heuristic_pagenum
3	यापापाधापासासापाधापमगामामा	page_header via surya_layout
4	उदाहरणम् - सापापाधामामा पागामगापधाधापागमा	main via surya_layout
5	गामसासासागागामागामामा । षड्ज[मध्यमा]।[४]	editorial_bracket parent ligne 4 via heuristic_brackets
6	मध्यमांशा तु षड्जान्ता <sup>७२</sup>दुर्बला पञ्चमेन तु ।	main via surya_layout
7	७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥	main via surya_layout
8	भाषेयं षाडवा ज्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥	main via surya_layout
9	प्रेक्षके मधुकरी	annotation_inline parent ligne 8 via heuristic_height
10	मापानिसासारिरोगमगारीसासा	main via surya_layout
11	उदाहरणम् – मापापाधाधामाधनिनिपासनिधसासा मापाधनिसनिसासा	main via surya_layout
12	निधापापापाधनिधा सासा रिरोममागरिसासा। मधुरी। [५]	editorial_bracket parent ligne 11 via heuristic_brackets
13	मधु(क)री	annotation_inline parent ligne 11 via heuristic_height
14	॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥	editorial_bracket parent ligne 11 via heuristic_brackets
15	[५.अथ पञ्चमे] ७४	editorial_bracket parent ligne 11 via heuristic_brackets
16	पञ्चमांशा तदन्ता च निषादबहुला सदा।	main via surya_layout
17	परस्परं तु दृश्येत अषड्जधैवतसङ्गतिः ॥ ८९॥	main via surya_layout
18	<sup>७६</sup>पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा ।	main via surya_layout
19	आभौरी	annotation_inline parent ligne 18 via heuristic_height
20	पूर्ण	annotation_inline parent ligne 18 via heuristic_height
21	एषा भाषा तु विज्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥	main via surya_layout
22	उदाहरणम् -पाधामाधनिधापापापा पधनिधामामाधानिसासा सनिधनिसधानिसानिधासा धरि-	main via surya_layout
23	मामाधानिनिधापापा पममधनिसासा सनिनिसासासिनगरिमममागा रिसससधिनपा धामामास -	main via surya_layout
24	रिमाधारिमपापा । आभीरी। [१]	editorial_bracket parent ligne 23 via heuristic_brackets
25	भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता ।	main via surya_layout
26	मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥	main via surya_layout
27	मध्यम्	annotation_inline parent ligne 26 via heuristic_height
28	भाषा तु भाविनी ज्ञेया पूर्णा गान्धर्ववेदिभिः ७०॥ ९१॥	main via surya_layout
29	उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मामागामापापा	editorial_bracket parent ligne 28 via heuristic_brackets
30	मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२]	editorial_bracket parent ligne 28 via heuristic_brackets

173 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p072 RIGHT — 34 lignes

vol_I_p065 RIGHT — 43 lignes

vol_II_p125 RIGHT — 30 lignes

vol_II_p036 RIGHT — 36 lignes

vol_II_p089 LEFT — 30 lignes