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 20887). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p109 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	[Chapter V]	section_header via surya_layout
2	[Desī rāgas]	section_header via surya_layout
3	[Propitiation]	section_header via surya_layout
4	I make obeisance to the Devīl who bears a red hue like that of the bandhūka	main via surya_layout
5	(flower), has three eyes, wears a crest of the kalā (part) of the one having rays	main via surya_layout
6	of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight	main via surya_layout
7	of breasts that are becoming plump and elevated, is conventionally associated	main via surya_layout
8	with the begininning of youth, is adorned with all ornaments, has abode in	main via surya_layout
9	the lotus, whose body bears association with the citron fruit, whose (two)	main via surya_layout
10	hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands	main via surya_layout
11	are held in the abhaya (granting of freedom from fear) and vara (granting	main via surya_layout
12	of boons) gestures and who is the yoni (origin, birth-place) of the universe.	main via surya_layout
13	(345)	annotation_inline parent ligne 12 via heuristic_height
14	[Threefold desi ragās]	section_header via surya_layout
15	After this I shall speak of the group of desī rāgas, which embodies the	main via surya_layout
16	combination of practice (laksya) and theory (laksana) and is threefold4; viz.	main via surya_layout
17	rāgānga, bhāṣānga and kriyānga as the third one.	main via surya_layout
18	(346, 347)	annotation_inline parent ligne 17 via heuristic_height
19	I shall speak of the description of each of them one after another.	main via surya_layout
20	(348)	annotation_inline parent ligne 19 via heuristic_height
21	All rāgāngas are so called by the experts in music because they bear only	main via surya_layout
22	a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of.	main via surya_layout
23	(349)	annotation_inline parent ligne 22 via heuristic_height
24	Bhāṣāṅgas are so called by the singers devoted to the rendering of	main via surya_layout
25	panegyrics because they are based on the reflection or shadow (châyā) of	main via surya_layout
26	bhāṣās<sup>7</sup> and hence become similar to the same (bhāṣās).	main via surya_layout
27	(350)	annotation_inline parent ligne 26 via heuristic_height
28	Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of	main via surya_layout
29	rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like.	main via surya_layout
30	(351)	annotation_inline parent ligne 29 via heuristic_height
31	The set of regulations prescribed earlier for the mārga-rāgas, could	main via surya_layout
32	sometimes become otherwise in desī-rāgas, bhāṣās and the like.	main via surya_layout
33	(352)	annotation_inline parent ligne 32 via heuristic_height
34	[Bhāṣāṅgarāgas<sup>10</sup>]	editorial_bracket parent ligne 32 via heuristic_brackets
35	[1. Kacchelli]	section_header via surya_layout
36	Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa,	main via surya_layout
37	has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid	main via surya_layout
38	of ga-dha (gāndhāra-dhaivata) and should be known to have profuse	main via surya_layout
39	movement of pa-ri (pañcama-ṛṣabha).	main via surya_layout
40	(353)	annotation_inline parent ligne 39 via heuristic_height
41	(vide)	annotation_inline parent ligne 39 via heuristic_height

vol_I_p033 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	49	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Pañcama is kṛṣṇa (black), dhaivata is yellow-coloured, this niṣāda is multi-	main via surya_layout
4	coloured, (thus) should be known the colours of svaras.	main via surya_layout
5	(74)	annotation_inline parent ligne 4 via heuristic_height
6	(iii) Devatās.	main via surya_layout
7	The daivata 83 (presiding deity) of şadja is Brahmā, ṛṣabha is with the daivata	main via surya_layout
8	vahni (fire), gandhara has Bharati as its deva, madhyama is with Hara as daivata.	main via surya_layout
9	(75)	annotation_inline parent ligne 8 via heuristic_height
10	Pañcama is with Satayajña (Indra is its daivata), dhaivata is with Gaṇa-nāyaka	main via surya_layout
11	(as its daivata), niṣāda, on the other hand, has Bhānu (Sun) as its deva; thus are	main via surya_layout
12	(76)	annotation_inline parent ligne 11 via heuristic_height
13	the devatā84 of svaras.	annotation_inline parent ligne 11 via heuristic_height
14	(iv) Singers (seers).	annotation_inline parent ligne 11 via heuristic_height
15	The svara şadja is sung ('seen')85 by Agni (fire), ṛṣabha is revealed by	main via surya_layout
16	Brahmā, gāndhāra is sung by Soma (moon), madhyama svara (is revealed) by	main via surya_layout
17	Vișnu.	annotation_inline parent ligne 16 via heuristic_height
18	(77)	main via surya_layout
19	On the other hand, the svara pancama is sung by the mahatman (great-	main via surya_layout
20	souled) Nārada, the svaras dhaivata and niṣāda are 'sung' by Tumburu.	main via surya_layout
21	(78)	annotation_inline parent ligne 20 via heuristic_short
22	(v) Rasas	annotation_inline parent ligne 20 via heuristic_height
23	The two svaras madhyama and pañcama should be 'made'86 (used) in the two	main via surya_layout
24	(rasas) hāsya and śṛṅgāra, the two (svaras) şadja and ṛṣabha should be known in	main via surya_layout
25	(79)	annotation_inline parent ligne 24 via heuristic_height
26	vira, raudra and adbhuta rasas.	main via surya_layout
27	Gāndhāra and niṣāda should be 'done' in karuņa rasa. Dhaivata should also	main via surya_layout
28	(80)	annotation_inline parent ligne 27 via heuristic_height
29	be 'done' (used) in bibhatsa and bhayānaka.	main via surya_layout
30	(vi) Sthānas	annotation_inline parent ligne 29 via heuristic_height
31	Ṣadja arises from the throat, 67 rṣabha is known (to arise) from the cerebrum,	main via surya_layout
32	gāndhāra from the nose, madhyama svara from the chest.	main via surya_layout
33	(81)	annotation_inline parent ligne 32 via heuristic_height
34	Pañcama svara is arisen from the throat, O glorious onel dhaivata, on the	main via surya_layout
35	other hand, is born of the palate-region (tālu-deśa). Niṣāda, on the other hand,	main via surya_layout
36	should be known to be born of all the joints (sandhis).	main via surya_layout
37	(82)	annotation_inline parent ligne 36 via heuristic_height
38	Thus one should know the svaras born in the ocean of gita (melody, music),	main via surya_layout
39	arisen out of the mouth of Mahadeva and placed in the 'path' of desi.68	main via surya_layout
40	(83)	annotation_inline parent ligne 39 via heuristic_height
41	[ Thus ends the section on svara ]	editorial_bracket parent ligne 39 via heuristic_brackets

vol_II_p161 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	٠	page_number via heuristic_pagenum
2	<b>VIMARŚA</b>	page_header via surya_layout
3	305	page_number via heuristic_pagenum
4	central part of present Madhya Pradesh. The special preference for Mālavā	main via surya_layout
5	requires further investigation.	annotation_inline parent ligne 4 via heuristic_height
6	29. The word gamaka is used here in the sense of vocal embellishments	list_item via surya_layout
7	including shakes; it is not restricted to shake.	list_item via surya_layout
8	30. See note 22.	list_item via surya_layout
9	31. Each grāmarāga is said to be born of one or more jātis.	list_item via surya_layout
10	32. Pūrvaranga has been described in NS IV and V; it embodies	list_item via surya_layout
11	instrumental rendering, song, dance, dialogue etc. presented as a preliminary	list_item via surya_layout
12	to drama. It has both ritualistic and psychological value as it ensures the	list_item via surya_layout
13	success of drama by propitiating the gods and prepares the audience for	list_item via surya_layout
14	being receptive to drama.	list_item via surya_layout
15	33. Kākalī and antara are always prescribed to be sparse, but here only	list_item via surya_layout
16	the sparseness of gandhara is prescribed, although both antara and kakali are	list_item via surya_layout
17	present. It could be construed that gandhara stands for the original	list_item via surya_layout
18	gāndhāra and not antara. See note 91.	list_item via surya_layout
19	•	annotation_inline parent ligne 18 via heuristic_height
20	34,35. The prescription of a specific varņa and alankāra in a rāga is	list_item via surya_layout
21	not easy to comprehend. It could only be surmised that the peculiar form	list_item via surya_layout
22	of a raga in some cases becomes manifest in ascent, in other cases in descent	list_item via surya_layout
23	and similarly a specific alankāra could be assigned to a rāga on account of	list_item via surya_layout
24	having a special role in establishing the same.	list_item via surya_layout
25	36. Mārga literally means path; it stands for the span of a tāla. NŠ	list_item via surya_layout
26	describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti	list_item via surya_layout
27	being its double and dakṣiṇa again being its double. Our text describes two	list_item via surya_layout
28	additional mārgas viz. dhruva being half of the length of citra and śūnya	list_item via surya_layout
29	being half of dhruva. (See Vol.I. Anu.113)	list_item via surya_layout
30	37. Kalā has many meanings; the main ones are-firstly, the time-unit	list_item via surya_layout
31	that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in	list_item via surya_layout
32	tāla, sounded or unsounded and thirdly, the unsounded action. Here the	list_item via surya_layout
33	first meaning is relevant because the length of kalā depends on the mārga in	list_item via surya_layout
34	use at a given time.	list_item via surya_layout
35	38. Caccatpuța is the first among the five tālas described in NŠ XXXI.	list_item via surya_layout
36	This is the only caturasra (lit. square) tala, being composed of four kalas or	list_item via surya_layout
37	eight mātrās.	list_item via surya_layout
38	39. Garbha-sandhi is the third among the five sandhis or junctures in	list_item via surya_layout
39	drama described in NŚ XIX; the first two being mukha and pratimukha and	list_item via surya_layout
40	the last two being vimarsa and nirvahana. Garbha literally means 'womb',	list_item via surya_layout
41	the inside or interior of something. In drama garbha-sandhi stands for that	list_item via surya_layout
42	juncture where the 'sprouting' of the 'seed' has taken place, but the fruit	list_item via surya_layout
43	is still enshrouded in the 'garbha'.	list_item via surya_layout
44	40. Our text does not uphold the relationship of any raga to both the	list_item via surya_layout
45	grāmas; the decision always rests with the interval of pañcama, if it is	list_item via surya_layout
46	composed of four śrutis, then relationship with ṣadjagrāma is confirmed and	list_item via surya_layout

vol_II_p098 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	179	page_number via heuristic_pagenum
3	11. Now in <i>takkakaišika</i>	section_header via surya_layout
4	Mālavapañcamī should be known to be combined with dhaivata as the	main via surya_layout
5	initial and concluding note. There is concert between șadja-ṛṣabha and	main via surya_layout
6	similarly between sadja-dhaivata. This is complete with beautiful svaras	main via surya_layout
7	(and) is a charming regional<sup>65</sup> bhāsā.	main via surya_layout
8	(133)	annotation_inline parent ligne 7 via heuristic_short
9	lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā	main via surya_layout
10	pāmāgarimādhāpādhā. Mālavā [i]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as	main via surya_layout
12	nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and	main via surya_layout
13	not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is	main via surya_layout
14	commonly known as sankīrņā (mixed) and is beautiful.	main via surya_layout
15	<math>(134-135)</math>	main via surya_layout
16	Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā	main via surya_layout
17	nimadhāpādhādhādhā.Bhinnavālikā [ii]	editorial_bracket parent ligne 16 via heuristic_brackets
18	Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note,	main via surya_layout
19	there is (mutual) movement between the svaras comprised of two śrutis each	main via surya_layout
20	and similarly between şadja-dhaivata. This pertains to the Drāvida region,	main via surya_layout
21	is charming and bears a regional name.	main via surya_layout
22	(136)	annotation_inline parent ligne 21 via heuristic_short
23	Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i>	editorial_bracket parent ligne 21 via heuristic_brackets
24	pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii]	editorial_bracket parent ligne 21 via heuristic_brackets
25	These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>.	main via surya_layout
26	12. Now in vesarașādava	section_header via surya_layout
27	Bāhyaşāḍavā should be known to be combined with madyama as the initial	main via surya_layout
28	and concluding note. There is concert between the two svaras comprised of	main via surya_layout
29	two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by	main via surya_layout
30	people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in	main via surya_layout
31	vesara-șâdava (rāga).	main via surya_layout
32	<math>(137-138)</math>	main via surya_layout

vol_II_p001 RIGHT — 12 lignes

L#	Texte OCR	Role auto
1	श्रीमतङ्गमुनिप्रणीता बृहद्देशी	section_header via surya_layout
2	Brhaddeśī of Śrī Matanga Muni	section_header via surya_layout
3	Volume II	section_header via surya_layout
4	Edited by	annotation_inline parent ligne 3 via heuristic_height
5	Prem Lata Sharma	main via surya_layout
6	Assisted by	annotation_inline parent ligne 5 via heuristic_short
7	Anil Bihari Beohar	main via surya_layout
8	INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS	main via surya_layout
9	<b>NEW DELHI</b>	annotation_inline parent ligne 8 via heuristic_short
10	and	annotation_inline parent ligne 8 via heuristic_height
11	MOTILAL BANARSIDASS PUBLISHERS PVT.LTD.	main via surya_layout
12	<b>DELHI</b>	annotation_inline parent ligne 11 via heuristic_height

172 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p109 RIGHT — 41 lignes

vol_I_p033 RIGHT — 41 lignes

vol_II_p161 RIGHT — 46 lignes

vol_II_p098 RIGHT — 32 lignes

vol_II_p001 RIGHT — 12 lignes