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_p035 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	53	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	rṣabha-pañcama. There is abundance of gāndhāra although the state of amśa	main via surya_layout
4	does not obtain in it. There is the sparseness of pañcama in the ṣāḍava state,	main via surya_layout
5	in the auduvita state there is the sparseness of none; there is abundance of	main via surya_layout
6	all. Madhyama is the nyāsa. Ŗṣabha, dhaivata are the two apanyāsas. There	main via surya_layout
7	is mutual reaching out among the amsas.	main via surya_layout
8	[Anu. 157]	section_header via surya_layout
9	This is eleven-fold. There are eleven amsas, four in the complete state,	main via surya_layout
10	three in the sādava state, because of the exclusion of the form in which	main via surya_layout
11	dhaivata is the amśa, four in the auduvita state. There is no śuddha (amśa).	main via surya_layout
12	The mūrchanā<sup>69</sup> beginning with gāndhāra obtains. Paūcapāņi is the tāla.	main via surya_layout
13	With ekakala (tāla) and citra (mārga) there is māgadhī (gīti). With dvikala (tāla)	main via surya_layout
14	in the vārtika (mārga) there is sambhāvitā (gītī). With catuṣkala (tāla) in the	main via surya_layout
15	dakşina (mārga) there is pṛthulā (gīti). Śṛṅgāra and hāsya are the two rasas. Its	main via surya_layout
16	application (viniyoga) is prescribed in the singing of dhruvā (s) in the second	main via surya_layout
17	scene (or act).	main via surya_layout
18	[7.Şadjamadhyamā]	section_header via surya_layout
19	[Anu. 158]	section_header via surya_layout
20	All the seven svaras are grahas and anisas of şadjamadhyamā. The tāra	main via surya_layout
21	extends upto five svaras. The mandra is upto the nyāsa or upto the svara next	main via surya_layout
22	to it. In the ṣāḍava state it is devoid of niṣāda. In the auḍuvita state it is devoid	main via surya_layout
23	of niṣāda-gāndhāra. There is free movement (sancāra) without violating the	main via surya_layout
24	grāma. In the complete state, there is the sparseness of niṣāda and gāndhāra.	main via surya_layout
25	Ṣadja and madhyama are the two nyāsas. Seven svaras are apanyāsas.	main via surya_layout
26	[Anu. 159]	section_header via surya_layout
27	It is seventeen-fold. There are seventeen amsas – out of them seven obtain	main via surya_layout
28	in the <i>pūrņa</i> state, five in the <i>ṣāḍava</i> state and five in the <i>auḍava</i> state. There	main via surya_layout
29	is no śuddha state. The murchanā<sup>70</sup> beginning with madhyama obtains.	main via surya_layout
30	Pañcapāṇiis the tāla. With ekakala (tāla) in the citra (mārga), there is māgadhī	main via surya_layout
31	(gīti). With dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti).	main via surya_layout
32	With catușkala (tāla) in the dakșiņa (mārga) there is pṛthulā (gīti). It is relevant	main via surya_layout
33	in all the rasas. Its application (viniyoga) is (prescribed) in the singing of	main via surya_layout
34	dhruvā (s) in the second scene (prekṣaṇaka).71	main via surya_layout
35	Thus end these seven jātis pertaining to sadjagrāma.	main via surya_layout
36	[Anu. 160]	section_header via surya_layout
37	Now the jātis pertaining to madhyamagrāma are being said -	main via surya_layout

vol_I_p041 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	64	page_number via heuristic_pagenum
3	सरि 🗶 म प ध 🗶	main via surya_layout
4	[ ४ सरि ४ म प ध ]	editorial_bracket parent ligne 3 via heuristic_brackets
5	ध 🗶 स रि 🗶 म प	main via surya_layout
6	पध X स रि X म	annotation_inline parent ligne 5 via heuristic_short
7	मपध X स रि X	main via surya_layout
8	[ хमपध	editorial_bracket parent ligne 7 via heuristic_brackets
9	निगहीनाः।	main via surya_layout
10	रि 🗶 म प ध 🗶 स	unknown via fallback
11	स 🗙 गम 🗶 ध नि	main via surya_layout
12	निस X ग म X ध	annotation_inline parent ligne 11 via heuristic_short
13	धनिस X गम X	main via surya_layout
14	[хधनसхगम].	editorial_bracket parent ligne 13 via heuristic_brackets
15	म 🗶 ध नि स 🗶 ग	main via surya_layout
16	गम 🗶 ध नि स 🗶	annotation_inline parent ligne 15 via heuristic_short
17	परिहीनाः। इत्यौडुवाः। योगाः।	main via surya_layout
18	[ 🗶 गम 🗶 ध निस ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	[ अथ ] मध्यमग्रामे--	editorial_bracket parent ligne 17 via heuristic_brackets
20	٠	page_number via heuristic_pagenum
21	मपधनि X रिग	main via surya_layout
22	गमपधनि 🗙 रि	annotation_inline parent ligne 21 via heuristic_short
23	रिगमपधनि X	main via surya_layout
24	[ x रिगमपधनि ]	editorial_bracket parent ligne 23 via heuristic_brackets
25	नि X रिगमपध	main via surya_layout
26	ध नि x रिगम प	annotation_inline parent ligne 25 via heuristic_short
27	षड्जहीनाः।	main via surya_layout
28	प ध नि X रि ग म	unknown via fallback
29	म प ध नि स X ग	main via surya_layout
30	गमपधनिस X	annotation_inline parent ligne 29 via heuristic_short
31	[ Xगमपधनिस]	editorial_bracket parent ligne 29 via heuristic_brackets
32	स X गमप ध नि	main via surya_layout
33	निस X गम प ध	annotation_inline parent ligne 32 via heuristic_short
34	ध निस X गमप	main via surya_layout
35	ारहानाः।	annotation_inline parent ligne 34 via heuristic_short
36	प ध नि स 🗶 ग म	main via surya_layout

vol_II_p026 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	35	page_number via heuristic_pagenum
3	When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,<sup>47</sup> pāņikā <sup>4	main via surya_layout
4	(alteration) of anisas of jātis (should be taken up).	main via surya_layout
5	(249)	annotation_inline parent ligne 4 via heuristic_short
6	Along with the order of <math>\bar{a}s\bar{a}ritas^{49}</math> and because of that of the <math>angah\bar{a}ras^{50}</ma	main via surya_layout
7	the formation or variation of amsas in their svaras i.e. in svaras of jatis should	main via surya_layout
8	be done in the text of vardhamāna<sup>51</sup>	main via surya_layout
9	(250)	main via surya_layout
10	[8. The ṣāḍava and auḍava formation of jātis]	section_header via surya_layout
11	The sixty-three amsas that have thus been spoken of, out of them each one	main via surya_layout
12	is accorded the position of ainsa (at a given time) (and accordingly) the	main via surya_layout
13	ṣāḍava and auḍava formation that is obtained (on account of rule or	main via surya_layout
14	prescription) is sometimes given up.	main via surya_layout
15	(251)	main via surya_layout
16	[ Anu. 134 ]	section_header via surya_layout
17	The sixty-three amsas that have been spoken of, out of them each one has	main via surya_layout
18	to be arranged as anisa (in a given melodic set-up). (In specific situations	main via surya_layout
19	created by the arrangement of different anisas) sometimes the formation of	main via surya_layout
20	ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given	main via surya_layout
21	up. He (the author) clarifies this itself.	main via surya_layout
22	Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on	main via surya_layout
23	<math>gandhara</math> (being amsa), because <math>^{52}</math> the omission of a samvadi of the amsa is not	main via surya_layout
24	accepted.	annotation_inline parent ligne 23 via heuristic_short
25	(252)	main via surya_layout
26	[ Anu. 135 ]	section_header via surya_layout
27	This means that on niṣāda being the amśa, the jāti ṣadjamadhyā does not	main via surya_layout
28	become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the	main via surya_layout
29	omission of gandhara is not there. On gandhara being amśa, it should be	main via surya_layout
30	known to be non-ṣāḍava by omission of niṣāda because of the negation of the	main via surya_layout
31	omission of the sanivādī of the aniśa.	main via surya_layout
32	Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become	main via surya_layout
33	ṣāḍava) when pañcama is amśa, (by the omission of ṛṣabha on account of the	main via surya_layout
34	negation of the omission of the samvādī of the amśa). Similarly, ṣāḍjī does	main via surya_layout
35	not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the	main via surya_layout
36	amśa and şadjodicyavā should be known not to be şādava (through the	main via surya_layout
37	omission of <i>ṛṣabha</i> ) on <i>dhaivata</i> being the <i>aṁś</i>a.	main via surya_layout
38	(253)	main via surya_layout

vol_II_p104 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	ŀ	annotation_inline parent ligne 4 via heuristic_height
2	TRANSLATION	page_header via surya_layout
3	191	page_number via heuristic_pagenum
4	[3. Now in mālavapancama]	section_header via surya_layout
5	Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the	main via surya_layout
6	six (bhāṣās) in mālavapañcama.	main via surya_layout
7	(14)	annotation_inline parent ligne 6 via heuristic_short
8	Having pañcama as the initial and concluding note vibhāvinī is born of a	main via surya_layout
9	region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained	main via surya_layout
10	union with an amorous woman.<sup>12</sup>	main via surya_layout
11	(15)	annotation_inline parent ligne 10 via heuristic_short
12	Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini	main via surya_layout
13	dhānīnīdhāmāpāpā. Vibhāvinī [i]	editorial_bracket parent ligne 12 via heuristic_brackets
14	.....Paurālī [ii]	editorial_bracket parent ligne 12 via heuristic_brackets
15	The auspicious vegavatī should be known to have pañcama as amsa, being	main via surya_layout
16	complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression	main via surya_layout
17	or affliction) is profuse.	main via surya_layout
18	(16)	annotation_inline parent ligne 17 via heuristic_short
19	Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā	main via surya_layout
20	dhāmā.	annotation_inline parent ligne 19 via heuristic_height
21	Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii]	editorial_bracket parent ligne 19 via heuristic_brackets
22	Having pañcama as amsa and concluding note (and) being complete,	main via surya_layout
23	pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context	main via surya_layout
24	of) the song of (one with) a mature mind. 14	main via surya_layout
25	(17)	annotation_inline parent ligne 24 via heuristic_short
26	Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā	main via surya_layout
27	pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī	main via surya_layout
28	[iv]	editorial_bracket parent ligne 27 via heuristic_brackets
29	Having madhyama as amśa (and) pañcama as the concluding note, andhri	main via surya_layout
30	is a bhāṣā born in the Āndhra region, well-known among the people (and)	main via surya_layout
31	is sung in (the context of) those who are corrupted by disease. 15	main via surya_layout
32	(18)	main via surya_layout

vol_I_p031 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	44	page_number via heuristic_pagenum
2	<b>BRHADDESI</b>	page_header via surya_layout
3	प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः।	main via surya_layout
4	स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।।	main via surya_layout
5	स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥	main via surya_layout
6	वाचं गानात्मिकां धत्त इति गान्धारसंज्ञकः।	main via surya_layout
7	स्वराणां मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥	main via surya_layout
8	स्वरान्तराणां विस्तारं यो मिमीते स पञ्चमः।	main via surya_layout
9	पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।।	main via surya_layout
10	धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः ।	main via surya_layout
11	यद्वा	annotation_inline parent ligne 10 via heuristic_short
12	२१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥	main via surya_layout
13	पञ्चमेन	annotation_inline parent ligne 12 via heuristic_height
14	<sup>30</sup>•त्ततोऽसी	annotation_inline parent ligne 12 via heuristic_height
15	ललाटे धैवत इत्यर्थः।	main via surya_layout
16	निषीदन्ति स्वराः सर्वे निषादस्तेन कथ्यते।।६०॥	main via surya_layout
17	[ स्वराणां सप्तसंख्यानियमः ]	section_header via surya_layout
18	[ अनु. २९ ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते—	main via surya_layout
20	यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो	main via surya_layout
21	रसादयो जेयाः । तथा चाह सुश्रुतः —	main via surya_layout
22	'त्वगसृङ्मांसमेदोऽस्थिमज्जाशुक्राणि धातवः' ।	main via surya_layout
23	इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति।	main via surya_layout
24	स्वरजातयः ]	section_header via surya_layout
25	चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ।	main via surya_layout
26	वैश्यौ द्विश्वतिकौ ज्ञेयौ शूद्रौ चान्तरकौ स्वरौ ३२।।६१।।	main via surya_layout
27	[ आगमस्थः स्वरोद्धारः ]	editorial_bracket parent ligne 26 via heuristic_brackets
28	वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्।	main via surya_layout
29	वर्णमात्राः अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥	main via surya_layout
30	স	page_footer via surya_layout

Legende des roles

vol_II_p035 RIGHT — 37 lignes

vol_I_p041 LEFT — 36 lignes

vol_II_p026 RIGHT — 38 lignes

vol_II_p104 RIGHT — 32 lignes

vol_I_p031 LEFT — 30 lignes