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 20913). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p066 RIGHT — 39 lignes

L#	Texte OCR	Role auto
1	1.50 4 1	annotation_inline parent ligne 5 via heuristic_height
2	TRANSLATION	page_header via surya_layout
3	115	page_number via heuristic_pagenum
4	[Anu. 198]	editorial_bracket parent ligne 5 via heuristic_brackets
5	Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here. It is pentatonic with	main via surya_layout
6	the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga-	main via surya_layout
7	śṛṅgāra (love in union). Vīra<sup>72</sup> and the like are the rasas. The mūrchanā	main via surya_layout
8	beginning with sadja obtains. Ārohin is the varņa. Prasannādi is the alankāra.	main via surya_layout
9	The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga)	main via surya_layout
10	and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in	main via surya_layout
11	songs comprised of svara and pada.	main via surya_layout
12	[7. Ţakkakaiśika]	section_header via surya_layout
13	Ţakkakaiśika is born of dhaivatī and madhyamā jātis, has dhaivata as its amśa	main via surya_layout
14	and concluding note and is weak in the svaras comprised of two śrutis each	main via surya_layout
15	(gāndhāra and niṣāda).	main via surya_layout
16	(326)	annotation_inline parent ligne 15 via heuristic_short
17	[Anu. 199]	editorial_bracket parent ligne 15 via heuristic_brackets
18	Takkakaišika is related to sadjagrāma. (Contention) This rāga is born of	main via surya_layout
19	jātis related to both the grāmas, how is it proper to say that it is related to	main via surya_layout
20	șadjagrāma? [Answer] În its performance pañcama related to four śrutis is	editorial_bracket parent ligne 19 via heuristic_brackets
21	obtained. Pañcama and dhaivata are the two that bring about a distinction	main via surya_layout
22	between the two grāmas. Hence, this rāga is related to sadjagrāma alone on	main via surya_layout
23	account of pañcama being comprised of four śrutis. Dhaivata is the graha,	main via surya_layout
24	amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here. This (rāga)	main via surya_layout
25	is complete in svaras. In the opinion of Kasyapa it becomes auduvita	main via surya_layout
26	(pentatonic) with the omission of <i>niṣāda</i> and <i>gāndhāra</i>. Its application is	main via surya_layout
27	prescribed in passionate acting (or dance) and in the entry of a love-lorn one	main via surya_layout
28	and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the	main via surya_layout
29	like are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is	main via surya_layout
30	the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
31	vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa	main via surya_layout
32	obtains in songs comprised of svara and pada.	main via surya_layout
33	[8. Mālavakaisika]	section_header via surya_layout
34	The rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša	main via surya_layout
35	and nyāsa and is weak in dhaivata.	main via surya_layout
36	(327)	annotation_inline parent ligne 35 via heuristic_short
37	Some prefer pancama for the function of nyāsa in it and others prefer	main via surya_layout
38	găndhāra, but that is not seen in practice.	main via surya_layout
39	(328)	main via surya_layout

vol_I_p101 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	185	page_number via heuristic_pagenum
2	<b>VIMARŠA</b>	page_header via surya_layout
3	45. In the absence of any notational sign, all the three viz. kampita, kuharita	main via surya_layout
4	and recita are identically illustrated.	main via surya_layout
5	46. Here kalā stands not only for a phrase, but for a component unit of a	main via surya_layout
6	phrase, if sani risa these two are taken to complete a phrase.	main via surya_layout
7	47. The word 'amsa' means the initial note of a phrase and this is a limited	list_item via surya_layout
8	meaning because amsa stands for the fundamental svara of a jāti or rāga which	list_item via surya_layout
9	is a much bigger and much more complex structure.	list_item via surya_layout
10	48. The name tāra-mandra-prasanna is interesting because it uses both mandra	list_item via surya_layout
11	and prasanna which individually stand for 'low'.	unknown via fallback
12	49. The sa belongs to the tāra-sthāna.	list_item via surya_layout
13	50. The second sa here belongs to the tāra-sthāna.	list_item via surya_layout
14	51. The sthāyin varņa spoken of here could be understood only in the sense	list_item via surya_layout
15	that the phrase begins and ends at the same svara all throughout.	list_item via surya_layout
16	52. The sa at the end of the preceding phrase and at the beginning of the	list_item via surya_layout
17	succeeding one belongs to tāra-sthāna.	list_item via surya_layout
18	53. The ascent operates upto nisa and descent starts with sani.	list_item via surya_layout
19	54. Identical with note 52 above.	list_item via surya_layout
20	55. The word sthāyin is used here as a synonym of amsa. BrD is the first	list_item via surya_layout
21	extant text to introduce this word. S R (III, 191, 193) uses it in the decription	list_item via surya_layout
22	of Rāgālapti.	list_item via surya_layout
23	56. Different names for identical forms are also found in abundance in desi	list_item via surya_layout
24	tālas. (cf. deśī-tāla section of SRV)	list_item via surya_layout
25	57. Identical with note 52 above.	list_item via surya_layout
26	58. The word kalā is used here both as a time-unit and a phrase-unit.	list_item via surya_layout
27	59. sa in the beginning of the three phrase-units belongs to tāra-sthāna.	list_item via surya_layout
28	60. If kalā is taken here to stand for a two-mātrā-unit, then half a kalā would	list_item via surya_layout
29	mean one mātrā. If kalā is taken as one mātrā, then half a kalā would be half a	list_item via surya_layout
30	mālrā.	list_item via surya_layout
31	61. The sa belongs to tāra-sthāna.	list_item via surya_layout
32	62. Here kalā stands both for a time-unit and phrase because there are eight	list_item via surya_layout
33	phrases and each phrase is of the duration of one kalā (two-mātrā-unit).	list_item via surya_layout
34	63. Identical with note 52 above.	list_item via surya_layout
35	64. SR (III, 1.4,5) speaks about ohāţī in the description of the gaudī gîti of	list_item via surya_layout
36	rāga. That is a kind of gamaka, but here in the description of the alankāra there	list_item via surya_layout
37	is no mention of any shake or any similar thing. Suddenly, the mention of ohāḍī	list_item via surya_layout
38	comes in which is hard to comprehend; at the most it could be understood to	list_item via surya_layout
39	¥	unknown via fallback
40	indicate special voice-production similar to ohāţī, which could be identified with	list_item via surya_layout
41	1	page_number via heuristic_pagenum
42	the hudaka of present-day oral tradition of dhrupad which also is associated with	list_item via surya_layout
43	the 'ha' sound (cf. DA I, p. 46).	list_item via surya_layout
44	(vide)	unknown via fallback
45	65,66. Identical with note 52 above.	list_item via surya_layout
46	7	page_number via heuristic_pagenum
47	67. There are twelve phrases in this alankara. From the way they are notated,	list_item via surya_layout
48	the duration of each of them could be taken to be either a kalā composed of	list_item via surya_layout
49	two mātrās or four mātrās, as follows-	list_item via surya_layout

vol_II_p168 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	VIMARŠA	page_header via surya_layout
2	319	page_number via heuristic_pagenum
3	57. Ratigana is fourfold and is composed of two syllables each – SS, IS,	list_item via surya_layout
4	SI, II.	list_item via surya_layout
5	58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure	list_item via surya_layout
6	of a composition respectively.	list_item via surya_layout
7	60. Twice Rudra would mean <math>11 \times 2 = 22</math>.	list_item via surya_layout
8	61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables.	list_item via surya_layout
9	62. Here only the number of syllables is regulated and not their long	list_item via surya_layout
10	and short order.	list_item via surya_layout
11	63. Alaghu - that which is not laghu or short.	list_item via surya_layout
12	64. No regulation of the order of long and short syllables is	list_item via surya_layout
13	prescribed.	list_item via surya_layout
14	65. See notes 46, 52.	list_item via surya_layout
15	66. 'Yati' is a word that stands for splitting or pause in metre. In tāla,	list_item via surya_layout
16	yati means the order or sequence of layas. Here the first meaning seems to	list_item via surya_layout
17	be relevant.	list_item via surya_layout
18	67. This is again a reference to Matanga within the text. See note 3.	list_item via surya_layout
19	68. Samā yati is that where one and the same laya is sustained from	list_item via surya_layout
20	the beginning to the end.	list_item via surya_layout
21	69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī	list_item via surya_layout
22	beginning with 'avinayamapanaya viṣṇo' is well - known.	list_item via surya_layout
23	70. Srotogatā yati is that where there is slow laya in the beginning	list_item via surya_layout
24	followed by fast, like the source of a river that gradually gains speed in its	list_item via surya_layout
25	current. Samā has been explained in note 68.	list_item via surya_layout
26	71. Gopucchā yati is the opposite of srotogatā; it is fast in the	list_item via surya_layout
27	beginning and gradually becomes slow, like the end of the cow's tail which	list_item via surya_layout
28	is first thin and then ends up with a thick bunch of hair.	list_item via surya_layout
29	72. See note 46.	list_item via surya_layout
30	73. 'Varṇadhvani' would literally mean 'the sound of syllables';	list_item via surya_layout
31	perhaps the contrast of a cluster of syllables in song, followed by a text-free	list_item via surya_layout
32	tonal rendering is implied.	list_item via surya_layout
33	74. Mūrchanā is not known as a kind of gamaka. The combination of	list_item via surya_layout
34	'mūrchanā' with gamaka requires further investigation.	list_item via surya_layout
35	75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly	list_item via surya_layout
36	present Karnataka), Gauda (roughly present Bengal), Andhra (roughly	list_item via surya_layout
37	present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the	list_item via surya_layout
38	regions selected for description of types of elā prabandha. Important	list_item via surya_layout
39	omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only	list_item via surya_layout
40	the above five regions in this context.	list_item via surya_layout
41	80,81. The description of the regional specialities in the use of rhyme	list_item via surya_layout
42	and alliteration is interesting indeed.	list_item via surya_layout

vol_II_p030 LEFT — 40 lignes

L#	Texte OCR	Role auto
1	(vide)	unknown via fallback
2	BŖHADDEŚĪ	page_header via surya_layout
3	42	page_number via heuristic_pagenum
4	सर्वस्वराणां प्रवरो ह्यनाशी मध्यमस्वर: ।	main via surya_layout
5	व्य अनाशी <sup>१२६</sup>मध्यम: स्मृत:	main via surya_layout
6	<sup>१२७</sup>हाधिनाशी तु मध्यम:	main via surya_layout
7	गान्धर्वकल्पे <sup>१२८</sup> विहित: सामस्विप च मध्यम: ॥''	main via surya_layout
8	१२९०ल्येऽ	main via surya_layout
9	सामगैश	unknown via fallback
10	महर्षिभि:	main via surya_layout
11	भिमत:	annotation_inline parent ligne 10 via heuristic_short
12	[ना॰ शा॰ २८.५८-६५]	editorial_bracket parent ligne 10 via heuristic_brackets
13	[अनु॰ १४२]	editorial_bracket parent ligne 10 via heuristic_brackets
14	इदानीं षाडवौडुवितविधिरुत्सर्गापवादविधिश्च विकृतास्वेव जातिषु बोद्धव्य:, न तु	main via surya_layout
15	<b>॰</b>विधस्तु उत्सर्गाफ	annotation_inline parent ligne 14 via heuristic_markers
16	॰स्तु	annotation_inline parent ligne 14 via heuristic_markers
17	शुद्धासु जातिषु, तासां शुद्धानामन्यजात्युत्पत्तौ मूलत्वात् । एता एव शुद्धा विकृता भवन्ति ।	main via surya_layout
18	٩	page_number via heuristic_pagenum
19	कथम् -	main via surya_layout
20	[९. पुन: शुद्धाजातिलक्षणम् ]	section_header via surya_layout
21	तद्ग्रहा तदपन्यासा तदंशा च यदा भवेत्।	main via surya_layout
22	मन्द्रन्यासा च पूर्णा च शुद्धा जातिस्तदोच्यते ॥२५९॥	main via surya_layout
23	१३००धी	annotation_inline parent ligne 22 via heuristic_short
24	इति शुद्धालक्षणमुक्तम्।	main via surya_layout
25	<b>4</b> °	annotation_inline parent ligne 24 via heuristic_markers
26	[१०. शुद्धाजातीनां पुनर्विकृतत्वम्]	section_header via surya_layout
27	[अनु॰ १४३]	editorial_bracket parent ligne 26 via heuristic_brackets
28	एतेन लक्षणेनैकेन द्वाभ्यां [बहुभि]वां विकृता भवन्ति । पुनर्न्यासवर्जमिति, न्यासेन: विकृत	editorial_bracket parent ligne 26 via heuristic_brackets
29	•ज्य	annotation_inline parent ligne 26 via heuristic_height
30	न्त	annotation_inline parent ligne 26 via heuristic_height
31	धा	annotation_inline parent ligne 26 via heuristic_height
32	[त्वं] च नास्ति न्यासवर्जमिति वचनात् ।	editorial_bracket parent ligne 26 via heuristic_brackets
33	न्दर्भ	annotation_inline parent ligne 26 via heuristic_height
34	[तत्र षाङ्ज्या उदाहरणम्]	editorial_bracket parent ligne 26 via heuristic_brackets
35	[अनु॰ १४४]	editorial_bracket parent ligne 26 via heuristic_brackets
36	विकृता षाङ्जी द्विविधा-नित्यसम्पूर्ण पाडवा चेति।	main via surya_layout
37	नामांशेन षाङ्जी शुद्ध [1] । विकृता	editorial_bracket parent ligne 36 via heuristic_brackets
38	(ক্টি)	main via surya_layout
39	(vide)	annotation_inline parent ligne 38 via heuristic_height
40	78 LE	annotation_inline parent ligne 38 via heuristic_height

vol_I_p072 LEFT — 46 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	126	page_number via heuristic_pagenum
3	कलां द्वतलयेन देवं शर्वीमिति पदद्वयेन2० वन्दे इति पदान्तरसहितेन	main via surya_layout
4	.ला .वरदेन देवशर्व	annotation_inline parent ligne 3 via heuristic_short
5	्रदये−	main via surya_layout
6	निर्वाहयतीति कलात्रयव्यापनम् २१। यथा -	main via surya_layout
7	.वयव्यापातनाद् (?)	annotation_inline parent ligne 6 via heuristic_short
8	.हा.	main via surya_layout
9	मा मा सा सा	annotation_inline parent ligne 8 via heuristic_short
10	[देवं]	editorial_bracket parent ligne 8 via heuristic_brackets
11	मा सा सा मा	main via surya_layout
12	[देवंश र्व]	editorial_bracket parent ligne 11 via heuristic_brackets
13	<b>22सस मस मम रिरि</b>	main via surya_layout
14	[देवं भर्व वं दे]	editorial_bracket parent ligne 13 via heuristic_brackets
15	[ अनु० ११२ ]	editorial_bracket parent ligne 13 via heuristic_brackets
16	मगधदेशोद्भवत्वान्मागधी। अन्ये तु द्विर्निवृत्तां मागधीं प्ठन्ति।	main via surya_layout
17	•सा	annotation_inline parent ligne 16 via heuristic_height
18	अर्धमिति पदसम्बन्ध्यर्धपदत्वेनार्धमागधी। न च पदार्द्यनिवृत्तावर्थः	main via surya_layout
19	. El.	annotation_inline parent ligne 18 via heuristic_short
20	.पा.	main via surya_layout
21	.য₀	annotation_inline parent ligne 20 via heuristic_markers
22	प्रवृत्तिनिवृत्तिगो हेतुर्मन्तव्यः । यतः सामवेदे२ गीतप्रधाने आवृत्तिष्वर्थो	main via surya_layout
23	यादेव	annotation_inline parent ligne 22 via heuristic_short
24	,व्या	main via surya_layout
25	,द	annotation_inline parent ligne 24 via heuristic_short
26	.र्ष	main via surya_layout
27	ग:	annotation_inline parent ligne 26 via heuristic_short
28	नाद्रियत इति । तदुक्तं—य आवृत्त्यात्मा जातवेदसमिति [ २४शब्दः] ।	editorial_bracket parent ligne 26 via heuristic_brackets
29	गा,	main via surya_layout
30	ਚ,	annotation_inline parent ligne 29 via heuristic_height
31	अत्र वेदशब्दपर्यवसिता सम्भाविता, लघुप्रायत्वे 25 च पृथुला,	main via surya_layout
32	.प्रभाव (?)	annotation_inline parent ligne 31 via heuristic_short
33	भूयस्त्वात् पदग्रामस्य पृथुलेत्युक्ता।	main via surya_layout
34	.स्त्वा	annotation_inline parent ligne 33 via heuristic_short
35	2611 इति मार्गलया [:] 11	editorial_bracket parent ligne 33 via heuristic_brackets
36	[ अनु० ११३ ]	editorial_bracket parent ligne 33 via heuristic_brackets
37	मार्गत्रये गीतिविधौ लयप्रयोगो नवधा द्रष्टव्यः।	main via surya_layout
38	•यो	annotation_inline parent ligne 37 via heuristic_short
39	.क्याः	annotation_inline parent ligne 37 via heuristic_height
40	लयसम्प्रयोगं दर्शयति— दक्षिणो मार्गो, वार्तिको मार्गिश्चत्रमार्ग	main via surya_layout
41	इति	annotation_inline parent ligne 40 via heuristic_short
42	दक्षिण— [ मार्ग - ] प्रवृत्तौ लयत्रयम् । वार्तिकमार्गश्चित्रमार्गो ध्वमार्गश्चेति ।	editorial_bracket parent ligne 40 via heuristic_brackets
43	दक्षिणावृत्ती	main via surya_layout
44	वृत्तिमार्गप्रवृत्तौ लयत्रयम्। चित्रमार्गो ध्रुवमार्गः	main via surya_layout
45	शून्यमार्गप्रचेति चित्र - [ मार्गप्रवृत्तौ ] लयत्रयम्।	editorial_bracket parent ligne 44 via heuristic_brackets
46	चित्रे	main via surya_layout

216 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p066 RIGHT — 39 lignes

vol_I_p101 RIGHT — 49 lignes

vol_II_p168 RIGHT — 42 lignes

vol_II_p030 LEFT — 40 lignes

vol_I_p072 LEFT — 46 lignes