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 20967). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p128 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	,	annotation_inline parent ligne 4 via heuristic_height
2	TRANSLATION	page_header via surya_layout
3	239	page_number via heuristic_pagenum
4	[37. Dhvanikuṭṭanī]	section_header via surya_layout
5	Here there are <i>mātr</i>ās of even number and there is <i>dhvuni</i>, sometimes there is	main via surya_layout
6	a pause after that. If there are two tālas in this, then that is dhvanikuṭṭanī.	main via surya_layout
7	(480)	main via surya_layout
8	[38.<i>Dheńki</i>]	section_header via surya_layout
9	Where <math>n\bar{a}da_{*}^{86}</math> synthesised with syllable is taken up at will without <math>t\bar{a}la</math> and	main via surya_layout
10	then there is tāla, that is said to be <i>dhenkikā</i>.	main via surya_layout
11	(481)	main via surya_layout
12	[39. Ekatālī]	section_header via surya_layout
13	Where there is alliteration without break <math>^{87}</math> (and) where yati is formed in each	main via surya_layout
14	druta<sup>88</sup>(?), that is known to be ekatālikā by those knowledgeable in the essence	main via surya_layout
15	of music.	annotation_inline parent ligne 14 via heuristic_short
16	(482)	main via surya_layout
17	[40. <i>Mātṛkā</i>]	section_header via surya_layout
18	Where the letters of the alphabet are taken up one by one and are sung	main via surya_layout
19	in combination with the desired meaning, that is called mātṛkā.89	main via surya_layout
20	(483)	main via surya_layout
21	[41. Svarārtha]	section_header via surya_layout
22	Where the song is properly accomplished with the svaras (solfa syllables)	main via surya_layout
23	yielding the desired meaning, that is known as svarārtha among the songs made	main via surya_layout
24	of vastu.	annotation_inline parent ligne 23 via heuristic_short
25	(484)	main via surya_layout
26	[42. <i>Karana</i>]	section_header via surya_layout
27	Where two sections are composed of svaras alone without any break, that has	main via surya_layout
28	been said here to be karaṇa, being (endowed) with the yati named karaṇa (?).91	main via surya_layout
29	(485)	main via surya_layout

vol_II_p122 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	227	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[General Prescription]	section_header via surya_layout
4	The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind	main via surya_layout
5	should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās.	main via surya_layout
6	(439)	annotation_inline parent ligne 5 via heuristic_short
7	Then one should properly put in the name of the one being described. It	main via surya_layout
8	(elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer)	main via surya_layout
9	comes after this.	annotation_inline parent ligne 8 via heuristic_short
10	(440)	main via surya_layout
11	Thus ends the fourfold ganaila.	main via surya_layout
12	[5. Saṅkarailā]	section_header via surya_layout
13	If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā	main via surya_layout
14	spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is	main via surya_layout
15	said to be named sankara.	main via surya_layout
16	(441)	annotation_inline parent ligne 15 via heuristic_short
17	[Thus ends gaņailā.]	editorial_bracket parent ligne 15 via heuristic_brackets
18	[B. The varieties of Mātrailā]	section_header via surya_layout
19	Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties	main via surya_layout
20	of) mātrailā spoken of by Vallabha.54	main via surya_layout
21	(442)	main via surya_layout
22	[1. Raulekhā]	section_header via surya_layout
23	Where there are rudra 55 numbered (eleven) mātrās in (each of the first)	main via surya_layout
24	two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa	main via surya_layout
25	named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure)	main via surya_layout
26	(and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name	main via surya_layout
27	ratilekhā by the experts in the science of music (gītaśāstra).	main via surya_layout
28	<math>(443-444)</math>	main via surya_layout

vol_II_p132 LEFT — 50 lignes

L#	Texte OCR	Role auto
1	246	page_number via heuristic_pagenum
2	BRHADDEŚĪ	section_header via surya_layout
3	Verse No.	table via surya_layout
4	Reading	table via surya_layout
5	Reading	table via surya_layout
6	BrD	table via surya_layout
7	Datti	table via surya_layout
8	BŗD	table via surya_layout
9	Datti	table via surya_layout
10	193	page_number via heuristic_pagenum
11	49	page_number via heuristic_pagenum
12	पड्जायाधैव	table via surya_layout
13	पड्जायास्त्वथ	table via surya_layout
14	194	page_number via heuristic_pagenum
15	सधैवत्यो:	table via surya_layout
16	सधैवत्ये *	table via surya_layout
17	50	page_number via heuristic_pagenum
18	*This reading is there in the Trivandrum edition of Datti which has been	main via surya_layout
19	changed by Mukund Lath to sadhaivatyoh.	main via surya_layout
20	12. Both p.t. and Datti read'tatha', but we have replaced it with	list_item via surya_layout
21	'tābhyām' because 'tathā' does not relate gāndhārī and pañcamī to gāndhāra-	list_item via surya_layout
22	pañcami as its components or progenitors.	list_item via surya_layout
23	13. cf. NŚ XXVIII 49-53 for verses 199-203 of our text.	list_item via surya_layout
24	14. The portion in square brackets has been added from	list_item via surya_layout
25	NŚ XXVIII.55, 56.	list_item via surya_layout
26	15. Reading in NŚ XXVIII. 57.	list_item via surya_layout
27	l 6. cf(i) श्रुतिस्वरग्रामसमूहाज्जायन्त इति जातय:, अथवा जायते रसप्रतीतिराभ्य इति जातय:,यद्वा सकलस्य	list_item via surya_layout
28	रागादेर्जन्महेतुत्वाज्जातयः, अथवा यथा नराणां ब्राह्मणत्वादयो जातयः, शुद्धा विकृताश्च, एवमेता अपीति जातयः।	list_item via surya_layout
29	C.r. in Sudhā on SR 1.7.3. p. 171.	unknown via fallback
30	ŧ	annotation_inline parent ligne 28 via heuristic_height
31	(ii) निर्हेतौ समवायात् श्रुतिस्वरग्रहादिसमूहाद्यतो जायन्ते ततो जातय इति निर्वचनम् ।	list_item via surya_layout
32	Abhi Bhā on NŚ XXVIII. p. 37.	list_item via surya_layout
33	17.cf. अंशग्रहादिशतयोजनाया जायन्त इति जातय इत्यन्ये । जाते रसं प्रति आभ्य(जायते रसप्रतीतिराभ्य)इति	list_item via surya_layout
34	वा सकलस्य रागादेर्जन्महेतुर्जातिरिति टीकाकार:।	list_item via surya_layout
35	Abhi Bhā on NŠ XXVIII.p.38.	main via surya_layout
36	18. Reconstruction based on BhaKo, p. 227.	list_item via surya_layout
37	Reconstruction based on Sudhā on SR I. 7.3 p. 171,	list_item via surya_layout
38	cf. शुद्धाश्च विकृताश्चैवमत्रापि जातिलक्षणम् । जातिर्द्धिधा शुद्धा विकृता च । शुद्धा सप्तविधा । विकृता एकादशविधा ।	list_item via surya_layout
39	BhaKo p. 227.	list_item via surya_layout
40	20. 'Viścṣa' or specified 'lakṣaṇa' relates to the description of each	list_item via surya_layout
41	<i>jāti</i>, hence this word has been replaced by us with ‘ <i>daśavidha</i> ’ (tenfold) .	list_item via surya_layout
42	ग्रहांशी तारमन्द्री च पाडवीडुविते क्रमात् । अल्पत्वं च बहुत्वं च न्यासोऽपन्यास एव च ॥	list_item via surya_layout
43	21. cf.(i)	list_item via surya_layout
44	<b>Datti.</b> 55,	unknown via fallback
45	ग्रहांशी तारमन्द्री च न्यासोऽपन्यास एव च ।	list_item via surya_layout
46	(ii)	list_item via surya_layout
47	अल्पत्वं च बहुत्वं च पाडवौडुविते तथा ॥	list_item via surya_layout
48	NŠ XXVIII.66.	main via surya_layout
49	22. Reading of MS B as recorded by the ed.	list_item via surya_layout
50	23. Datti 56 reads <i>evametadyathājāti </i>.	list_item via surya_layout

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_p062 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	107	page_number via heuristic_pagenum
3	[Anu. 188]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-gaudakaiśika rāga is related to madhyamagrāma and is born of	main via surya_layout
5	kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa.	main via surya_layout
6	Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On	main via surya_layout
7	account of pañcama being comprised of three śrutis, dhaivata being comprised	main via surya_layout
8	of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born	main via surya_layout
9	of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen	main via surya_layout
10	as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is	main via surya_layout
11	the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa,	main via surya_layout
12	prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā	main via surya_layout
13	obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla	main via surya_layout
14	like caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
15	[3. Gaudakaisikamadhyama]	section_header via surya_layout
16	Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its	main via surya_layout
17	nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras.	main via surya_layout
18	(318)	annotation_inline parent ligne 17 via heuristic_short
19	[Anu. 189]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means – gaudakaišikamadhyama is related to şadjagrāma, on account	main via surya_layout
21	of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama	main via surya_layout
22	is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application	main via surya_layout
23	is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā	main via surya_layout
24	beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the	main via surya_layout
25	alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
26	vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa	main via surya_layout
27	obtains in the songs comprised of svara and pada.	main via surya_layout
28	[The assignment of gaudaragas to gramas]	section_header via surya_layout
29	Now he (the author) has spoken of the assignment of gauda (ragas) to	main via surya_layout
30	grāmas-	annotation_inline parent ligne 29 via heuristic_short
31	Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama.	main via surya_layout
32	Gaudakaisika, on the other hand, is based on madhyamagrāma. The three	main via surya_layout
33	gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining	main via surya_layout
34	to vesarā gīti).	annotation_inline parent ligne 33 via heuristic_short
35	(319)	main via surya_layout
36	(vide)	annotation_inline parent ligne 35 via heuristic_height

184 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p128 RIGHT — 29 lignes

vol_II_p122 RIGHT — 28 lignes

vol_II_p132 LEFT — 50 lignes

vol_I_p033 RIGHT — 41 lignes

vol_II_p062 RIGHT — 36 lignes