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 21059). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p033 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	1400	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	49	page_number via heuristic_pagenum
4	citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika	main via surya_layout
5	(mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa	main via surya_layout
6	(mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its	main via surya_layout
7	application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup>	main via surya_layout
8	(associated with exit) dhruvā in the first scene (or act).	main via surya_layout
9	[3. Dhaivati]	section_header via surya_layout
10	[Anu. 150]	section_header via surya_layout
11	In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā	main via surya_layout
12	state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and	main via surya_layout
13	madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is	main via surya_layout
14	devoid of pañcama and the auduva formation is devoid of pañcama, șadja.	main via surya_layout
15	The same two svaras, viz. şadja and pañcama should be made weak and should	main via surya_layout
16	sometimes be leapt over. The tara is upto five svaras. The mandra is upto the	main via surya_layout
17	nyāsa<sup>66</sup> or upto the svara next to nyāsa.	main via surya_layout
18	[Anu. 151]	section_header via surya_layout
19	It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās	main via surya_layout
20	in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā	main via surya_layout
21	beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla),	main via surya_layout
22	citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and	main via surya_layout
23	sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā	main via surya_layout
24	(gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in	main via surya_layout
25	the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa,	main via surya_layout
26	bhayānaka are the rasas. Its application is (prescribed) in the singing of	main via surya_layout
27	dhruvā in the first scene (or act).	main via surya_layout
28	[4. Naisādī]	section_header via surya_layout
29	[Anu. 152]	section_header via surya_layout
30	In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas.	main via surya_layout
31	Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava	main via surya_layout
32	formation is devoid of pañcama and the auduvita formation is devoid of	main via surya_layout

vol_II_p015 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	13	page_number via heuristic_pagenum
3	[2. The definition of amsa]	section_header via surya_layout
4	[Anu. 120]	editorial_bracket parent ligne 3 via heuristic_brackets
5	After this amsa is being spoken of; that is known as tenfold according to	main via surya_layout
6	the division of its angas (lit. limbs, here functions). Anisa is that which leads	main via surya_layout
7	to the manifestation of raga (delight) in the course of its operation; this is its	main via surya_layout
8	first (function). And the second anisa (in its functioning) is that with which	main via surya_layout
9	gīta (melodic organisation and performance) begins and proceeds, which is	main via surya_layout
10	vikalpita (alternatively arranged) as graha, this is its second (function). That	main via surya_layout
11	amsa is third (in its functioning) which is the cause of the manifestation of	main via surya_layout
12	tāra (high) and mandra (low). The ascent up to the fifth svara is (the range	main via surya_layout
13	of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just	main via surya_layout
14	as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).	main via surya_layout
15	Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator	main via surya_layout
16	.	annotation_inline parent ligne 15 via heuristic_height
17	ofmandra is also amsa on account of descent in seven svaras. Just as in the	main via surya_layout
18	ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā	main via surya_layout
19	<math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its svasthāna 15 (section of melodic ela	main via surya_layout
20	amśa which is used profusely; this is the fourth (function). That svara is also	main via surya_layout
21	amsa which stands as the object (here content) of raga; this is the fifth	main via surya_layout
22	(function). That is also amsa which is perceptible in (the operation of)	main via surya_layout
23	graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,	main via surya_layout
24	eighth, ninth and tenth (function).<sup>16</sup>	main via surya_layout
25	[The definition of apanyasa forming part of that of amsa	section_header via surya_layout
26	[Anu. 121]	section_header via surya_layout
27	•	annotation_inline parent ligne 26 via heuristic_height
28	That is apanyāsa, where gīta (melodic rendering) is supposed or appears	main via surya_layout
29	to be ending; this occurs in the middle of all vidārīs (sub-sections). That	main via surya_layout
30	vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and	main via surya_layout
31	pada-vidārī 18 (splitting of the melodic- cum-textual units).	main via surya_layout
32	(Contention) What is signified by the word vidārī (?) It is the splitting or	main via surya_layout
33	separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <ma	main via surya_layout
34	(melodic structure) could be (understood) as such.	main via surya_layout
35	[The definition of samnyāsa forming part of that of amśa]	section_header via surya_layout
36	[Anu. 122]	section_header via surya_layout
37	Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when	main via surya_layout

vol_II_p094 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	171	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Combined with dhaivata as the initial and concluding note, complete,	main via surya_layout
4	delightful to the people, having concert between dhaivata - niṣāda and ṣadja-	main via surya_layout
5	gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full	main via surya_layout
6	of rasa and is also dear to the deity. 50 In performance, it is characterised	main via surya_layout
7	by smoothness and continuity by the singers bedecked with svaras.	main via surya_layout
8	<math>(111-112)</math>	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā	main via surya_layout
10	dhādhārisāmādhānidhādhā. Bāṅgālī [vi]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Having madhyama as amśa, dhaivata as the concluding note, being weak in	main via surya_layout
12	pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja-	main via surya_layout
13	gāndhāra, saindhavī has been known to be born of the Sindhu region and to	main via surya_layout
14	bear a regional name.	main via surya_layout
15	(113)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā	main via surya_layout
17	māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā	main via surya_layout
18	mādhādhādhā. Saindhavī [vii]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is	main via surya_layout
20	comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in	main via surya_layout
21	niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga<sup>51</sup> It is	main via surya_layout
22	beautiful and charming and is sung according to pañcama<sup>52</sup> (rāga).	main via surya_layout
23	<math>(114-115)</math>	annotation_inline parent ligne 22 via heuristic_height
24	Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā	main via surya_layout
25	dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama	main via surya_layout
27	being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja-	main via surya_layout
28	dhaivata, this antara-bhāṣā is sung by the Pulinda<sup>53</sup> people. It is well-known	main via surya_layout
29	as pulindikā, is pentatonic and subsists in (bhinna) sadja.54	main via surya_layout
30	<math>(116-117)</math>	annotation_inline parent ligne 29 via heuristic_height

vol_II_p139 LEFT — 59 lignes

L#	Texte OCR	Role auto
1	grantening to the property of the	annotation_inline parent ligne 5 via heuristic_height
2	262	page_number via heuristic_pagenum
3	260	page_number via heuristic_pagenum
4	BRHADDEŚĪ	page_header via surya_layout
5	शुद्धपङ्	main via surya_layout
6	line of verse 305 also appears in p. t. within this portion, but it has been	main via surya_layout
7	omitted in order to avoid unnecessary repetition. Reconstruction based on	main via surya_layout
8	Kalā on SR. II.2.23-26, p.25.	main via surya_layout
9	54. c.r. in ibid.	annotation_inline parent ligne 8 via heuristic_short
10	55. cf.c.r. in ibid. विवादी चानुवादी च गृहीत: स्यादित्यनुपङ्ग: । शुद्धपाडवापेक्षया	main via surya_layout
11	भित्रपड्जभित्रपञ्चमयोः स्वरप्रयोगभेदात् स्वरभित्रम् ।	main via surya_layout
12	C. r. in ibid.	annotation_inline parent ligne 11 via heuristic_short
13	56. P.t. repeats ' şadjaḥ (?) '.	main via surya_layout
14	57. Reconstruction attempted in the closest possible approximation	main via surya_layout
15	to the confused reading of p.t.	main via surya_layout
16	भित्रपड्जो मानदैन्ये चैकान्ताजीवितस्य च ।	main via surya_layout
17	58. cf.	main via surya_layout
18	मन्यन्ते र	unknown via fallback
19	C.r. in Abhi. Bhā .XXIX. 9, p. 69.	main via surya_layout
20	ग्राममूर्छन	unknown via fallback
21	59. cf.	main via surya_layout
22	प्रसन्नान्तविभूषित: ।	main via surya_layout
23	SR 11.2.80b.	annotation_inline parent ligne 22 via heuristic_short
24	60. cf.(i)	main via surya_layout
25	चतुःश्रुतिस्वरं यत्र भिनक्ति (ति)त्रिश्रुतिस्वराः (रः)।	main via surya_layout
26	तथाहि तैः	annotation_inline parent ligne 25 via heuristic_short
27	अधिष्ठानं स एव स्याच्छुतिभिन्न: स मन्यते ॥	main via surya_layout
28	SamSi Bhā Ka, p. 33.	main via surya_layout
29	एवायामार	annotation_inline parent ligne 28 via heuristic_height
30	चतुःश्रुतिः स्वरो यत्र भिन्नो द्विश्रुतिको भवेत् ।	main via surya_layout
31	(ii)	annotation_inline parent ligne 30 via heuristic_short
32	<b>द्विश्रुति</b>प्यां	main via surya_layout
33	गान्धारो द्विश्वतिश्चैव श्रुतिभिन्न: स उच्यते ॥	main via surya_layout
34	इत्याचार्यद्व	unknown via fallback
35	इति भित्रतानरागे हि पङ्जस्य श्रुतिद्वयं गृह्मति निषादः । श्रुतिपूर्वन्यायेन पङ्जोऽपि चतुःश्रुतिरित्युच्यते, गान्धारस्तु	main via surya_layout
36	श्रुतिभिन्नत्वम् ।	annotation_inline parent ligne 35 via heuristic_short
37	8	page_number via heuristic_pagenum
38	C.r. in Kalā on SR II.2.23-26, p.26.	main via surya_layout
39	61. cf. (i)	annotation_inline parent ligne 38 via heuristic_short
40	मध्यमापञ्चमीजातः पञ्चमांशग्रहोऽल्परिः॥	main via surya_layout
41	8	page_number via heuristic_pagenum
42	रिहीनो वा मध्यमान्तो मध्यमाल्प: सकाकली ।	main via surya_layout
43	SR II. 2.35 c-36 b.	annotation_inline parent ligne 42 via heuristic_short
44	विहीन ऋषभेणाधो ऋषभाल्पतया युत:।	main via surya_layout
45	(ii)	annotation_inline parent ligne 44 via heuristic_short
46	मध्यमस्वरविश्राम: स्वल्पमध्यमकोऽथवा ॥	main via surya_layout
47	निषाददुर्वल: प्रोक्तो भवानीपतिदैवत: ॥	main via surya_layout
48	अत्र यद्गदितं तज्ज्ञैर्दुर्वलत्वं निषादिन: ।	main via surya_layout
49	तद्धेतुजातिजं चिन्त्यं रिदीर्बस्यं पुनर्व्धै:॥	main via surya_layout
50	तथाहि तैरा	annotation_inline parent ligne 49 via heuristic_short
51	S Rāj II.2.I.280, 282 cd, 283.	main via surya_layout
52	62. Verse 313 in our text mentions rṣabha and niṣāda as sparse,	main via surya_layout
53	whereas here in the prose portion madhyama and niṣāda are so mentioned.	main via surya_layout
54	SR mentions ṛṣabha and madhyama and S.Rāj mentions ṛṣabha, madhyama and	main via surya_layout
55	1	page_number via heuristic_pagenum
56	niṣāda. (See extracts in note 60).	main via surya_layout
57	63. cf.	annotation_inline parent ligne 56 via heuristic_short
58	धैवतीपड्जमध्याभूः स्वल्पपञ्चमसप्तमः ।	main via surya_layout
59	(vide)	annotation_inline parent ligne 58 via heuristic_height

vol_I_p022 LEFT — 24 lignes

L#	Texte OCR	Role auto
1	26	page_number via heuristic_pagenum
2	<b>BRHADDES!</b>	page_header via surya_layout
3	इदानी सम्प्रवक्ष्यामि मध्यमश्रुतिमण्डलम् ।	main via surya_layout
4	ज्ञेयस्तिस्रो ह्यतिक्रम्य मध्यमोऽयं चतुःश्रुतिः॥४८॥	main via surya_layout
5	श्रुतिद्वयमतिक्रम्य तृतीया पञ्चमो भवेत्।	main via surya_layout
6	०यः	annotation_inline parent ligne 5 via heuristic_height
7	ततस्तिस्रो ह्यतिक्रम्य चतुर्थी धैवतो भवेत्॥४९॥	main via surya_layout
8	॰र्यो	annotation_inline parent ligne 7 via heuristic_markers
9	ज्ञेयस्त्वेकामतिक्रम्य निषादस्तु द्वितीयिका।	main via surya_layout
10	•यकः	annotation_inline parent ligne 9 via heuristic_height
11	श्रुतित्रयमतिक्रम्य ततः षड्जश्चतुर्थिका॥५०॥	main via surya_layout
12	<b>ः</b>र्थकः	annotation_inline parent ligne 11 via heuristic_height
13	ऋषभस्तु द्वयं त्यक्त्वा तृतीया परतो भवेत् ।	main via surya_layout
14	• यः	annotation_inline parent ligne 13 via heuristic_height
15	श्रुतिमेकामतिक्रम्य गान्धारः स्याद् द्वितीयिका॥५१॥	main via surya_layout
16	•यकः	annotation_inline parent ligne 15 via heuristic_height
17	[ तद्यथा — ] मध्यमग्रामे श्रुतिमण्डलम्—	editorial_bracket parent ligne 15 via heuristic_brackets
18	म	annotation_inline parent ligne 15 via heuristic_height
19	ग	annotation_inline parent ligne 15 via heuristic_height
20	रि	unknown via surya_layout
21	स	annotation_inline parent ligne 15 via heuristic_height
22	नि	unknown via surya_layout
23	[ अनु. १४ ]	editorial_bracket parent ligne 15 via heuristic_brackets
24	भरतस्तु पुनऋषभादिश्रुतिमण्डलं दर्शयति।	main via surya_layout

182 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p033 RIGHT — 32 lignes

vol_II_p015 RIGHT — 37 lignes

vol_II_p094 RIGHT — 30 lignes

vol_II_p139 LEFT — 59 lignes

vol_I_p022 LEFT — 24 lignes