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 21063). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p030 RIGHT — 31 lignes

L#	Texte OCR	Role auto
1	43	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The omission of all notes is prescribed in all <math>j\bar{a}tis</math>, but the omission of	main via surya_layout
4	madhyama should never be made. The svara madhyama is the chief among	main via surya_layout
5	all the svaras and is indispensable both in the kalpa (practice and precept)	main via surya_layout
6	of gāndharva and also in sāmans."	main via surya_layout
7	(NŚ XXVIII. 58-65)	main via surya_layout
8	[ Anu. 142 ]	section_header via surya_layout
9	Now the prescription of sadava and auduvita as well as the prescription	main via surya_layout
10	according to utsarga<sup>55</sup> (general view) and apavāda<sup>56</sup> (exception) should be	main via surya_layout
11	known only in vikṛtā jātis, not in the śuddhā jātis, because the śuddhās become	main via surya_layout
12	the root of the coming into existence of other jātis. These śuddhās themselves	main via surya_layout
13	become vikṛtās. How-	main via surya_layout
14	[9. A repeated definition of śuddhā jāti]	section_header via surya_layout
15	When a jāti has the same graha, the same apanyāsa and the same aniśa, has	main via surya_layout
16	nyāsa in the mandra (lower register) and is complete, then it is known as	main via surya_layout
17	śuddhā jāti.	annotation_inline parent ligne 16 via heuristic_short
18	(259)	annotation_inline parent ligne 16 via heuristic_height
19	Thus has been said the definition of śuddhā.	main via surya_layout
20	[10. The vikṛtā state of śuddhā jātis]	section_header via surya_layout
21	[Anu. 143]	section_header via surya_layout
22	Out of these characteristics, the jātis become vikṛtā (modified) by (the	main via surya_layout
23	violation of) one, two or many characteristics, excepting the nyāsa. The	main via surya_layout
24	statement 'excepting the nyāsa' means that there is no vikṛtā state that comes	main via surya_layout
25	about by (a change in) the nyāsa.	main via surya_layout
26	[ The illustration of sadji ]	section_header via surya_layout
27	[ Anu. 144 ]	section_header via surya_layout
28	Vikṛtā ṣādjī is two-fold – one that is always complete and the other that is	main via surya_layout
29	ṣāḍavā. Ṣāḍjī is śuddhā with the aṁśa that bestows its name (viz. ṣaḍja). Vikṛtā	main via surya_layout
30	ṣāḍjī is complete when gāndhāra is its aṁśa because of the non-omission of	main via surya_layout
31	----	annotation_inline parent ligne 30 via heuristic_height

vol_II_p064 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	110	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	[अनु॰ १९३]	section_header via surya_layout
4	अस्यार्थः - सौवीरकः षड्जग्रामसम्बन्धः षड्जमध्यमाजातेर्जातत्वात् । षड्जोऽस्य	main via surya_layout
5	ग्रहोंऽशो न्यासश्च । गान्धारनिषादयोरल्पत्वम्<sup>७१</sup> । निषाद: काकली । पूर्णश्चायम् । गृहमेधिनां	main via surya_layout
6	संयमिनां तापसानां च प्रवेशादिके चरिते, शान्तरसे चास्य विनियोग:। वीरादिको रस:।	main via surya_layout
7	वास्य	annotation_inline parent ligne 6 via heuristic_height
8	षड्जादिमूर्छना। आरोही वर्ण:<sup>७२</sup>। प्रसन्नादिरलङ्कार: । दक्षिणे कला,वार्तिके कला,चित्रे कला ।	main via surya_layout
9	स्वरपदगीते चच्चत्पुटादितालः।	main via surya_layout
10	[३. मालवपञ्चम:]	section_header via surya_layout
11	पञ्चमांशस्तदन्तश्च पञ्चमीमध्यमोद्भव:।	main via surya_layout
12	स्वल्पद्विष्ठतिकश्चैव ज्ञेयो मालवपञ्चमः ॥ ३२२॥	main via surya_layout
13	[अन्॰ १९४]	section_header via surya_layout
14	अस्यार्थ: - मालवपञ्चमो मध्यमग्रामसम्बन्ध:, मध्यमापञ्चमीसमुत्पन्नत्वात् । पञ्चमीऽशो	main via surya_layout
15	ग्रहो न्यासश्च। निषादगान्धारयोरल्पत्वम् <sup>७३</sup>। निषादोऽत्र काकली पूर्णस्वरश्चायम् । विप्रलम्भशृङ्गारे	main via surya_layout
16	कञ्चकीप्रवेशेऽस्य विनियोगः । पञ्चमादि-मूर्छना<sup>७४</sup>। रसौ शृङ्गारहास्यौ । आरोह्यादिवर्णः ।	main via surya_layout
17	प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:।	main via surya_layout
18	[४. वेसरपाडव:]	section_header via surya_layout
19	मध्यमांशस्तथा न्यासः कारणं षड्जमध्यमा ।	main via surya_layout
20	अद्विश्रुतिभ्यां विहीनस्तु भवेद् वेसरषाडवः ॥ ३२३॥	main via surya_layout
21	[अनु॰ १९५]	section_header via surya_layout
22	अस्यार्थः - वेसरषाडवः षड्जग्रामसम्बन्धः षड्जमध्यमाजातत्वात् । मध्यमों ऽशो ग्रहो	main via surya_layout
23	न्यासश्च । गान्धारिनषादयोरल्पत्वम् । गान्धारिनषादौ काकल्यन्तरौ । नित्यं पूर्णस्वरश्चायम् । शान्तरसे	main via surya_layout
24	(गान्धारनिपादयोरल्पत्वम्)	annotation_inline parent ligne 23 via heuristic_height
25	चास्य प्रयोग:। शृङ्गारहास्यौ रसौ । मध्यमादि-मूर्छना % । आरोही वर्ण: । प्रसन्नादिरलङ्कार: ।	main via surya_layout
26	दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
27	The state of the state of the state of the state of the state of the state of the state of the state of the state of the	annotation_inline parent ligne 26 via heuristic_height

vol_I_p103 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	189	page_number via heuristic_pagenum
3	117. Conflict with varna is not easily comprehensible. Perhaps the idea is that	list_item via surya_layout
4	whatever pattern is established in an alankāra it should be followed all-through.	list_item via surya_layout
5	If varna is taken to stand for syllabic unit, then the conflict and its prohibition	list_item via surya_layout
6	become clear.	list_item via surya_layout
7	118. Using an alankāra without a varņa ( melodic movement ) is a	list_item via surya_layout
8	contradiction in itself; here also, as above (note 117) the idea seems to be that	list_item via surya_layout
9	an alankāra should not be used without establishing a definite pattern. Here	list_item via surya_layout
10	varna as a syllabic unit does not seem to be relevant.	list_item via surya_layout
11	119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in	list_item via surya_layout
12	relation to varna (the syllabic unit) have been figuratively spoken of as—(i)	list_item via surya_layout
13	the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it	list_item via surya_layout
14	'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom	list_item via surya_layout
15	(like a flower on a creeper) and (iv) it makes the varna colourful or delightful	list_item via surya_layout
16	(like an ornament on a woman).	list_item via surya_layout
17	120. It is notable that all illustrations begin with sadja and do not extend	list_item via surya_layout
18	beyond the tāra şadja.	list_item via surya_layout
19	121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna.	list_item via surya_layout
20	Section VII ( Pada-giti )	section_header via surya_layout
21	1,2,3. Giti literally means song or the act of singing, but here it stands for	list_item via surya_layout
22	specific pattern of singing with reference to the text of the song as manifest in	list_item via surya_layout
23	its syllabic units (akşara) and metre (chandas). NŠ mentions only these four	list_item via surya_layout
24	gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to	list_item via surya_layout
25	distinguish between these two types of gitis, the first type being related to the	list_item via surya_layout
26	rendering of text and the second type being related to the rendering of raga, we	list_item via surya_layout
27	have qualified the gitis under reference with pada, and the gitis of raga	list_item via surya_layout
28	classification will be qualified with svara or raga.	list_item via surya_layout
29	4. Nivitta lit. means retreated or returned to; in alankāras nivitti means	list_item via surya_layout
30	descent (of svaras); here it means repetition.	list_item via surya_layout
31	5. Nivitta lit. means receded or held back as opposed to pravitta meaning	list_item via surya_layout
32	proceeded or set forth. Here it means accomplished or completed.	list_item via surya_layout
33	6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system	list_item via surya_layout
34	which represent three 'degrees' of length of a given tāla-cycle, depending on	list_item via surya_layout
35	the duration of kalā or standard time-unit, as follows -	list_item via surya_layout
36	Duration of kalā	section_header via surya_layout
37	Name of marga	section_header via surya_layout
38	2 mātrās	annotation_inline parent ligne 37 via heuristic_height
39	1. Citra	main via surya_layout
40	4 mātrās	annotation_inline parent ligne 39 via heuristic_short
41	2. Vārtika or vṛtti	main via surya_layout
42	8 mātrās	annotation_inline parent ligne 41 via heuristic_height
43	3. Daksina	unknown via fallback
44	12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika	main via surya_layout
45	and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4	main via surya_layout
46	mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three	main via surya_layout
47	(vide)	annotation_inline parent ligne 46 via heuristic_height
48	T 1	annotation_inline parent ligne 46 via heuristic_height
49	(vide)	annotation_inline parent ligne 46 via heuristic_height

vol_II_p079 RIGHT — 24 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	141	page_number via heuristic_pagenum
3	Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā.	main via surya_layout
4	Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā	main via surya_layout
5	nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv]	editorial_bracket parent ligne 4 via heuristic_brackets
6	Having ṣadja as its nyāsa, niṣāda as its amsa, being weak in pancama, there	main via surya_layout
7	being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā	main via surya_layout
8	should be known as hexatonic. Mālavesarī bears the name mūlā.	main via surya_layout
9	(44)	annotation_inline parent ligne 8 via heuristic_height
10	Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā.	main via surya_layout
11	Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v]	editorial_bracket parent ligne 10 via heuristic_brackets
12	Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is	main via surya_layout
13	immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding	main via surya_layout
14	notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly	main via surya_layout
15	pañcama-ṛṣabha should be known there.	annotation_inline parent ligne 14 via heuristic_height
16	(45)	annotation_inline parent ligne 14 via heuristic_height
17	Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri.	main via surya_layout
18	Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi]	editorial_bracket parent ligne 17 via heuristic_brackets
19	This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its	main via surya_layout
20	amsa, sadja as its concluding note, is always complete and is sung by people.	main via surya_layout
21	(46)	annotation_inline parent ligne 20 via heuristic_height
22	Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini	main via surya_layout
23	ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā.	main via surya_layout
24	Saurāstrī [vii]	editorial_bracket parent ligne 23 via heuristic_brackets

vol_I_p018 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	18	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	[ श्रुति-स्वर-सम्बन्धमधिकृत्य पञ्च विकल्पाः, तेषां दूषणं च ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	इदानी श्रुतीनां तादात्म्यादिविकल्पः कथ्यते—	main via surya_layout
5	तादातम्यं च विवर्तत्वं कार्यत्वं परिणामिता।	main via surya_layout
6	अभिव्यञ्जकता चापि श्रुतीनां परिकथ्यते ॥२८॥	main via surya_layout
7	57कल्प्यते	annotation_inline parent ligne 6 via heuristic_short
8	इदानीमेतदेव विवृणोति—	main via surya_layout
9	विशेषस्पर्शशून्यत्वाच्छ्रवणेन्द्रियग्राह्ययोः 58।	main via surya_layout
10	<sup>59</sup>गम्य ०ताः	main via surya_layout
11	स्वरश्रुत्योस्तु तादात्म्यं जातिव्यक्त्योरिवानयोः ॥२९॥	main via surya_layout
12	<del>هُ (10</del>	annotation_inline parent ligne 11 via heuristic_height
13	नराणां च मुखं यद्वद्दर्पणे तु विवर्तितम्।	main via surya_layout
14	614	page_number via heuristic_pagenum
15	ुते6≥	annotation_inline parent ligne 13 via heuristic_height
16	प्रतिभाति स्वरस्तद्वच्छुतिष्वेव विवर्तितः॥३०॥	main via surya_layout
17	०न्ति<sup>63</sup> ०रा<sub>०</sub>64	main via surya_layout
18	65 ल :	annotation_inline parent ligne 17 via heuristic_height
19	स्वराणां श्रुतिकार्यत्वमिति केचिद् वदन्ति हि।	main via surya_layout
20	श्रुतीना	annotation_inline parent ligne 19 via heuristic_short
21	मृत्पिण्डदण्डकार्यत्वं घटंस्येह यथा भवेत्।।३१।।	main via surya_layout
22	व67	annotation_inline parent ligne 21 via heuristic_height
23	श्रुतयः स्वररूपेण परिणमन्ति न संशयः ।	main via surya_layout
24	68परिणाम	annotation_inline parent ligne 23 via heuristic_height
25	व्रजन्ति हि	main via surya_layout
26	भजन्ति ५९	annotation_inline parent ligne 25 via heuristic_height
27	परिणमेद्यथा क्षीरं दिधरूपेण सर्वथा।।३२।।	main via surya_layout
28	षड्जादयः स्वराः सप्त व्यज्यन्ते श्रुतिभिः सदा।	main via surya_layout
29	अन्धकारस्थिता यद्वत् प्रदीपेन घटादयः ॥ ३३॥	main via surya_layout
30	इति तावन्मया प्रोक्तं श्रुतीनां च विकल्पनम्।	main via surya_layout
31	इदानी संप्रवक्ष्यामि विकल्पस्य च दूषणम्।।३४।।	main via surya_layout
32	भेदः ७०स्वलक्षणानां सामान्येनान्यवस्तुवत् सिद्धः।।	main via surya_layout
33	स्वर्	annotation_inline parent ligne 32 via heuristic_height
34	तिद्धं विशेषैः शून्यं भवति नभःपुष्पसङ्काशम्॥३५॥	main via surya_layout
35	<sup>71</sup>विशेषस्तु भवति पुनः	main via surya_layout
36	स₀	annotation_inline parent ligne 35 via heuristic_markers

167 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p030 RIGHT — 31 lignes

vol_II_p064 LEFT — 27 lignes

vol_I_p103 RIGHT — 49 lignes

vol_II_p079 RIGHT — 24 lignes

vol_I_p018 LEFT — 36 lignes