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 21071). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p084 RIGHT — 51 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	Ė	annotation_inline parent ligne 6 via heuristic_height
3	151	page_number via heuristic_pagenum
4	VIMARŚA	page_header via surya_layout
5	ì	annotation_inline parent ligne 6 via heuristic_height
6	2. Gita (lit. song or the act of singing) stands for the melodic aspect of	main via surya_layout
7	music which is rendered through the voice or stringed and wind instruments.	main via surya_layout
8	BṛD does not mention vādya along with gīta here, nor in verse 14 where desī	main via surya_layout
9	music is defined as 'that which is sung.' Since voice sets the model followed by	main via surya_layout
10	stringed and wind instruments, gita is the word for the melodic aspect of music	main via surya_layout
11	and the content of the above instruments is included in it. This extension of the	main via surya_layout
12	meaning of gita gets established when the word vādya is juxtaposed with it,	main via surya_layout
13	because in that case vādya gets restricted to drums. But here, in absence of that	main via surya_layout
14	juxtaposition, gita would acquire a further extension by way of also including	main via surya_layout
15	vādya in its orbit. Hence gīta stands here for the totality of music. It is notable	main via surya_layout
16	that gita is followed by svara in this verse. This looks like a repetition because	main via surya_layout
17	svara is the main constituent of gita. This could be construed as an emphasis on	main via surya_layout
18	'svara' through an independent reference to it.	main via surya_layout
19	3. Nrtta generally stands for pure dance where the delineation of artha	main via surya_layout
20	(meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263).	main via surya_layout
21	Nṛtta is dependent on nāda, because it has to be accompanied on instruments,	main via surya_layout
22	specially drums.	annotation_inline parent ligne 21 via heuristic_height
23	4. The statement that the world is made up of nāda seems to be somewhat	main via surya_layout
24	out of place here, because the context is that of nada being the essence of	main via surya_layout
25	music and dance. But if one recalls the exposition of the order of manifestation	main via surya_layout
26	or formation of gandharva beginning from bindu and moving forward through	main via surya_layout
27	nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its	main via surya_layout
28	auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva)	main via surya_layout
29	incorporates all the stages upto gandharva and hence the fundamental nature	main via surya_layout
30	of nāda as established in gīta could be logically extended to the 'world' because	main via surya_layout
31	the world or phenomenon itself is a manifestation of nāda through the above	main via surya_layout
32	stages. SR expresses the same idea in the following manner -	main via surya_layout
33	"Nāda manifests the letters ( of alphabet ), letters constitute the word and	main via surya_layout
34	words make a sentence; so, the entire business of life is carried on through	main via surya_layout
35	language and therefore, the whole phenomenon (i.e. the world) is based on	main via surya_layout
36	nāda". (SR1, 2.2)	annotation_inline parent ligne 35 via heuristic_height
37	Just as SR has related the business of life with nāda through verbal	main via surya_layout
38	communication that is based on the same, BrD has used gita in an extended	main via surya_layout
39	meaning, including in it all the manifestations of nada and has expounded nada	main via surya_layout
40	to be the essence of the whole world.	annotation_inline parent ligne 39 via heuristic_height
41	It would be interesting to note here that S R also speaks of nāda being the	main via surya_layout
42	essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in	main via surya_layout
43	that context.	annotation_inline parent ligne 42 via heuristic_height
44	"Nāda is the very essence of vocal music, instrumental music is enjoyable as	main via surya_layout
45	it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental	main via surya_layout
46	music); therefore, all the three together depend on nāda". (SRI, 2.1)	main via surya_layout
47	5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva	main via surya_layout
48	(three gods), representing three aspects of the manifestation of the Ultimate	main via surya_layout
49	Reality into the phenomenon of the universe, viz. creation, preservation and	main via surya_layout
50	destruction. Although the three of them occur in Vedic literature, yet the idea	main via surya_layout
51	(vide)	annotation_inline parent ligne 50 via heuristic_height

vol_II_p092 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	167	page_number via heuristic_pagenum
3	Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda),	main via surya_layout
4	there is (mutual) movement between madhyama-dhaivata and abundance of	main via surya_layout
5	pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā	main via surya_layout
6	(mixed).	annotation_inline parent ligne 5 via heuristic_short
7	(102)	main via surya_layout
8	Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั-	main via surya_layout
9	sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x]	editorial_bracket parent ligne 8 via heuristic_brackets
10	These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika.	main via surya_layout
11	(103)	main via surya_layout
12	[6. Bhāṣāsin bhinnaṣaḍja]	section_header via surya_layout
13	After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>.	main via surya_layout
14	(104)	annotation_inline parent ligne 13 via heuristic_short
15	Having dhaivata as amsa and the same as concluding note, being devoid	main via surya_layout
16	of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja-	main via surya_layout
17	gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist	main via surya_layout
18	in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46	main via surya_layout
19	(105)	annotation_inline parent ligne 18 via heuristic_short
20	lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg	main via surya_layout
21	ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี	main via surya_layout
22	gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā	main via surya_layout
23	dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā	main via surya_layout
24	Suddhā [i]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Having dhaivata as amsa, dhaivata as the concluding note, the concert	main via surya_layout
26	between sadja-dhaivata, there being (mutual) movement between sadja-	main via surya_layout
27	dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa	main via surya_layout
28	(region)<sup>47</sup> and is born of (bhinna) şadja.	main via surya_layout
29	(106)	main via surya_layout

vol_I_p053 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	89	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	(manifested) in the bodily<sup>21</sup> (<math>v\bar{i}n\bar{a}</math>). That is why it has been said that just as these	main via surya_layout
4	(varṇas) exist (in the bodily <math>viṇ\bar{a}</math>), similarly do they bring (themselves) into	main via surya_layout
5	effect (on the wooden <math>vin\bar{a}</math>); this meaning is inherent in the mention of <math>sanra^{22}</math>	main via surya_layout
6	(bodily) svaras (in the verse of NS quoted above).	main via surya_layout
7	So has been said -	annotation_inline parent ligne 6 via heuristic_height
8	These four varnas should be known as the constructors23 of melodic	main via surya_layout
9	(NŚ XXIX, 19ab)	annotation_inline parent ligne 8 via heuristic_height
10	rendering.	annotation_inline parent ligne 8 via heuristic_height
11	[Thus end the varnas]	editorial_bracket parent ligne 8 via heuristic_brackets
12	[The Alankaras]	section_header via surya_layout
13	(Anu. 68)	annotation_inline parent ligne 12 via heuristic_height
14	Now the well-known thirty-three 24 alankāras are being described by name	main via surya_layout
15	and application. What is spoken of through the word alankara and what is its	main via surya_layout
16	etymology? It is being answered. Ornament25 is being spoken of by the word	main via surya_layout
17	alankāra. Just as a man or woman adorned with a bracelet on the forearm,	main via surya_layout
18	middle-arm and the like, bears beauty (becomes beautiful), similarly the singing	main via surya_layout
19	that subsists in varņas (and is) adorned by these alankāras (known as)	main via surya_layout
20	prasannādi and the like, becomes delightful to the performers and listeners.	main via surya_layout
21	And the etymology is like this—the root 'du krñ' in the meaning of doing or	main via surya_layout
22	making bears the prefix alam (sufficient or adequate) and (the word) alankāra	main via surya_layout
23	(derived thereby) means that which makes something sufficient or adequate.	main via surya_layout
24	This word alankara has the end-suffix ghan.	main via surya_layout
25	(Anu. 69)	annotation_inline parent ligne 24 via heuristic_height
26	The names<sup>26</sup> of alankāras are being said (1) Prasannādi (having prasanna or	main via surya_layout
27	mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower	main via surya_layout
28	svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning	main via surya_layout
29	and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama	main via surya_layout
30	(equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the	main via surya_layout
31	line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu	main via surya_layout
32	(the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity	main via surya_layout
33	or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse)	main via surya_layout
34	(12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and	main via surya_layout
35	low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15)	main via surya_layout
36	Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or	main via surya_layout
37	graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka	main via surya_layout
38	(constantly moving or restless) (19) Krama (a specific order or sequence), (20)	main via surya_layout
39	i	annotation_inline parent ligne 38 via heuristic_height
40	Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or	main via surya_layout
41	sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka	main via surya_layout
42	(the rotating one), (24) Parivartaka (moving to and fro, changing), (25)	main via surya_layout

vol_I_p099 RIGHT — 45 lignes

L#	Texte OCR	Role auto
1	181	page_number via heuristic_pagenum
2	VIMARŚA	page_header via surya_layout
3	is also used. This is how the distinction brought about by mandra and tara could be	main via surya_layout
4	understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view.	main via surya_layout
5	48. 'Sukha' has been translated here as convenience or it could be rendered	main via surya_layout
6	as facility. The facility of the performer and listener is said here to be the	main via surya_layout
7	objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have	main via surya_layout
8	the reading 'nānātva' which means variety of mūrchanā and tāna, but since our	main via surya_layout
9	author has tried to distinguish between murchana and tana, we have accepted	main via surya_layout
10	the reading anyatvam which means distinction (see note 78 under textual notes	main via surya_layout
11	on the section ). In NS mūrchanā-tāna is also a compound name for the 84	main via surya_layout
12	tānas. BṛD does not use this compound and emphasises the distinction between	main via surya_layout
13	the two; viz. mūrchanā and tāna.	main via surya_layout
14	Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and	main via surya_layout
15	said that the variety of murchana and tana accords facility to the performer by	main via surya_layout
16	making possible the use of three sthanas (registers) and also the omission of	main via surya_layout
17	svaras (according to a specific system as embodied in the 84 tanas). The	main via surya_layout
18	distinction between murchana and tana brought out in the reading accepted by	main via surya_layout
19	us could be construed to mean that mūrchanā as a complete scale in ascending	main via surya_layout
20	and descending establishes the three sthanas and tana (involving omission)	main via surya_layout
21	establishes a specific pattern in ascent. It is interesting to note that even today	main via surya_layout
22	omission of one or two svaras is very effective in the ascent in all those ragas	main via surya_layout
23	that involve omission in ascent and use the omitted svaras in descent. ( see	main via surya_layout
24	glossary)	main via surya_layout
25	49. Since specific omissions are prescribed for the two grāmas, tāna the result	list_item via surya_layout
26	of this specific omission could be said to be the distinguishing feature between	list_item via surya_layout
27	the jātis and rāgas of one grāma and the other.	list_item via surya_layout
28	50. This applies to kūļa-tāna where permutation and combination is involved and	list_item via surya_layout
29	definite numbering of each variety is effected. Retrieving the number of a given tana	list_item via surya_layout
30	(arrangement of a given number of svaras) and retrieving the form of a tana whose	list_item via surya_layout
31	number alone is given is known as uddista and nasta respectively. (see glossary)	list_item via surya_layout
32	51, 52. The word tāna-prayoga is being used here to convey two things—in	list_item via surya_layout
33	the first instance the number of tanas (permutation of a given number of	list_item via surya_layout
34	svaras ) is implied and in the second instance the number of svaras constituting	list_item via surya_layout
35	the specific tāna (combination of svaras) is implied.	list_item via surya_layout
36	53, 54, 55 & 56. Krama is a combination of svaras where the original order	list_item via surya_layout
37	remains intact and uthrama is a permutation where the original order is	list_item via surya_layout
38	changed. The method of obtaining the number of kramas and utkramas of a	list_item via surya_layout
39	given-number of svaras is like this—multiply the earlier numbers of a given	list_item via surya_layout
40	number, without leaving any number in-between. For example if the number of	list_item via surya_layout
41	svaras is six, <math>1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720</math> would be the number of kramas and	list_item via surya_layout
42	uthramas taken together; the last number of this series viz. 6 is the number of	list_item via surya_layout
43	kramas and the remainder viz. 714 is the number of utkramas.	list_item via surya_layout
44	57. 'Māna' could stand here for the measure (length, breadth and the like) of the	list_item via surya_layout
45	viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,	list_item 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

197 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p084 RIGHT — 51 lignes

vol_II_p092 RIGHT — 29 lignes

vol_I_p053 RIGHT — 42 lignes

vol_I_p099 RIGHT — 45 lignes

vol_I_p031 LEFT — 30 lignes