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 21074). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p058 LEFT — 47 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	98	page_number via heuristic_pagenum
3	\| अनु₀ <b>९</b>0 \|	editorial_bracket parent ligne 4 via heuristic_brackets
4	तारादेकान्तरस्वरावरोहात् त्रिरावृत्त्या कलात्रयकरणात् सर्वेषां 25ह्रादमानः। यथा—	main via surya_layout
5	26सध सध सध, निप निप निप, धम धम धम, पग पग पग, मरि मरि मरि, गस गस	main via surya_layout
6	Ĺ	unknown via fallback
7	[ २१ ]	editorial_bracket parent ligne 5 via heuristic_brackets
8	गस 🛭 इति 📗 ह्रादमानः।	main via surya_layout
9	अनु₀ ९१ ]	editorial_bracket parent ligne 8 via heuristic_brackets
10	समनन्तरस्वरमारुह्य द्वे कले स्थित्वा पुनः स्वरोऽन्तरे अर्धकलामारोहति	main via surya_layout
11	(व?) ति	annotation_inline parent ligne 10 via heuristic_short
12	र्द	annotation_inline parent ligne 10 via heuristic_height
13	<b>.</b>	annotation_inline parent ligne 10 via heuristic_height
14	पुनश्चानन्तरमेवार्धकलामवरोहित स रिक्षतः। [ यथा - ] सरी मग, रिगा पम, गमा	editorial_bracket parent ligne 10 via heuristic_brackets
15	₀ಪು	annotation_inline parent ligne 10 via heuristic_markers
16	धप, मपा निध, पधा सनि [ इति ] रञ्जितः।	editorial_bracket parent ligne 10 via heuristic_brackets
17	[ २२ ]	editorial_bracket parent ligne 10 via heuristic_brackets
18	[ अनु₀ ९२ ]	editorial_bracket parent ligne 10 via heuristic_brackets
19	आरोहावरोहाभ्यामष्टौ स्वरानुच्चार्य प्राकृस्वरोच्चारणान्ते क्रमशोऽष्टकल आवर्तकः।	main via surya_layout
20	र (प २) मु₀	annotation_inline parent ligne 19 via heuristic_markers
21	०मादौ₀	annotation_inline parent ligne 19 via heuristic_markers
22	अथवा सग गप पनि धस सध निप पग गस [ इति ] आवर्तकः।	editorial_bracket parent ligne 19 via heuristic_brackets
23	[ २३ ]	editorial_bracket parent ligne 19 via heuristic_brackets
24	धानीपा गासा	annotation_inline parent ligne 19 via heuristic_height
25	सधा	annotation_inline parent ligne 19 via heuristic_height
26	27q q127	main via surya_layout
27	[ अनु₀ ९३ ]	editorial_bracket parent ligne 26 via heuristic_brackets
28	[ अनन्तरं त्रिस्वरानारुह्य ] पुनरेकस्वरं चतुर्थं लङ्घयित्वा पञ्चमं स्वरं प्राप्य	editorial_bracket parent ligne 26 via heuristic_brackets
29	पुनरप्य [न] न्तरान् त्रिस्वरानवरोहृन् चतुर्थं । लङ्क्षयन्नाद्यं स्वरं षड्जं गच्छेत्।	editorial_bracket parent ligne 26 via heuristic_brackets
30	<sup>29</sup>चतुर्ल	main via surya_layout
31	आरोहावरोहाभ्यां कलाष्टकेन तथैव तारादारभ्य सर्वस्वराणामारोहावरोहणम्। षोडशकलः	main via surya_layout
32	(लो २ला) व	annotation_inline parent ligne 31 via heuristic_short
33	नवरोई (?)	main via surya_layout
34	परिवर्तकः। स.च लोके ओहाडीत्युच्यते [ यथा -] सरिगप पमगस, रिगमध धपमरि,	editorial_bracket parent ligne 33 via heuristic_brackets
35	(को १ के)	main via surya_layout
36	सा	annotation_inline parent ligne 35 via heuristic_height
37	पा	annotation_inline parent ligne 35 via heuristic_height
38	गमपनि निधपग, मपधस सनिधम, सनिधम मपधस, निधपग गमपनि, धपमरि	main via surya_layout
39	गा	annotation_inline parent ligne 38 via heuristic_height
40	रिगमध, पमगस सरिगम इति परिवर्तकः।	main via surya_layout
41	[ २४ ]	editorial_bracket parent ligne 40 via heuristic_brackets
42	<sup>ं३0</sup><br>अनु<sub>॰</sub> ९४ ]	editorial_bracket parent ligne 40 via heuristic_brackets
43	स्वरद्वये ह्येककलया आरोहक्रमेण तृतीयस्वरं परिहरन्नारोहक्रमेणैवोपरितनस्थ-	main via surya_layout
44	हि.	annotation_inline parent ligne 43 via heuristic_short
45	0 इ	annotation_inline parent ligne 43 via heuristic_height
46	स्वरद्वयमाक्रामन्ननेनैव क्रमेणावरोहः। शेषानिप स्वराननेनैव क्रमेणारोहन्नष्टादशकल	main via surya_layout
47	.क्रमान,	annotation_inline parent ligne 46 via heuristic_height

vol_II_p116 RIGHT — 23 lignes

L#	Texte OCR	Role auto
1	215	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	[15. Hayalīlā]	section_header via surya_layout
4	Where the (first) half is sung with svaras, in turagalīla (tāla), (and the	main via surya_layout
5	latter) half is sung with birudas, that is known as hayalīlā.	main via surya_layout
6	(397)	main via surya_layout
7	[16. <i>Gajalīlā</i>]	section_header via surya_layout
8	That which is completely composed according to gajalīlā but where the tāla	main via surya_layout
9	is gajalīla, that should be known by the name gajalīlā.	main via surya_layout
10	(398)	main via surya_layout
11	[17. Simhalīlā]	section_header via surya_layout
12	Composed in simhalilā metre, combined with svara and tena, that which is	main via surya_layout
13	sung with birudas is sinihalīlaka.	main via surya_layout
14	(399)	main via surya_layout
15	[18. Śarabhalila]	section_header via surya_layout
16	Where eight feet are composed with svaras and pāṭas, that is held to be	main via surya_layout
17	śarabhalīla, having eight rāgas and tālas.	main via surya_layout
18	(400)	main via surya_layout
19	[19. Śukacańcu]	section_header via surya_layout
20	In the beginning there is <math>r\bar{s}ga^{20}</math> with <math>gamaka</math>, that which is endowed with	main via surya_layout
21	<math>t\bar{a}la</math>, is sung with svaras and <math>p\bar{a}t</math>as (and) is sung in the languages of various	main via surya_layout
22	regions, is named śukacańcu, that is dear to the people.	main via surya_layout
23	(401)	main via surya_layout

vol_II_p156 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	295	page_number via heuristic_pagenum
3	becoming an adjective of vidhi and the total meaning being 'general rule'.	main via surya_layout
4	Utsarga and apavāda is another pair that is commonly used in Pūrva	main via surya_layout
5	Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga'	main via surya_layout
6	has been used in isolation, the compound utsarga-vidhi being implicit.	main via surya_layout
7	'Vidhi' meaning rule or injunction has been used with the adjective samvādī	main via surya_layout
8	-anuvādī in a compound, meaning the rule pertaining to the samvādin and	main via surya_layout
9	anuvādin svaras.	annotation_inline parent ligne 8 via heuristic_height
10	14. This phrase or piece of notation does not occur in SR in the	list_item via surya_layout
11	prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī.	list_item via surya_layout
12	15. 'Svasthāna' is known to stand for a section of 'ālapti' or	list_item via surya_layout
13	improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here	list_item via surya_layout
14	in jāti which is a prototype of rāga. It is not improbable that our text is using	list_item via surya_layout
15	this word in a different meaning, which could, perhaps, be graha.	list_item via surya_layout
16	16. The purport is that amsa is the regulator of graha, apanyasa,	list_item via surya_layout
17	vinyāsa, samnyāsa and nyāsa on account of being the point of reference both	list_item via surya_layout
18	in intervallic and melodic organisation.	list_item via surya_layout
19	17,18. Gīta is melodic rendering and pada is a unit of text or melody	list_item via surya_layout
20	or text-cum-melody, as the case may be, i.e., gīta could stand for melodic	list_item via surya_layout
21	rendering with or without text and 'pada' could stand for self-contained	list_item via surya_layout
22	units of text (meaningful or otherwise) or of melody or of text-cum-melody.	list_item via surya_layout
23	Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the	list_item via surya_layout
24	pause between one vidārī and another.	list_item via surya_layout
25	19. 'Pāda', literally meaning foot is used both in the context of	list_item via surya_layout
26	textual metre and musical composition.	list_item via surya_layout
27	20. 'Peśī', literally meaning muscle suggests the conception of the	list_item via surya_layout
28	'body' of a musical structure on the model of the human body. SR IV. 12a	list_item via surya_layout
29	speaks of the dhātus (lit. humours) of prabandha that are so called because	list_item via surya_layout
30	of upholding the 'body' of prabandha and again in 13b speaks of the	list_item via surya_layout
31	'prabandha-puruşa' that has six angas or limbs. The word peśī has also been	list_item via surya_layout
32	used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going	list_item via surya_layout
33	much earlier than our text.	list_item via surya_layout
34	21. NS. XXVIII.68, 69 has reading variants in all the editions; the	list_item via surya_layout
35	citation in our text has proximity to c.r. in Kalā. It is notable that the name	list_item via surya_layout
36	of Bharata does not occur in the introduction to the citation.	list_item via surya_layout
37	22. The octave of the amsa is implied here; that is the beginning of	list_item via surya_layout
38	tāra (high).	list_item via surya_layout
39	23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī	list_item via surya_layout
40	in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās'	list_item via surya_layout
41	indicating their tara position.	list_item via surya_layout

vol_I_p011 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	5	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	The state of being consonant (vyanjanatva) is common to all the (seven)	main via surya_layout
4	groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the	main via surya_layout
5	state of Siva simply on account of (its) manifestation through Sakti (svara). (8)	main via surya_layout
6	Varņas (letters and syllables) are known as such because they delineate the	main via surya_layout
7	whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18	main via surya_layout
8	(sentence) and through the conveying of the meaning of sentence. (9)	main via surya_layout
9	This pada 19 is always known by the wise to be preceded by syllable (varna)	main via surya_layout
10	i.e. the former presupposes the latter. The sentence, on the other hand, is a	main via surya_layout
11	combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing	main via surya_layout
12	about the action denoted by a verb) (and) is made up of words. (10)	main via surya_layout
13	From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great	main via surya_layout
14	sentence) and in succession (arise) the Vedas with their angas 23 (anciliary	main via surya_layout
15	disciplines); all those are manifested from dhvani. From there (Vedas) is the	main via surya_layout
16	origin of Gandharva<sup>24</sup> (music). (11)	main via surya_layout
17	Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of	main via surya_layout
18	everything. The whole world of immobile and mobile (beings) is encompassed	main via surya_layout
19	by dhvani. (12)	annotation_inline parent ligne 18 via heuristic_height
20	Dhvani is said to be twofold according to (its) division into manifest and	main via surya_layout
21	unmanifest (states). Being manifest on account of the obtaining of varnas 26 it	main via surya_layout
22	(dhvani) has reached the countenance (beginning) of desi. (13)	main via surya_layout
23	Thus ends the origin of desi.	main via surya_layout
24	[The definition of dest and marga ]	section_header via surya_layout
25	That which is sung by women, children, cowherds and kings<sup>27</sup> out of their	main via surya_layout
26	own will with love (and pleasure) in their own (respective) regions is called desi	main via surya_layout
27	(music). (14)	annotation_inline parent ligne 26 via heuristic_height
28	This mārga 28 (course) (of deśi) is known to be twofold viz. that which is	main via surya_layout
29	nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound,	main via surya_layout
30	relatively less structured). That which is structured through ālāpa (melodic	main via surya_layout
31	elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is	main via surya_layout
32	called desi. (15, 16ab).	annotation_inline parent ligne 31 via heuristic_height

vol_II_p056 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BŖHADDEŚĪ	page_header via surya_layout
2	94	page_number via heuristic_pagenum
3	संहारे कैशिक: प्रोक्त: पूर्वरङ्गे तु षाडव: ।	main via surya_layout
4	चित्रस्याष्टादशाङ्गस्य त्वन्ते कैशिकमध्यमः॥	main via surya_layout
5	शुद्धानां विनियोगोऽयं ब्रह्मणा समुदाहतः ।'"५०	main via surya_layout
6	[NŚ as quoted in Kalā on SR. II p.32]	editorial_bracket parent ligne 5 via heuristic_brackets
7	[ख. भिन्नरागाः]	section_header via surya_layout
8	इदानीं भिन्नानां लक्षणमाह -	main via surya_layout
9	श्रुतिभिन्नो जातिभिन्नः शुद्धभिन्नः ५१स्वरस्तथा ।	main via surya_layout
10	स्वरै॰	annotation_inline parent ligne 9 via heuristic_markers
11	चतुर्धिर्भिद्यते यस्मात् तस्माद् भित्रक उच्यते ॥३०४॥	main via surya_layout
12	[अनुः १७२]	editorial_bracket parent ligne 11 via heuristic_brackets
13	५२ननु भित्रशब्देन किमभिधीयते ? किं विदारितोऽर्थः, एतदस्मादयं व्यतिरिक्त इत्यर्थो वा	main via surya_layout
14	भित्रशब्दस्य। एतत्र वाच्यम्। भित्रोऽत्र विकृत उच्यते। विकृतत्वं च पूर्वोक्तश्रुतिभित्रेत्यादिलक्षणात्।	main via surya_layout
15	५३[स्वरभिन्न:]	section_header via surya_layout
16	[अनु॰ १७३]	editorial_bracket parent ligne 15 via heuristic_brackets
17	इदानीं भिन्नानां प्रागुक्तलक्षणप्रकटनार्थं तत्रादौ स्वरभिन्नस्य लक्षणमुच्यते -	main via surya_layout
18	यदा वादी गृहीत: स्यात् संवादी च विमोक्ष्यते ।	main via surya_layout
19	विवादी वानुवादी वा स्वरिभन्न: स उच्यते ॥ ३०५॥	main via surya_layout
20	५४चानुवादी च	annotation_inline parent ligne 19 via heuristic_height
21	[अन्॰ १७४]	editorial_bracket parent ligne 19 via heuristic_brackets
22	अस्यार्थ:-मध्यमग्रामाश्रितस्य शुद्धषाडवस्य योऽसौ मध्यमो ग्रहांश: तत्स्थाने धैवतो	main via surya_layout
23	धैवतोऽपि	annotation_inline parent ligne 22 via heuristic_height
24	योऽसा	annotation_inline parent ligne 22 via heuristic_height
25	५५विवादित्वेन वा[ऽ]नुवादित्वेन वा गृहीतो भवति। मध्यमस्वरस्य संवादी त्यज्यते न्यस्यते	editorial_bracket parent ligne 22 via heuristic_brackets
26	नानुवादित्वेन	annotation_inline parent ligne 22 via heuristic_height
27	विवादित्वे (न?)	annotation_inline parent ligne 22 via heuristic_height
28	वा तदासौ स्वरिभन्न उच्यते । भिन्नषड्जेऽत्र वदनाद् वादी धैवतः, पुनर्बहुप्रयोगो भवति [तस्य]।	editorial_bracket parent ligne 22 via heuristic_brackets
29	व्यह्ज: अत्र	annotation_inline parent ligne 22 via heuristic_height
30	ननु पश्चसु रागेषु मध्ये भित्रषड्जस्य लक्षणमुच्यते इत्यादावेवाभिधानं कृत:?	main via surya_layout
31	सत्यमुक्तम्	annotation_inline parent ligne 30 via heuristic_height
32	मुख्यत्वादस्य । मुख्यत्वं च यथा शुद्धगीतिषु शुद्धषाडवस्य एवं भिन्नगीतिषु भिन्नषड्जस्येति	main via surya_layout
33	तद्भेद[त्व]ादस्येति ।	editorial_bracket parent ligne 32 via heuristic_brackets

176 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p058 LEFT — 47 lignes

vol_II_p116 RIGHT — 23 lignes

vol_II_p156 RIGHT — 41 lignes

vol_I_p011 RIGHT — 32 lignes

vol_II_p056 LEFT — 33 lignes