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 21124). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p095 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	173	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	Illustration-[Dhādhā] Sāsāsādhānisārisā dhānidhādhādhāririsāsāsāriridhā	editorial_bracket parent ligne 5 via heuristic_brackets
4	dhādhā-risādhānisāsārisā risādhanīdhā [sa]. Pulindī [ix]	editorial_bracket parent ligne 5 via heuristic_brackets
5	These are the bhāṣās based on bhinnaṣaḍja, described by Yāṣṭika.	main via surya_layout
6	(118)	annotation_inline parent ligne 5 via heuristic_height
7	7. After this the bhāṣās in sauvīraka	section_header via surya_layout
8	Combined with sadja as the initial and concluding note, being complete	main via surya_layout
9	in svaras, this is a beautiful <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math>. Şadja-pa<math>\bar{u}</math>cama a	main via surya_layout
10	is concert between şadja-dhaivata and similarly ṛṣabha-dhaivata. This is	main via surya_layout
11	sauvīrī having a divine form and said to subsist in sauvīraka (rāga).	main via surya_layout
12	<math>(119-120)</math>	annotation_inline parent ligne 11 via heuristic_height
13	Illustration - Sāgāsāsā sādhānīdhāpāpāpārīpā dhāmāgamamapāpāmādhā	main via surya_layout
14	sādhāsā -sānidhānigārimāmāgārisā sādhānidhāsāsā. Sauvīrī [i]	editorial_bracket parent ligne 13 via heuristic_brackets
15	Having madhyama as amśa and şadja as the concluding note, being	main via surya_layout
16	complete and brilliant <math>^{56}</math> with <math>madhyama</math>, this <math>bh\bar{a}</math>, <math>\bar{a}</math>	main via surya_layout
17	knowledgeable ones in music to be vegamadhyamā. Madhyama-pañcama are	main via surya_layout
18	seen to be speedy.	annotation_inline parent ligne 17 via heuristic_height
19	(121)	annotation_inline parent ligne 17 via heuristic_height
20	Illustration- [Māmā]pāmāmāmadhāpāpāpamāmānidhāsāsānimasānisā-	editorial_bracket parent ligne 17 via heuristic_brackets
21	sāgāsānipāpādhāninisāsā.	main via surya_layout
22	sānisāsārigārisāsāsā	main via surya_layout
23	nidhānipāpānini	annotation_inline parent ligne 22 via heuristic_height
24	·Vegamadhyamā[ii]	editorial_bracket parent ligne 22 via heuristic_brackets
25	Sādhāritā should be known to be that which has şadja as aniśa and	main via surya_layout
26	madhyamaas nyāsa.	annotation_inline parent ligne 25 via heuristic_height
27	(122)	annotation_inline parent ligne 25 via heuristic_height

vol_II_p070 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	Electric and the	annotation_inline parent ligne 4 via heuristic_height
2	123	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	[Anu. 208]	section_header via surya_layout
5	Its meaning is thus - Rūpasādhārita is related to şadjagrāma on account of	main via surya_layout
6	being born of şadjamadhyamā and niṣādavatī. Şadja is its graha and amśa.	main via surya_layout
7	Madhyama is the nyāsa. There is the sparseness of pañcama and ṛṣabha.	main via surya_layout
8	Niṣāda is kākalī here and this (rāga) is complete. It is used in vīra and karuņa	main via surya_layout
9	(rasas). Vīra and the like is the rasa84 The mūrchanā begininng with ṣaḍja	main via surya_layout
10	obtains. Arohin is the varna. Prasannamadhya is the alankāra. The kalā is	main via surya_layout
11	formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the	main via surya_layout
12	kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs	main via surya_layout
13	comprised of svara and pada.	main via surya_layout
14	(338)	main via surya_layout
15	[6. Gāndhārapañcama]	section_header via surya_layout
16	Gāndhārapañcama isborn of gāndhārī and raktagāndhārī (jātis). Gāndhāra is	main via surya_layout
17	its <i>amśa</i> and <i>gāndhāra</i> alone is <i>nyāsa</i>.	main via surya_layout
18	[Anu. 209]	section_header via surya_layout
19	Itsmeaning is thus-gāndhārapañcama is related to madhyamagrāma on account	main via surya_layout
20	of being born of gāndhārī and raktagāndhārī jātis. Although it is born of dhaivatī	main via surya_layout
21	(jāti) in the opinion of Durgaśakti, yet on account of pañcama being comprised	main via surya_layout
22	of three śrutis, it is related to madhyama (grāma) alone in spite of being born of	main via surya_layout
23	jātis belonging to both the grāmas. Gāndhāra is its graha, amśa and nyāsa. With	main via surya_layout
24	relevance to the performer, gāndhāra may become dhaivata.85 Niṣāda is	main via surya_layout
25	kākalī here and this (rāga) is complete. Its application is prescribed in	main via surya_layout
26	adbhuta, vismaya<sup>86</sup> and hāsya (rasas). Karuṇa is the rasa<sup>87</sup> The mūrchanā	main via surya_layout
27	beginning with gāndhāra obtains. Sañcārin is the varņa. Prasannamadhya is	main via surya_layout
28	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in	main via surya_layout
29	the vārtika(mārga) and the kalā prevails in the citra (mārga). A tāla like	main via surya_layout
30	caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
31	[7.Şadjakaisika]	section_header via surya_layout
32	***************	annotation_inline parent ligne 31 via heuristic_height
33	[8. Pañcamaṣāḍava]	section_header via surya_layout
34	Pañcamaṣāḍavaisborn of dhaivatī and ārṣabhī jātis. It is combined with ṛṣabha	main via surya_layout
35	as the amśa and madhyama alone is the nyāsa.	main via surya_layout
36	(339)	main via surya_layout

vol_II_p162 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	annotation_inline parent ligne 3 via heuristic_height
2	307	page_number via heuristic_pagenum
3	52. The word gamaka seems to stand for shake here.	list_item via surya_layout
4	53. Dānavīra is one of the four varieties of vīra, the other three being	list_item via surya_layout
5	dharmavīra, yuddhavīra and dayāvīra.	list_item via surya_layout
6	54. The import seems to be that śuddha-bhinna has an independent	list_item via surya_layout
7	form and that it is not the modified form of a suddharaga.	list_item via surya_layout
8	55. Here the distinction of a bhinna raga is established only on the	list_item via surya_layout
9	basis of giti or distinctive tonal rendering.	list_item via surya_layout
10	56. Syasthāna is a word used in SR III.140 and III.191-192 in the	list_item via surya_layout
11	context of sthāya and ālapti respectively; it stands for the sections of rāgālapti	list_item via surya_layout
12	formed on the basis of the units of tonal range within an octave, the first unit	list_item via surya_layout
13	being formed in the range from the tonic and from below it upto the svara	list_item via surya_layout
14	preceding the fourth, the second unit touching the fourth, the third	list_item via surya_layout
15	reaching below the octave and the fourth touching the octave.	list_item via surya_layout
16	57. 'Leaving the svasthana' seems to imply that the lower register will	list_item via surya_layout
17	be used in this rāga, as distinct from śuddhakaiśika which is performed with	list_item via surya_layout
18	tāra svaras. Here svasthāna does not seem to signify the units of tonal range	list_item via surya_layout
19	described in note 56 above, rather it appears to mean ' the own sthana or	list_item via surya_layout
20	register' of a raga.	list_item via surya_layout
21	58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie	list_item via surya_layout
22	fallacious statement because pañcama is not adjacent to niṣāda. But there	list_item via surya_layout
23	could be a hidden meaning, taking the two grāmas together, as follows -	list_item via surya_layout
24	Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni.	main via surya_layout
25	Madhyamagrāma ma - pa - dha - ni - sa - ri - ga.	main via surya_layout
26	Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The	main via surya_layout
27	above statement could be valid in terms of the two grāmas taken together.	main via surya_layout
28	59. The 'omission' of pancama comprised of three śrutis in	list_item via surya_layout
29	ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma.	list_item via surya_layout
30	60. 'Mature' karuṇa rasa is a notable expression.	list_item via surya_layout
31	61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5)	list_item via surya_layout
32	also mentions it while describing the gaudi gita and defines it as the	list_item via surya_layout
33	"Sound combining 'ha' and 'o' produced b, placing the chin on the chest."	list_item via surya_layout
34	62. There is a striking contradiction between the viniyoga or	list_item via surya_layout
35	application in terms of śringāra and the rasas mentioned separately, viz.	list_item via surya_layout
36	bībhatsa and bhayānaka that are incompatible to śṛṅgāra.	list_item via surya_layout
37	63. Here again the viniyoga is given in terms of karuņa and the rasa	list_item via surya_layout
38	is mentioned as vīra in accordance with the amśa that is ṣaḍja.	list_item via surya_layout
39	64. 'Rāga' is another name for vesarā gīti; this alternative name is also	list_item via surya_layout
40	mentioned in later texts like SR II.1.6. The basis of this alternative name as	list_item via surya_layout
41	cited in the name of Kasyapa seems to be that the ragas that are not	list_item via surya_layout

vol_I_p023 LEFT — 31 lignes

L#	Texte OCR	Role auto
1	28	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	किमत्र कारणम् ? उच्यते - ग्रामद्वयेऽप्यन्तरमूर्छना-प्रतिपादनार्थम्, यद्वा	main via surya_layout
4	ग्रामद्वयेऽपि षड्जमध्यमस्वरौ ग्रामण्यौ भवतः। अन्यस्वरास्तदग्रेसरा	main via surya_layout
5	₀मध्यपरौ	annotation_inline parent ligne 4 via heuristic_markers
6	इति॥	main via surya_layout
7	इति तावन्भया प्रोक्ताः श्रुतयो ग्रामसंश्रिताः ॥५२॥	main via surya_layout
8	॥ इति श्रुतिप्रकरणम् ॥	editorial_bracket parent ligne 7 via heuristic_brackets
9	IV [स्वर-प्रकरणम् ]	section_header via surya_layout
10	[ तत्र स्वरलक्षणम् ]	section_header via surya_layout
11	इदानी सम्प्रवक्ष्यामि स्वराणां च विनिश्चयम्।	main via surya_layout
12	तत्रादौ स्वरशब्दस्य व्युत्पत्तिरिह कथ्यते।।५३॥	main via surya_layout
13	राजृ दीप्ताविति धातोः स्वशब्दपूर्वकस्य च।	main via surya_layout
14	•वस्प<sup>1</sup>	annotation_inline parent ligne 13 via heuristic_height
15	स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः॥५४॥	main via surya_layout
16	<del>2हि</del>	annotation_inline parent ligne 15 via heuristic_short
17	ेतस्मात् स्वर इति	main via surya_layout
18	। अनु. १५ ।	section_header via surya_layout
19	ननु स्वर इति किम् ? उच्यते - रागजनको ध्वनिः स्वर इति।	main via surya_layout
20	तथा चाह कोहलः -	annotation_inline parent ligne 19 via heuristic_short
21	"आत्मेच्छया महीतलाद् वायुरुद्यविधार्यते।	main via surya_layout
22	∘च्या₊⁴	annotation_inline parent ligne 21 via heuristic_height
23	हि	unknown via fallback
24	⁵नाभि₃	annotation_inline parent ligne 21 via heuristic_height
25	नाडीभित्तौ तथाऽऽकाशे ध्वनी॰ रक्तः स्वरः स्मृतः॥"	annotation_inline parent ligne 21 via heuristic_markers
26	नि	annotation_inline parent ligne 21 via heuristic_height
27	[ अनु. १६ ]	section_header via surya_layout
28	ननु स्वर एवं स्यादेकोऽनेको वा, व्यापकोऽव्यापको	main via surya_layout
29	वा, नित्योऽनित्यो वा स्यात् । अत्रोच्यते - एकोऽनेको	main via surya_layout
30	व्यापको नित्यश्चेति। तत्र निष्कलरूपेणैकः स्वरः	main via surya_layout
31	षइजादिरूपेणानेकः स्वरः।	main via surya_layout

vol_I_p044 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	70	page_number via heuristic_pagenum
3	अग्निचिद् द्वादशाहश्च उपाशुः सोम एव च।	main via surya_layout
4	<b>43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।।</b>	main via surya_layout
5	•ग्राहोद्वही•	annotation_inline parent ligne 4 via heuristic_short
6	॥ इति ऋषभहीनताननामानि ॥	editorial_bracket parent ligne 4 via heuristic_brackets
7	सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज्ञकः।	main via surya_layout
8	स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।।	main via surya_layout
9	०श्च	annotation_inline parent ligne 8 via heuristic_height
10	॰पा	annotation_inline parent ligne 8 via heuristic_markers
11	ুখৰ	annotation_inline parent ligne 8 via heuristic_height
12	।। इति गान्धारहीनताननामानि ॥	list_item via surya_layout
13	।। इति मध्यमग्राम एकविंशतिः षाडवताननामानि ।।	list_item via surya_layout
14	।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।।	list_item via surya_layout
15	इडा पुरुषमेधश्च श्येनो वज्र•ः इषुस्तथा।	main via surya_layout
16	•इस्यः	annotation_inline parent ligne 15 via heuristic_height
17	यज्ञ	annotation_inline parent ligne 15 via heuristic_height
18	अङ्गिराः ४०कस्क्रुसंज्ञश्च षड्जग्रामेऽपि चौडुवाः ॥१११॥	main via surya_layout
19	क्स.	annotation_inline parent ligne 18 via heuristic_height
20	॥ इति षड्जपञ्चमहीनताननामानि ॥	editorial_bracket parent ligne 18 via heuristic_brackets
21	अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः।	main via surya_layout
22	47ज्योतिः	annotation_inline parent ligne 21 via heuristic_height
23	দূ	annotation_inline parent ligne 21 via heuristic_height
24	अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥	main via surya_layout
25	की लो	annotation_inline parent ligne 24 via heuristic_height
26	॥ इति गान्धारनिषादहीनताननामानि ॥	editorial_bracket parent ligne 24 via heuristic_brackets
27	सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा।	main via surya_layout
28	ुक्ति	annotation_inline parent ligne 27 via heuristic_height
29	भा	annotation_inline parent ligne 27 via heuristic_height
30	काच	annotation_inline parent ligne 27 via heuristic_height
31	वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥	main via surya_layout
32	।। इति पञ्चमर्षभहीनताननामानि ॥	main via surya_layout
33	।। इति षड्जग्राम औडुवितताननामानि एकविंशतिः।।	main via surya_layout

168 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p095 RIGHT — 27 lignes

vol_II_p070 RIGHT — 36 lignes

vol_II_p162 RIGHT — 41 lignes

vol_I_p023 LEFT — 31 lignes

vol_I_p044 LEFT — 33 lignes