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 21171). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p028 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDES!</b>	page_header via surya_layout
2	38	page_number via heuristic_pagenum
3	[ अनु. २५ ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	इदानीं गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते	main via surya_layout
5	द्वचन्तरत्वाद् विवादित्वमुक्तम्। किं तद् विवादित्वं नाम ? वाद्यादिभिः	main via surya_layout
6	स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम	main via surya_layout
7	विवादित्वम्। विवादिमण्डलं यथा—	main via surya_layout
8	स	annotation_inline parent ligne 7 via heuristic_height
9	नि	annotation_inline parent ligne 7 via heuristic_height
10	रि	annotation_inline parent ligne 7 via heuristic_height
11	ध	annotation_inline parent ligne 7 via heuristic_height
12	4	page_number via heuristic_pagenum
13	Ŧ	annotation_inline parent ligne 7 via heuristic_height
14	॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥	editorial_bracket parent ligne 7 via heuristic_brackets
15	`	annotation_inline parent ligne 7 via heuristic_height
16	[ अनु. २६ ]	editorial_bracket parent ligne 7 via heuristic_brackets
17	विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज्यमानो गान्धारस्थान	main via surya_layout
18	25ऋषभः प्रयुज्यमानो जातिरागहानिकरो भवेत्। धैवतस्थाने निषादः	main via surya_layout
19	प्रयुज्यमानो [ निषादस्थाने धैवतः प्रयुज्यमानो ] जातिरागहानिकरो	editorial_bracket parent ligne 18 via heuristic_brackets
20	भवेत् ॥ इति षड्जग्रामे ॥	editorial_bracket parent ligne 18 via heuristic_brackets
21	[ अनु. २७ ]	editorial_bracket parent ligne 18 via heuristic_brackets
22	इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च	editorial_bracket parent ligne 18 via heuristic_brackets
23	तत्र वादिनो मध्यमादिस्वराः सप्त²६। नवकत्रयोदशान्ताः	main via surya_layout
24	प्रदश्यते ।	annotation_inline parent ligne 23 via heuristic_short
25	संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ	main via surya_layout
26	विवादिनौ ।	annotation_inline parent ligne 25 via heuristic_short
27	___ •नादनुः ____	main via surya_layout

vol_II_p052 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	87	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly,	main via surya_layout
4	also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about	main via surya_layout
5	the bhinnaones.	annotation_inline parent ligne 4 via heuristic_height
6	(293)	annotation_inline parent ligne 4 via heuristic_height
7	Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named	main via surya_layout
8	bhinnapañcama, and the fifth is bhinnakaiśika.	main via surya_layout
9	(294)	annotation_inline parent ligne 8 via heuristic_height
10	One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are	main via surya_layout
11	said to be the three gaudas.	main via surya_layout
12	(295)	annotation_inline parent ligne 11 via heuristic_height
13	Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly	main via surya_layout
14	the other one is hindolaka, ţakkakaiśika has thus been said, similarly	main via surya_layout
15	mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of	main via surya_layout
16	by their names, by the excellent munis.	main via surya_layout
17	<math>(296-297)</math>	annotation_inline parent ligne 16 via heuristic_height
18	Narta, the one named śaka, kakubha, similarly harmāṇapañcama and	main via surya_layout
19	itself, similarly gändhärapañcama and the one named	main via surya_layout
20	rūpasādhārita	annotation_inline parent ligne 19 via heuristic_height
21	ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas).	main via surya_layout
22	(298)	annotation_inline parent ligne 21 via heuristic_height
23	[Thus is the number and nomenclature of rāgas]	editorial_bracket parent ligne 21 via heuristic_brackets
24	[The specific description of ragas]	section_header via surya_layout
25	[A. Out of them śuddharagas]	section_header via surya_layout
26	Now he (the author) has spoken about the description of suddha (rāgas)-	main via surya_layout
27	Those that are in accordance with their 'own' jāti 31 (from which they are	main via surya_layout
28	born), without any reference to other jātis and those that are one out of the	main via surya_layout
29	many (individual forms) of their own jāti, they are called śuddha (rāgas).	main via surya_layout
30	(299)	annotation_inline parent ligne 29 via heuristic_height
31	[1. Suddhaşādava]	section_header via surya_layout
32	[Anu. 164]	editorial_bracket parent ligne 31 via heuristic_brackets
33	Why is sadava so called? Is it because it is sung with six svaras and is hence	main via surya_layout
34	ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas?	main via surya_layout

vol_II_p107 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	197	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā.	main via surya_layout
4	Ninidhādhā. Lalitā [ix]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and	main via surya_layout
6	concluding note, is a complete antara-bhāṣā and by others it is sung as being	main via surya_layout
7	devoid of ri (ṛṣabha).	main via surya_layout
8	(29)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā.	main via surya_layout
10	Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari	main via surya_layout
11	sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x]	editorial_bracket parent ligne 10 via heuristic_brackets
12	Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note,	main via surya_layout
13	is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders	main via surya_layout
14	of Veda<sup>27</sup>	main via surya_layout
15	(30)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi]	editorial_bracket parent ligne 14 via heuristic_brackets
17	Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the	main via surya_layout
18	concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has	main via surya_layout
19	concert between şadja-dhaivata.	main via surya_layout
20	(31)	annotation_inline parent ligne 19 via heuristic_height
21	Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā	main via surya_layout
22	gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii]	editorial_bracket parent ligne 21 via heuristic_brackets
23	.....................	annotation_inline parent ligne 21 via heuristic_height
24	Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā	main via surya_layout
25	rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math>	main via surya_layout
27	dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3	main via surya_layout
28	others in bhinnaṣadja (rāga).	main via surya_layout
29	(32)	annotation_inline parent ligne 28 via heuristic_height

vol_I_p054 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	main via surya_layout
2	90	page_number via heuristic_pagenum
3	(२४) परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः	main via surya_layout
4	आवर्तकः	annotation_inline parent ligne 3 via heuristic_short
5	(२३)	main via surya_layout
6	(२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः	main via surya_layout
7	(धिन ? धुतः)	annotation_inline parent ligne 6 via heuristic_short
8	(३२) उद्गीतः (३३) गात्रवर्णश्चेति।	main via surya_layout
9	[ अनु₀ ७० ]	editorial_bracket parent ligne 8 via heuristic_brackets
10	इदानीमेतेषामलङ्काराणां लक्षणमुच्यते। तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणं	main via surya_layout
11	oसाo	annotation_inline parent ligne 10 via heuristic_height
12	यावदसौ प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा	main via surya_layout
13	तारगति	annotation_inline parent ligne 12 via heuristic_short
14	१	page_number via heuristic_pagenum
15	नी सा इति प्रसन्नादिः।	main via surya_layout
16	[ अनु₀ ७१ ]	editorial_bracket parent ligne 15 via heuristic_brackets
17	तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा	editorial_bracket parent ligne 15 via heuristic_brackets
18	\| २ \|	main via surya_layout
19	इति प्रसन्नान्तः।	annotation_inline parent ligne 18 via heuristic_short
20	[ अनु॰ ७२ ]	editorial_bracket parent ligne 18 via heuristic_brackets
21	यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसा	main via surya_layout
22	सरिगमधन(सा)	annotation_inline parent ligne 21 via heuristic_short
23	[ ३ ]	editorial_bracket parent ligne 21 via heuristic_brackets
24	सानी धापामागारी सा इति प्रसन्नाद्यन्तः ।	main via surya_layout
25	निध प म गरि	annotation_inline parent ligne 24 via heuristic_height
26	अनु₀ ७३	editorial_bracket parent ligne 24 via heuristic_brackets
27	🕦 यत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः। यथा—	main via surya_layout
28	सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ]	editorial_bracket parent ligne 27 via heuristic_brackets
29	4	page_number via heuristic_pagenum
30	ग	annotation_inline parent ligne 27 via heuristic_height
31	[ अनु₀ ७४ ]	editorial_bracket parent ligne 27 via heuristic_brackets
32	स्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः। एतदुक्तं भवति— यस्य यावत्यः	main via surya_layout
33	श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ]	editorial_bracket parent ligne 32 via heuristic_brackets
34	स्व	annotation_inline parent ligne 32 via heuristic_height
35	द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ]	editorial_bracket parent ligne 32 via heuristic_brackets
36	<b>15ग्रामभेदे तु सम रिप गनीति विशेषः। इति समः ।</b>	main via surya_layout
37	। ५ ।	annotation_inline parent ligne 36 via heuristic_short
38	मध्यमग्रामे	annotation_inline parent ligne 36 via heuristic_height

vol_I_p009 RIGHT — 4 lignes

L#	Texte OCR	Role auto
1	श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ	main via surya_layout
2	<b>OF</b>	annotation_inline parent ligne 1 via heuristic_height
3	ŚRĪ MATANGA MUNI	main via surya_layout
4	(Volume I)	main via surya_layout

132 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p028 LEFT — 27 lignes

vol_II_p052 RIGHT — 34 lignes

vol_II_p107 RIGHT — 29 lignes

vol_I_p054 LEFT — 38 lignes

vol_I_p009 RIGHT — 4 lignes