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 21198). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p091 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	165	page_number via heuristic_pagenum
3	Having ṛṣabha as amśa, pancama as the concluding note, it should be	main via surya_layout
4	known to be weak in sadja. It should always be performed with the kākalī	main via surya_layout
5	form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the	main via surya_layout
6	knowledgeable ones in music. Āndhālī is well-known among the	main via surya_layout
7	people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup>	main via surya_layout
8	<math>(97-98)</math>	main via surya_layout
9	Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā	main via surya_layout
10	päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä	main via surya_layout
11	pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama-	main via surya_layout
12	ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii]	editorial_bracket parent ligne 11 via heuristic_brackets
13	Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as	main via surya_layout
14	nyāsa, there being concert between madhyama-dhaivata, abundance of	main via surya_layout
15	pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga.	main via surya_layout
16	(99)	annotation_inline parent ligne 15 via heuristic_height
17	Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni	main via surya_layout
18	saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā	main via surya_layout
19	sānīdhāmāpā pā. Tānodbhavā [viii]	editorial_bracket parent ligne 18 via heuristic_brackets
20	Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is	main via surya_layout
21	(mutual) movement between the svaras comprised of two śrutis each in their	main via surya_layout
22	original form. There is the abundance of şadja-madhyama and pañcama-	main via surya_layout
23	rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44	main via surya_layout
24	(region) and is sādhāraņakṛtā.	main via surya_layout
25	<math>(100-101)</math>	main via surya_layout
26	Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā	main via surya_layout
27	nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha	main via surya_layout
28	dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā-	main via surya_layout
29	sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix]	editorial_bracket parent ligne 28 via heuristic_brackets

vol_II_p160 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	303	page_number via heuristic_pagenum
3	lustre, splendour (Monier Williams). Maitrī Upaniṣad VI. 7 says "bha is so	main via surya_layout
4	called as it illuminates these worlds." It has been used in neuter gender	main via surya_layout
5	because it qualifies 'jyotis'. There is a sāman known as 'bhakāra' wherein all	main via surya_layout
6	the consonants are replaced with bh, keeping the vowels intact. That the	main via surya_layout
7	consonant 'bh' should have been selected for this purpose bears testimony	main via surya_layout
8	to the special importance of this consonant as it stands for light.	main via surya_layout
9	2. 'Hamsa' occurs in several Upanișads; the most relevant occurrence	list_item via surya_layout
10	is in Kathopanişad II.5.2, where hamsa is mentioned as one of the synonyms	list_item via surya_layout
11	of 'ātman'.	list_item via surya_layout
12	3. 'Bharata' here stands for ātman and not the sage Bharata.	list_item via surya_layout
13	4. Bhāratī is another name of Saraswatī and occurs in Rgveda (VIII.	list_item via surya_layout
14	6.9).	list_item via surya_layout
15	The verse containing the above four words is placed in the very	main via surya_layout
16	beginning of the chapter on raga. If it is taken to embody mangalacarana, its	main via surya_layout
17	relevance to rāga is not obvious (See Vol. III).	main via surya_layout
18	5. Here 'Bharata' stands for the sage who is the author of Nāṭyaśāstra.	list_item via surya_layout
19	6,7. 'Dhvani' basically means sound; a 'type of sound' or 'special	list_item via surya_layout
20	sound 'could mean 'a melodic form 'which is called 'dhun' in Hindi.	list_item via surya_layout
21	8,9. The general lakṣaṇa pertains to a category like jāti or rāga and	list_item via surya_layout
22	special lakṣaṇa pertains to the 'individuals' within a category.	list_item via surya_layout
23	10. A rūdha word is that where the etymological meaning is not	list_item via surya_layout
24	relevant; only the conventional meaning operates.	list_item via surya_layout
25	11. Aśvakarņa literally means 'the ear of a horse', but it is used for	list_item via surya_layout
26	a fracture of the bones that resembles the ear of a horse.	list_item via surya_layout
27	12. Yaugika means combinational. Mandapa is a compound	list_item via surya_layout
28	meaning one who drinks 'manda' or the scum of boiled rice or any grain,	list_item via surya_layout
29	stands for an open hall or pavilion. Really speaking, the	list_item via surya_layout
30	but it	list_item via surya_layout
31	combinational meaning does not operate here.	list_item via surya_layout
32	13. Yogarūdha is a type of word where both combination and	list_item via surya_layout
33	convention operate. The classic example is that of pankaja, which means	list_item via surya_layout
34	'that which is born in mud', but is restricted to lotus, although many other	list_item via surya_layout
35	things are born of 'mud'.	list_item via surya_layout
36	14. 'Sūkṣma' literally means small or subtle; here we have interpreted	list_item via surya_layout
37	it as being short in time, because 'small' in a temporal context would	list_item via surya_layout
38	naturally mean 'short in time'.	list_item via surya_layout
39	15. 'Kampa' has been translated here as shake according to English	list_item via surya_layout
40	idiom, although literally it could also be rendered as 'tremor'.	list_item via surya_layout
41	16. ' Pāṇi' means 'hand', but here 'hand' could not be relevant to the	list_item via surya_layout
42	context, not even the figurative usage of 'hand' in tāla as a synonym of	list_item via surya_layout

vol_II_p163 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	page_header via surya_layout
2	309	page_number via heuristic_pagenum
3	85. The gandhara and that too antara becomes the dhaivata of	list_item via surya_layout
4	madhyamagrāma. Perhaps this phenomenon is being indicated here.	list_item via surya_layout
5	86,87. Adbhuta and hasya on the one hand and karuna on the other	list_item via surya_layout
6	are incompatible.	list_item via surya_layout
7	88. The freedom of the performer is being indicated here.	list_item via surya_layout
8	89,90,91. The situations mentioned under viniyoga and the rasa vīra	list_item via surya_layout
9	are perfectly compatible.	list_item via surya_layout
10	92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.	list_item via surya_layout
11	93. The indication of murchana finds place in the description of jatis	list_item via surya_layout
12	for the first time. No rule is prescribed for assigning a particular mūrchanā to	list_item via surya_layout
13	a given jāti. Here it is said that the mūrchanā of jāti is known from the	list_item via surya_layout
14	'statements of authorities', which implies that there is no prescribed rule.	list_item via surya_layout
15	94. The import seems to be that the amsa that is predominant among	list_item via surya_layout
16	amsas (in the case of jātis with more than one amsa) determines the mūrchanā	list_item via surya_layout
17	of a <i>jāti</i>.	list_item via surya_layout
18	95. The four components of gita have been enumerated as svara, pada,	list_item via surya_layout
19	tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).	list_item via surya_layout
20	96. Dhruvāis a metrical text that is performed in pūrvaranga, where the	list_item via surya_layout
21	compositions in Sanskrit or in prescribed non-lexical syllables are used. The	list_item via surya_layout
22	dhruvā performed within the drama is invariably in Prākṛta and provides a	list_item via surya_layout
23	figurative and poetic commentary on the happenings in the drama. NS	list_item via surya_layout
24	XXXII gives numerous illustrations of <i>dhruvā</i> texts.	list_item via surya_layout
25	97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,	list_item via surya_layout
26	prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.	list_item via surya_layout
27	98. Prastāvanā(lit.introduction) is twofold, one occurring in the end	list_item via surya_layout
28	of the Pūrvaranga and the other in the beginning of the play immediately after	list_item via surya_layout
29	nāndī i.e. one is composed by the sūtradhāra known as director and the other	list_item via surya_layout
30	by the poet called playwright to-day.	list_item via surya_layout
31	99. Mukha and pratimukha are the first two among the five sandhis or	list_item via surya_layout
32	junctures of drama.	list_item via surya_layout
33	100,101. Garbha is the third sandhi and avamarsa (another name for	list_item via surya_layout
34	vimarsa) is the fourth one.	list_item via surya_layout
35	Chapter IV	section_header via surya_layout
36	(The description of bhāṣās)	section_header via surya_layout
37	[ A. Bhāṣās according to Yāṣṭika ]	section_header via surya_layout
38	1. This whole portion on bhāṣās according to Yāṣṭika seems to form	main via surya_layout
39	part of an independent text. We have retained it in our reconstructed text	main via surya_layout
40	as it embodies very valuable material, but we have numbered its verses	main via surya_layout

vol_II_p035 LEFT — 31 lignes

L#	Texte OCR	Role auto
1	BŖHADDEŚĪ	page_header via surya_layout
2	52	page_number via heuristic_pagenum
3	पञ्चमयोरत्पत्वम् । <sup>१५३</sup>गान्धारस्यांशत्वे[ऽ]प्राप्ते[ऽपि] बाहुत्यम् । षाडवे पञ्चमस्यात्पत्वम्	editorial_bracket parent ligne 4 via heuristic_brackets
4	पद्जागान्धारपञ्चमयोरलपत्वम् ,	main via surya_layout
5	औडुविते न कस्याप्यल्पत्वमशेषाणां बहुत्वम् । मध्यमो न्यासः । ऋषभधैवतावपन्यासौ । अंशानां	main via surya_layout
6	परस्परगमनम् ।	main via surya_layout
7	[अनु॰ १५७]	section_header via surya_layout
8	१५४एकादशविधत्वमस्या:। एकादशांशका: -पूर्णाश्चत्वार:, षाडवास्त्रयो धैवतांशे तदपवादाद्	main via surya_layout
9	औडुविताश्चत्वार:।शुद्धस्तु नास्ति।गान्धार[ादि]मूर्छना।ताल:पञ्चपाणि:।एककलेन चित्रेण	editorial_bracket parent ligne 8 via heuristic_brackets
10	मागधी, द्विकलेन वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । रसौ शृङ्गारहास्यौ ।	main via surya_layout
11	ध्रवागाने द्वितीयप्रेक्षणके विनियोग:।	main via surya_layout
12	[७. पड्जमध्यमा]	section_header via surya_layout
13	[अनु॰ १५८]	section_header via surya_layout
14	षड्जमध्यमाया ग्रहा अंशाश्च सप्तैव स्वरा:। पञ्चस्वरपरस्तार:। न्यासपरस्तत्परो वा मन्द्र:	main via surya_layout
15	॰हा:	annotation_inline parent ligne 14 via heuristic_markers
16	निषादहीना षाडवा । निषादगान्धारहीना औडुविता । ग्रामाविरोधेन यथेष्टं सञ्चार: । पूर्णावस्थायां	main via surya_layout
17	निषादगान्धारयोरल्पत्वम् । षड्जमध्यमौ न्यासौ । सप्तस्वरा अपन्यासा: ।	main via surya_layout
18	<b>क्खरापन्या</b> (स: ? सा)	annotation_inline parent ligne 17 via heuristic_height
19	[अनु॰ १५९]	section_header via surya_layout
20	सप्तदशांशका: – तत्र सप्त पूर्णा:, पञ्च षाडवा:, पञ्च औडवाश्चेति	main via surya_layout
21	<sup>१५५</sup>सप्तदशविधत्वमस्याः ।	main via surya_layout
22	एतदंशकाश्रत्वार: पाडवा:। तथैव थैवतेंऽशे पाडवानाम् औदुविताश	main via surya_layout
23	<sup>१५६</sup>दशिंधत्वमस्या	annotation_inline parent ligne 22 via heuristic_height
24	शुद्धत्वं नास्ति । मध्यमादिमूर्छना । ताल: पञ्चपाणि: । एककलेन चित्रेण मागधी, द्विकलेन	main via surya_layout
25	(F)	annotation_inline parent ligne 24 via heuristic_height
26	वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । सर्वरसात्मिका, ध्रुवागाने द्वितीये प्रेक्षणके	main via surya_layout
27	विनियोग: ।	annotation_inline parent ligne 26 via heuristic_short
28	॥ [इति] एता: षड्जग्रामसम्बन्धा: सप्त जातय: ॥	editorial_bracket parent ligne 26 via heuristic_brackets
29	[अनु॰ १६०]	section_header via surya_layout
30	इदानीं मध्य[म] ग्रामसम्बन्धा जातय उच्यन्ते -	editorial_bracket parent ligne 29 via heuristic_brackets
31	---	annotation_inline parent ligne 29 via heuristic_height

vol_I_p040 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	62	page_number via heuristic_pagenum
2	<b>BRHADDESI</b>	page_header via surya_layout
3	स X गमप ध नि	main via surya_layout
4	निस X गमप ध	annotation_inline parent ligne 3 via heuristic_short
5	धनिसxगमप	main via surya_layout
6	प ध नि स 🗶 ग म	annotation_inline parent ligne 5 via heuristic_short
7	म प ध नि स 🗶 ग	main via surya_layout
8	गमपधनिस 🗶	main via surya_layout
9	.	annotation_inline parent ligne 8 via heuristic_height
10	x गमप ध नि स	main via surya_layout
11	ऋषभहीनाः।	annotation_inline parent ligne 10 via heuristic_short
12	[सरिगम 🗶 धनि	editorial_bracket parent ligne 10 via heuristic_brackets
13	निसरिगम 🗶 ध	main via surya_layout
14	ध निसरिगम 🗶	annotation_inline parent ligne 13 via heuristic_short
15	X ध निस रिगम	main via surya_layout
16	म X ध नि स रि ग	annotation_inline parent ligne 15 via heuristic_short
17	गम 🗶 ध निस रि	main via surya_layout
18	रिगम 🗶 ध नि स	annotation_inline parent ligne 17 via heuristic_short
19	पञ्चमहीनाः।	main via surya_layout
20	सरिगमपध 🗶	annotation_inline parent ligne 19 via heuristic_short
21	<b>X</b> स रिगम प ध	main via surya_layout
22	ध X स रिगमप	annotation_inline parent ligne 21 via heuristic_short
23	पध X स रिगम	main via surya_layout
24	म प ध 🗶 स रि ग	annotation_inline parent ligne 23 via heuristic_short
25	गमपध X सरि	main via surya_layout
26	1	page_number via heuristic_pagenum
27	रिगमपध 🗶 स	main via surya_layout
28	निषादहीनाः । इति षाडवाः।	main via surya_layout
29	.	annotation_inline parent ligne 28 via heuristic_height
30	.	annotation_inline parent ligne 28 via heuristic_height
31	[ X रिगम X ध नि ]	editorial_bracket parent ligne 28 via heuristic_brackets
32	नि x रिगम x ध	main via surya_layout
33	ध नि X रिगम X	annotation_inline parent ligne 32 via heuristic_short
34	[ Хधनि X रिगम	editorial_bracket parent ligne 32 via heuristic_brackets
35	म X ध नि X रि ग	main via surya_layout
36	गम X ध नि X रि	annotation_inline parent ligne 35 via heuristic_short
37	रिगम 🗶 ध नि 🗶	main via surya_layout
38	सपहीनाः। ]	editorial_bracket parent ligne 37 via heuristic_brackets

180 lignes a valider — change uniquement les roles incorrects.

Legende des roles

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vol_II_p035 LEFT — 31 lignes

vol_I_p040 LEFT — 38 lignes