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 21239). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p138 LEFT — 41 lignes

L#	Texte OCR	Role auto
1	1. *****	annotation_inline parent ligne 4 via heuristic_height
2	258	page_number via heuristic_pagenum
3	BRHADDEŚĨ	page_header via surya_layout
4	38. Reconstuction based on the reading found in all subsequent	list_item via surya_layout
5	rāgas.	list_item via surya_layout
6	39. P.t. breaks here. Ākṣiptikā is thus defined in SR	list_item via surya_layout
7	चच्चत्पुटादितालेन मार्गत्रयविभूपिता।	list_item via surya_layout
8	आक्षिप्तिका स्वरपदग्रथिता कथिता बुधै: ॥	list_item via surya_layout
9	SR II.2.25 cd, 26 ab.	main via surya_layout
10	स्वरपदग्रधिता, पड्जादिस्वरोपेतै: पदै: पदार्थवाचकै: शब्दैग्रंथिता रचिता	main via surya_layout
11	पदतालाद्याक्षिप्तत्वादाक्षिप्तिकेत्यर्था । वुधैर्मतङ्गादिभि: कथिता ।	main via surya_layout
12	Kalā on ibid, p. 22.	main via surya_layout
13	40. P.t. breaks here. The following extracts would be pertinent -	main via surya_layout
14	मध्यमापञ्चमीजात्यो: सम्भूत: शुद्धपञ्चम: ।	main via surya_layout
15	अंशोऽस्य पञ्चमो न्यास: स्वल्पद्विश्रुतिकस्वर:॥	main via surya_layout
16	BhaKo, p. 666, ascribed to Kaśyapa.	main via surya_layout
17	यदि पञ्चमो विरमते गान्धारधान्तरस्वरो भवति ।	main via surya_layout
18	ऋपभो निपादसहितस्तं पञ्चममीदृशं विद्यात् ॥	main via surya_layout
19	Nā Śi 1.4.6.	annotation_inline parent ligne 18 via heuristic_short
20	मध्यमापञ्चमीजातः काकल्यन्तरसंयुतः ॥	main via surya_layout
21	पञ्चमांशग्रहन्यासो मध्यसप्तकपञ्चम:।	main via surya_layout
22	<b>इ</b>ष्यकामूर्च्छनोपेतो ज्ञेय: कामादिदैवत: ॥	main via surya_layout
23	चारुसञ्चारिवर्णश्च ग्रीप्मेऽहः प्रहरेऽग्रिमे ।	main via surya_layout
24	शृङ्गारहास्ययो: सन्धाववमर्शे प्रयुज्यते ॥	main via surya_layout
25	SR.II.2. 148c-150.	main via surya_layout
26	41. Reconstruction based on the succeeding prose portion, where	list_item via surya_layout
27	the omission of rṣabha and pañcama is prescribed.	list_item via surya_layout
28	42. The 'jātyoḥ' of p.t. could be taken to be the dual number of the	list_item via surya_layout
29	genitive or locative case, though locative would be more appropriate	list_item via surya_layout
30	according to the context. We have changed it to the dual number of the	list_item via surya_layout
31	ablative case which was felt to be more idiomatic, but the locative case is not	list_item via surya_layout
32	misplaced.	list_item via surya_layout
33	43. This sentence has been cited by Kallinātha in Kalā on SR II. 2.30-	list_item via surya_layout
34	32, p. 29 for refuting the opinion that the rāga śuddhakaiśikamadhyama	list_item via surya_layout
35	belongs to two grāmas.	list_item via surya_layout
36	पड्जांशो मध्यमन्यासः कैशिकीजातिसम्भवः।	list_item via surya_layout
37	44. cf.	list_item via surya_layout
38	तथा कार्मारवीजात: सम्पूर्ण इति कैशिक: ॥	list_item via surya_layout
39	BhaKo p. 149, ascribed to Matanga.	main via surya_layout
40	45. ' Pañcamo nyāsaḥ 'of p.t. has been changed to pañcamanyāsaḥ in	main via surya_layout
41	order to make a compound matching ' ṣadjāmśaḥ '.	main via surya_layout

vol_II_p062 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	107	page_number via heuristic_pagenum
3	[Anu. 188]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-gaudakaiśika rāga is related to madhyamagrāma and is born of	main via surya_layout
5	kaiśikī and şadjamadhyamā. Şadja is its graha and amśa. Pañcama is nyāsa.	main via surya_layout
6	Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On	main via surya_layout
7	account of pañcama being comprised of three śrutis, dhaivata being comprised	main via surya_layout
8	of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born	main via surya_layout
9	of the jātis of two grāmas, yet its grāma is madhyama, not ṣadja, because it is seen	main via surya_layout
10	as such. Its application is prescribed in karuna (rasa). Vīra<sup>63</sup> and the like is	main via surya_layout
11	the rasa. The mūrchanā beginning with ṣadja obtains. Ārohin is the varņa,	main via surya_layout
12	prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā	main via surya_layout
13	obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla	main via surya_layout
14	like caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
15	[3. Gaudakaisikamadhyama]	section_header via surya_layout
16	Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its	main via surya_layout
17	nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras.	main via surya_layout
18	(318)	annotation_inline parent ligne 17 via heuristic_short
19	[Anu. 189]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means – gaudakaišikamadhyama is related to şadjagrāma, on account	main via surya_layout
21	of being born of şadjamadhyamā jāti. Şadja is its graha and amśa. Madhyama	main via surya_layout
22	is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application	main via surya_layout
23	is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā	main via surya_layout
24	beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the	main via surya_layout
25	alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
26	vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa	main via surya_layout
27	obtains in the songs comprised of svara and pada.	main via surya_layout
28	[The assignment of gaudaragas to gramas]	section_header via surya_layout
29	Now he (the author) has spoken of the assignment of gauda (ragas) to	main via surya_layout
30	grāmas-	annotation_inline parent ligne 29 via heuristic_short
31	Gaudapañcama is in ṣadja (grāma) and so is gaudakaiśikamadhyama.	main via surya_layout
32	Gaudakaisika, on the other hand, is based on madhyamagrāma. The three	main via surya_layout
33	gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining	main via surya_layout
34	to vesarā gīti).	annotation_inline parent ligne 33 via heuristic_short
35	(319)	main via surya_layout
36	(vide)	annotation_inline parent ligne 35 via heuristic_height

vol_II_p060 LEFT — 26 lignes

L#	Texte OCR	Role auto
1	102	page_number via heuristic_pagenum
2	BRHADDEŠĪ	page_header via surya_layout
3	[अनु॰ १८३]	editorial_bracket parent ligne 5 via heuristic_brackets
4	[ अस्यार्थ:- ]चतुःश्रुतेः पञ्चमस्य यदा श्रुतिद्वयं गृह्णाति निषादः तदासौ श्रुतिभिन्नोऽभिधीयते।	editorial_bracket parent ligne 5 via heuristic_brackets
5	ननु मध्यमग्रामे पञ्चमस्य त्रिश्रुतिकत्वात् कथं श्रुतिद्वयं गृह्णाति निपाद:?	main via surya_layout
6	उच्यते ।	annotation_inline parent ligne 5 via heuristic_height
7	(fa)	annotation_inline parent ligne 5 via heuristic_height
8	भूतपूर्वन्यायेन चतुः श्रुतिरुच्यते । यथा भित्रकैशिकरागे त्रिश्रुतिपञ्चमस्य च[तुः] श्रुतित्वमाश्रित्य लोपः	editorial_bracket parent ligne 5 via heuristic_brackets
9	कृतः पड्जग्रामे, एवमत्रापि भविष्यतीति न दोषः । लक्षणं चास्य तद्यथा -	main via surya_layout
10	[५. भिन्नतान:]	editorial_bracket parent ligne 9 via heuristic_brackets
11	<sup>६र</sup>तानस्तु मध्यमन्यासः पञ्चमांशोऽल्पसप्तमः ।	main via surya_layout
12	मध्यमापञ्चमीजात्योर्ऋषभेण तु दुर्बल: ॥ ३१३॥	main via surya_layout
13	[अनु॰ १८४]	editorial_bracket parent ligne 12 via heuristic_brackets
14	अस्यार्थः - भिन्नतानो मध्यमग्रामसम्बन्धः मध्यमापञ्चमीजात्युत्पन्नत्वात् ।	main via surya_layout
15	पञ्चमो	annotation_inline parent ligne 14 via heuristic_height
16	भित्रनासिका(?)	annotation_inline parent ligne 14 via heuristic_height
17	ग्रहोंऽशश्च। मध्यमो न्यास:। मध्यमनिषादयोरल्पत्वम् [?]<sup>६२</sup>। निषादोऽत्र काकली। पूर्णश्चायम	editorial_bracket parent ligne 14 via heuristic_brackets
18	प्रौढकरुणेऽस्य प्रयोग:। पञ्चमादिमूर्छना।सञ्चारी वर्ण:।प्रसन्नादिरलङ्कार;।दक्षिणे कला, वार्तिके	main via surya_layout
19	कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल:।	main via surya_layout
20	[भिन्नरागाणां ग्रामविभागः]	section_header via surya_layout
21	[अनु॰ १८५]	editorial_bracket parent ligne 20 via heuristic_brackets
22	भित्रानां ग्रामविभागस्तु काश्यपेनोक्त:। तथा च -	main via surya_layout
23	‘‘भित्रषड्जस्तु षड्जे स्याद् भिन्नकैशिकमध्यम:।	main via surya_layout
24	पञ्चम: कैशिकस्तानो मध्यमग्रामसंश्रित: ॥''	main via surya_layout
25	<b>ल्स्ता</b>ने	annotation_inline parent ligne 24 via heuristic_height
26	इति भित्रा: समाख्याता गौडकाञ् शृणु साम्प्रतम् ॥ ३१४॥	main via surya_layout

vol_II_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_II_p097 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	177	page_number via heuristic_pagenum
3	Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā	main via surya_layout
4	pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga	main via surya_layout
5	risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā-	main via surya_layout
6	dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii]	editorial_bracket parent ligne 5 via heuristic_brackets
7	Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is	main via surya_layout
8	charming. This is complete in svaras and has to and fro movement between	main via surya_layout
9	sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.<sup>63</sup>	main via surya_layout
10	(130)	annotation_inline parent ligne 9 via heuristic_height
11	Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā	main via surya_layout
12	māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni-	main via surya_layout
13	nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad-	main via surya_layout
14	hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī.	main via surya_layout
15	Sāsāmadhāpādhānidhā. Viśālā [iv]	editorial_bracket parent ligne 14 via heuristic_brackets
16	These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika.	main via surya_layout
17	[9. Now in Bottaraga]	section_header via surya_layout
18	Having pañcama as amsa, madhyama as the concluding note, being complete	main via surya_layout
19	and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and	main via surya_layout
20	fro movement is always seen in profusion. It is sung by the <math>n\bar{a}yakas^{64}</math> on all	main via surya_layout
21	auspicious occasions. Since it is auspicious and commendable, it is known	main via surya_layout
22	as mangalā.	annotation_inline parent ligne 21 via heuristic_height
23	<math>(131-132)</math>	annotation_inline parent ligne 21 via heuristic_height
24	Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā-	main via surya_layout
25	pāmā. Maṅgalā [i]	editorial_bracket parent ligne 24 via heuristic_brackets
26	[10. Bhāṣās in mālavapañcama]	table via surya_layout
27	.....[Bhāvinī]	table via surya_layout

167 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p138 LEFT — 41 lignes

vol_II_p062 RIGHT — 36 lignes

vol_II_p060 LEFT — 26 lignes

vol_II_p057 RIGHT — 37 lignes

vol_II_p097 RIGHT — 27 lignes