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 21243). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p082 RIGHT — 26 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	147	page_number via heuristic_pagenum
3	of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones	main via surya_layout
4	in music.	annotation_inline parent ligne 3 via heuristic_short
5	<math>(56-57)</math>	main via surya_layout
6	Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā.	main via surya_layout
7	Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī	main via surya_layout
8	dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv]	editorial_bracket parent ligne 7 via heuristic_brackets
9	The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be	main via surya_layout
10	always complete, has madhyama as amśa and sadja as the concluding note,	main via surya_layout
11	bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i>	main via surya_layout
12	(mixed) and is placed in takkarāga.	main via surya_layout
13	(58)	annotation_inline parent ligne 12 via heuristic_short
14	Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā	main via surya_layout
15	nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā.	main via surya_layout
16	Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv)	main via surya_layout
17	Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the	main via surya_layout
18	concluding note, is embellished with the svara gandhara, has the combination	main via surya_layout
19	between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by	main via surya_layout
20	the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup>	main via surya_layout
21	(59)	annotation_inline parent ligne 20 via heuristic_short
22	Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā.	main via surya_layout
23	Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā	main via surya_layout
24	māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi]	editorial_bracket parent ligne 23 via heuristic_brackets
25	These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika.	main via surya_layout
26	(60)	page_footer via surya_layout

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_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_I_p033 LEFT — 26 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	48	page_number via heuristic_pagenum
3	पञ्चमस्तु भवेत् कृष्णः पीतवर्णस्तु धैवतः।	main via surya_layout
4	निषादः सर्ववर्णोऽयं विज्ञेयाः स्वरवर्णकाः॥७४॥	main via surya_layout
5	<b>४</b> यड्जस्य दैवतं ब्रह्मा ऋषभो वह्निदैवतः।	main via surya_layout
6	गान्धारो भारतीदेवो मध्यमोभ् हरदैवतः॥७५॥	main via surya_layout
7	पञ्चमः शतयज्ञस्तु धैवतो गणनायकः।	main via surya_layout
8	निषादो भानुदेवस्तु इत्येते स्वरदेवताः॥७६॥	main via surya_layout
9	<b>44अग्निगीतः स्वरः षड्ज ऋषभो ब्रह्मणोदितः।</b>	main via surya_layout
10	सोमेन गीतो गान्धारो विष्णुना मध्यमः स्वरः॥७७॥	main via surya_layout
11	पञ्चमस्तु स्वरो गीतो नारदेन महात्मना।	main via surya_layout
12	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ।।७८।।	main via surya_layout
13	<b>४</b>व्हास्यशृङ्गारयोः कार्यौ स्वरौ मध्यमपञ्चमौ।	main via surya_layout
14	षड्जर्षभौ तथा ज्ञेयौ वीररौद्राद्भुतेषु च ॥७९॥	main via surya_layout
15	गान्धारइच निषादइच कर्तव्यौ करुणे रसे।	main via surya_layout
16	धैवतश्चापि कर्त्तव्यो बीभत्से सभयानके।।८०॥	main via surya_layout
17	कण्ठादुत्तिष्ठते षड्ज ऋषभः शिरसः स्मृतः।	main via surya_layout
18	स्यि	annotation_inline parent ligne 17 via heuristic_height
19	नासायाश्चैव गान्धार उरसो मध्यमः स्वरः॥८१॥	main via surya_layout
20	उरसः शिरसः कण्ठादुत्थितः पञ्चमः स्वरः।	main via surya_layout
21	तालुदेशात् समुत्पन्नो धैवतस्तु यशस्विनि।।	main via surya_layout
22	46हो	annotation_inline parent ligne 21 via heuristic_height
23	निषादस्तु समुत्पन्नो विज्ञेयः सर्वसन्धितः ॥८२ ॥	main via surya_layout
24	एवं स्वरान् विजानीयादुत्पन्नान् गीतसागरे।	main via surya_layout
25	महादेवमुखोद्भतान् देशीमार्गे च संस्थितान्।।८३।।	main via surya_layout
26	॥ इति स्वरप्रकरणम् ॥	editorial_bracket parent ligne 25 via heuristic_brackets

vol_II_p100 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	183	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	15. Now the bhāṣās in pañcamaṣāḍava	section_header via surya_layout
4	Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is	main via surya_layout
5	said to be complete (and) having abundant gändhära-pañcama. The profusion	main via surya_layout
6	of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in	main via surya_layout
7	pancamaṣāḍava, being born of śakarāga. 71	main via surya_layout
8	(142-143)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā.	editorial_bracket parent ligne 7 via heuristic_brackets
10	[Thus in pañcamaṣāḍava]	section_header via surya_layout
11	Thus are the bhāṣās manifested in (this)world, that are known to be	main via surya_layout
12	accepted by many. That <math>(bh\bar{a}s\bar{a})</math> is so modified as it is performed by one.<sup>72</sup>	main via surya_layout
13	(144)	annotation_inline parent ligne 12 via heuristic_height
14	Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all	main via surya_layout
15	effort. It should always be listened to by the singers in the context of wit and	main via surya_layout
16	humour and whatever is seen in fighting or sacrifice (yajña), all that is shown	main via surya_layout
17	by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas.	main via surya_layout
18	<math>(145-146)</math>	annotation_inline parent ligne 17 via heuristic_height
19	Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā-	main via surya_layout
20	lakṣaṇa where Yāṣṭika is the leader.	main via surya_layout
21	[ B. Bhāṣās according to Śārdūla]	section_header via surya_layout
22	After this I shall speak of the description of bhāṣā according to Śārdūla.	main via surya_layout

182 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p082 RIGHT — 26 lignes

vol_II_p160 RIGHT — 42 lignes

vol_I_p104 RIGHT — 66 lignes

vol_I_p033 LEFT — 26 lignes

vol_II_p100 RIGHT — 22 lignes