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 21248). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p052 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	87	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	When in the gita (melodic rendering) the svaras move (to and fro) in	main via surya_layout
4	mutual7 (directions) along with the last one8 (of the preceding phrase forming	main via surya_layout
5	the beginning of the succeeding phrase), or two by two, that is known as the	main via surya_layout
6	(119)	annotation_inline parent ligne 5 via heuristic_height
7	sañcārin9 (circulatory) varņa.	annotation_inline parent ligne 5 via heuristic_height
8	(Anu. 65)	section_header via surya_layout
9	Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in	main via surya_layout
10	various (phrases) like this, on account of mutual movement (the sañcārin varņa	main via surya_layout
11	is formed).	annotation_inline parent ligne 10 via heuristic_height
12	(Anu. 66)	section_header via surya_layout
13	Where the svaras of the gita ascend one by one or with intervening gaps,	main via surya_layout
14	that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa,	main via surya_layout
15	dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri	main via surya_layout
16	mama dhani nini pāri mama dhani pādhani riripā — thus on account of	main via surya_layout
17	'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin	main via surya_layout
18	(ascending) varņa (comes into being).	main via surya_layout
19	Where the svaras descend in one order alone, that is called avarohin with	main via surya_layout
20	(120)	annotation_inline parent ligne 19 via heuristic_height
21	'equal' (gapless) svaras (or) with gaps.	annotation_inline parent ligne 19 via heuristic_height
22	pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama	main via surya_layout
23	nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on	main via surya_layout
24	account of 'mutual' (gapless) descent or with a gap of one or two svaras.	main via surya_layout
25	Hence it has been said -	annotation_inline parent ligne 24 via heuristic_height
26	"These varnas ought to be known for the sake of the structuring" of	main via surya_layout
27	alankāras and the like, as being born of svaras produced by the human body 12	main via surya_layout
28	(and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17)	main via surya_layout
29	(Anu. 67)	section_header via surya_layout
30	How is varna brought about? It is being answered. When the svaras stretch	main via surya_layout
31	the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their)	main via surya_layout
32	steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of	main via surya_layout
33	melodic movement) is effected.	annotation_inline parent ligne 32 via heuristic_height
34	Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16.	main via surya_layout
35	Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha	main via surya_layout
36	padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī	main via surya_layout
37	— 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā	main via surya_layout
38	pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in	main via surya_layout
39	nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā	main via surya_layout
40	pā pā pā pā pā pā, dhā nī mā pā gā gā gā.	main via surya_layout
41	These varņas obtain also in the wooden20 (viņā), just as they are	main via surya_layout

vol_I_p045 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	73	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and	main via surya_layout
4	(114)	annotation_inline parent ligne 3 via heuristic_height
5	vișnuvikrama.	annotation_inline parent ligne 3 via heuristic_height
6	Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama-	main via surya_layout
7	grāma.	annotation_inline parent ligne 6 via heuristic_height
8	Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the	main via surya_layout
9	(115)	annotation_inline parent ligne 8 via heuristic_height
10	seventh is known as mokşada.	annotation_inline parent ligne 8 via heuristic_height
11	[ Thus end the names of auduvita tanas devoid of ni and ga in madhyama-	editorial_bracket parent ligne 8 via heuristic_brackets
12	grāma.]	editorial_bracket parent ligne 8 via heuristic_brackets
13	Thus end the fourteen names of auduvita tānas in madhyamagrāma.	main via surya_layout
14	[Thus end the thirty-five names of auduvita tanas seated in the two gramas.]	editorial_bracket parent ligne 13 via heuristic_brackets
15	(Anu. 46)	annotation_inline parent ligne 13 via heuristic_height
16	The auduvita (tānas) of both the grāmas are thirty-five. The sādava and	main via surya_layout
17	auduva (tānas) of both the grāmas taken together are eithty-four tānas.	main via surya_layout
18	(Anu. 47)	annotation_inline parent ligne 17 via heuristic_height
19	Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said -	main via surya_layout
20	sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that	main via surya_layout
21	begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and	main via surya_layout
22	kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda).	main via surya_layout
23	How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or	main via surya_layout
24	already expressed through 'sādhāraṇa' (the term forming part of the name of	main via surya_layout
25	the fourth type of murchanā viz. sadharaņakṛtā).	main via surya_layout
26	(116)	annotation_inline parent ligne 25 via heuristic_height
27	And thus I have spoken of the fourfold mūrchanās.	main via surya_layout
28	[The performance of tanas]	section_header via surya_layout
29	(Anu. 48)	annotation_inline parent ligne 28 via heuristic_height
30	How should the performance of these tanas be made, if this be asked, it is	main via surya_layout
31	being answered. The performance 41 of tana is twofold viz. with pravesa (lit.	main via surya_layout
32	entering) and nigraha (lit. restraint).	main via surya_layout
33	Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be	main via surya_layout
34	omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the	main via surya_layout
35	pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same	main via surya_layout

vol_II_p102 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	187	page_number via heuristic_pagenum
3	Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā	main via surya_layout
4	māgāmā	annotation_inline parent ligne 3 via heuristic_height
5	dhādhāmāgāmānisāsā. Dohyā [v]	editorial_bracket parent ligne 3 via heuristic_brackets
6	Having niṣāda as amśa, ṣadja as the concluding note, being devoid of	main via surya_layout
7	pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha.	main via surya_layout
8	(6)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi]	editorial_bracket parent ligne 7 via heuristic_brackets
10	Combined with ṣadja as the initial and concluding note, alaghvī is born of	main via surya_layout
11	a deśa (region), is complete (and) comes into being from takkarāga, which	main via surya_layout
12	is sung in one's own abode.	main via surya_layout
13	(7)	annotation_inline parent ligne 12 via heuristic_short
14	Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส	main via surya_layout
15	sādhāgā risārisā nidhānisāsā. Alaghvī [vii]	editorial_bracket parent ligne 14 via heuristic_brackets
16	Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla.	main via surya_layout
17	[2. Now in hindola]	section_header via surya_layout
18	Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī-	main via surya_layout
19	these are the bhāṣās in hindolaka.	main via surya_layout
20	Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic,	main via surya_layout
21	bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup>	main via surya_layout
22	(8)	annotation_inline parent ligne 21 via heuristic_height
23	Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā	main via surya_layout
24	pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic,	main via surya_layout
26	omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup>	main via surya_layout
27	(9)	annotation_inline parent ligne 26 via heuristic_height
28	Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā	main via surya_layout

vol_II_p011 RIGHT — 38 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	5	page_number via heuristic_pagenum
3	and andhri and nandayanti and karmaravi and then kaisiki, thus should be	main via surya_layout
4	known the eleven (jātis) based on madhyamagrāma.	main via surya_layout
5	<math>(189 - 190)</math>	main via surya_layout
6	[Thus end the eleven jātis based on madhyamagrāma]	editorial_bracket parent ligne 5 via heuristic_brackets
7	[ sādhāraņakṛtā jātis ]	section_header via surya_layout
8	Three jatis should be known by the wise to be sadharanakṛtā (those in	main via surya_layout
9	which the use of sādhāraṇa svaras is prescribed) viz., madhyamā, pañcamī and	main via surya_layout
10	similarly <i>şadjamadhyamā</i>.	main via surya_layout
11	(191)	annotation_inline parent ligne 10 via heuristic_short
12	Thus ends the number and nomenclature of jātis.	main via surya_layout
13	[2. The śuddhā, vikṛtā and samsargajā vikṛtā jātis]	section_header via surya_layout
14	[Anu. 115]	section_header via surya_layout
15	Out of these eighteen jātis the seven bearing the names of (seven) svaras	main via surya_layout
16	are spoken of as being twofold - suddhās and vikṛtās. The suddhās are devoid	main via surya_layout
17	of the omission of notes and have their anisa, graha, nyāsa and apanyāsa on	main via surya_layout
18	their own svara, i.e. the svara from which each of them derives its respective	main via surya_layout
19	name. They assume the name vikṛtā on account of the alteration obtaining	main via surya_layout
20	in them through an alteration in respect of one, two or many lakṣaṇas	main via surya_layout
21	(characteristics) out of the above lakṣaṇas(characteristics of their śuddha	main via surya_layout
22	1002 472 7	unknown via fallback
23	form), excepting nyāsa4 (which is not altered).	main via surya_layout
24	[Anu. 116]	section_header via surya_layout
25	Out of these (lakṣaṇas) he (the author) spoke (speaks) about the	main via surya_layout
26	日本が一次の後の日の行人の行うのできるというますが、まるは、大利の大利の人の自己となりから	unknown via fallback
27	prescription of nyāsa. There in the prescription of nyāsa, the nyāsa which is	main via surya_layout
28	the svara from which the respective jāti derives its name, is, as a rule, low	main via surya_layout
29	(mandra) in the jātis that are śuddhā (unaltered). In the vikṛtā (jātis) the	main via surya_layout
30	nyāsa on the note from which the respective jāti derives its name, is either	main via surya_layout
31	tāra (high) or mandra (low); thus there is no rule.	main via surya_layout
32	[Anu. 117]	section_header via surya_layout
33	Thus the śuddhā jātis have a twofold<sup>5</sup> form, viz., the original (unaltered)	main via surya_layout
34	and the altered state. The eleven jātis have only an altered state because they	main via surya_layout
35	are born of the vikṛtā varieties (of śuddhā jātis); they do not have an	main via surya_layout
36	unaltered state. Why is that so? They are born of mutual blending.	main via surya_layout
37	Similarly has said Bharata -	main via surya_layout
38	ر<br>د د د د د د د د د د د د د د د د د د د	unknown via fallback

vol_I_p043 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	69	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha-	main via surya_layout
4	śloka).37 How is that (the difference)? The group of svaras that is arranged in	main via surya_layout
5	the ascending and descending order is spoken of as murchana, whereas tana is	main via surya_layout
6	with the ascending order, this is the distinction.58	main via surya_layout
7	[The Yajña-names of Tānas]	section_header via surya_layout
8	Now the yajña-names 59 of tanas are being spoken of—	main via surya_layout
9	Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and	main via surya_layout
10	(104)	annotation_inline parent ligne 9 via heuristic_short
11	rājasūya is the seventh one.	main via surya_layout
12	Thus are the names of sadava tanas devoid of sadja.	main via surya_layout
13	Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as	main via surya_layout
14	(105)	annotation_inline parent ligne 13 via heuristic_height
15	ртājāpatya.	annotation_inline parent ligne 13 via heuristic_height
16	Thus end the names of şāḍava tānas devoid of ṛṣabha.	main via surya_layout
17	Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit	main via surya_layout
18	(106)	annotation_inline parent ligne 17 via heuristic_height
19	(and) nāgayajāa.	annotation_inline parent ligne 17 via heuristic_height
20	Thus end the names of şādava tānas devoid of pañcama.	main via surya_layout
21	Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi,	main via surya_layout
22	<math display="block">(107)</math>	annotation_inline parent ligne 21 via heuristic_height
23	citra and the seventh one is udbhidyaga.	main via surya_layout
24	Thus end the names of şādava tānas devoid of niṣāda.	main via surya_layout
25	١	page_number via heuristic_pagenum
26	Thus end the names of twenty-eight şādava tānas in şadjagrāma.	main via surya_layout
27	Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement)	editorial_bracket parent ligne 26 via heuristic_brackets
28	of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana	editorial_bracket parent ligne 26 via heuristic_brackets
29	(108)	main via surya_layout
30	of kaunapas (demons) is the seventh one.	main via surya_layout

172 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p052 RIGHT — 41 lignes

vol_I_p045 RIGHT — 35 lignes

vol_II_p102 RIGHT — 28 lignes

vol_II_p011 RIGHT — 38 lignes

vol_I_p043 RIGHT — 30 lignes