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 21253). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p037 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	¶ Visi	annotation_inline parent ligne 4 via heuristic_height
2	57	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	abundance comes about on account of the stated prescription. In the	main via surya_layout
5	hexatonic form, there is the non-abundance of dhaivata but it is never so in	main via surya_layout
6	the case of ṛṣabha. In the auduvita form, sparseness does not obtain in the	main via surya_layout
7	case of any svara on acount of all of them being amsas. In this way there is	main via surya_layout
8	the abundance of all the svaras. Nyāsa is gāndhāra alone. Apanyāsa is	main via surya_layout
9	madhyama alone. There is the sancāra 76 or to and fro movement of sadja	main via surya_layout
10	and gändhära.	main via surya_layout
11	[Anu. 163]	section_header via surya_layout
12	It is ten-fold. There are ten amsas - five pertain to the complete state, four	main via surya_layout
13	to the hexatonic state, on account of there being an exception when pañcama	main via surya_layout
14	is the ainsa. One pertains to the auduvita state. The mūrchanā beginning	main via surya_layout
15	with ṛṣabha obtains here. Karuṇa is the rasa. Pañcapāṇi is the tāla. In the	main via surya_layout
16	ekakala citra (mārga), māgadhī is the gīti. In the dvikala vārtika (mārga),	main via surya_layout
17	sambhāvitā is the gīti. In the catuṣkala dakṣiṇa (mārga), pṛthulā is the gīti. It	main via surya_layout
18	is applied in the dhruva gana in the third act.	main via surya_layout
19	. . . . . . . . . . . . . . . . . . . .	annotation_inline parent ligne 18 via heuristic_height
20	[12. 77 Description of nine jātis in the interpolated portion]	section_header via surya_layout
21	٠	page_number via heuristic_pagenum
22	[1.Şadjamadhyamā]	section_header via surya_layout
23	Seven svaras are amśas in şadjamadhyamā and they have mutual to and fro	main via surya_layout
24	movement. Niṣāda is sparse excepting when gāndhāra is the aniśa; (in other	main via surya_layout
25	words) except the vādin state of (gāndhāra).	main via surya_layout
26	(1)	annotation_inline parent ligne 25 via heuristic_height
27	The hextatonic and pentatonic states are known to be when niṣāda and	main via surya_layout
28	niṣāda-gāndhāra are omitted. The two-śruti svaras (niṣāda and gāndhāra) are	main via surya_layout
29	the adversaries of the hexatonic and pentatonic states.	main via surya_layout
30	(2)	annotation_inline parent ligne 29 via heuristic_height
31	The gīta, tāla, kalā etc. are like those in ṣāḍjī, and the mūrchanā is that which	main via surya_layout
32	፥	annotation_inline parent ligne 31 via heuristic_height
33	begins with madhyama and the viniyoga is as (prescribed) before.	main via surya_layout
34	(3)	annotation_inline parent ligne 33 via heuristic_height
35	Ṣadja (and) madhyama are nyāsas in this. Seven svaras are apanyāsas. The	main via surya_layout
36	prastāra is thus -	main via surya_layout
37	ı	annotation_inline parent ligne 36 via heuristic_height
38	(1)	annotation_inline parent ligne 36 via heuristic_height
39	mā gā saga pā dhapa mā nidha nima	main via surya_layout
40	(2)	annotation_inline parent ligne 39 via heuristic_height
41	mā mā sā riga maga nidha padha pā	main via surya_layout

vol_I_p044 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	70	page_number via heuristic_pagenum
3	अग्निचिद् द्वादशाहश्च उपाशुः सोम एव च।	main via surya_layout
4	<b>43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।।</b>	main via surya_layout
5	•ग्राहोद्वही•	annotation_inline parent ligne 4 via heuristic_short
6	॥ इति ऋषभहीनताननामानि ॥	editorial_bracket parent ligne 4 via heuristic_brackets
7	सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज्ञकः।	main via surya_layout
8	स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।।	main via surya_layout
9	०श्च	annotation_inline parent ligne 8 via heuristic_height
10	॰पा	annotation_inline parent ligne 8 via heuristic_markers
11	ুখৰ	annotation_inline parent ligne 8 via heuristic_height
12	।। इति गान्धारहीनताननामानि ॥	list_item via surya_layout
13	।। इति मध्यमग्राम एकविंशतिः षाडवताननामानि ।।	list_item via surya_layout
14	।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।।	list_item via surya_layout
15	इडा पुरुषमेधश्च श्येनो वज्र•ः इषुस्तथा।	main via surya_layout
16	•इस्यः	annotation_inline parent ligne 15 via heuristic_height
17	यज्ञ	annotation_inline parent ligne 15 via heuristic_height
18	अङ्गिराः ४०कस्क्रुसंज्ञश्च षड्जग्रामेऽपि चौडुवाः ॥१११॥	main via surya_layout
19	क्स.	annotation_inline parent ligne 18 via heuristic_height
20	॥ इति षड्जपञ्चमहीनताननामानि ॥	editorial_bracket parent ligne 18 via heuristic_brackets
21	अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः।	main via surya_layout
22	47ज्योतिः	annotation_inline parent ligne 21 via heuristic_height
23	দূ	annotation_inline parent ligne 21 via heuristic_height
24	अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥	main via surya_layout
25	की लो	annotation_inline parent ligne 24 via heuristic_height
26	॥ इति गान्धारनिषादहीनताननामानि ॥	editorial_bracket parent ligne 24 via heuristic_brackets
27	सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा।	main via surya_layout
28	ुक्ति	annotation_inline parent ligne 27 via heuristic_height
29	भा	annotation_inline parent ligne 27 via heuristic_height
30	काच	annotation_inline parent ligne 27 via heuristic_height
31	वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥	main via surya_layout
32	।। इति पञ्चमर्षभहीनताननामानि ॥	main via surya_layout
33	।। इति षड्जग्राम औडुवितताननामानि एकविंशतिः।।	main via surya_layout

vol_II_p087 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	<b>TRANSLATION</b>	page_header via surya_layout
2	157	page_number via heuristic_pagenum
3	Madhukarī has pañcama as amśa, is replete with the same, has dha	main via surya_layout
4	(dhaivata) as the concluding note, there is the mutual concert of gandhara	main via surya_layout
5	and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā,	main via surya_layout
6	born of kakubha, is complete and sankīrņā (mixed).	main via surya_layout
7	<math>(76-77)</math>	annotation_inline parent ligne 6 via heuristic_height
8	Illustration-[<i>Pāpā</i>] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā	editorial_bracket parent ligne 6 via heuristic_brackets
9	dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā.	main via surya_layout
10	Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Šakamišritā is a bhāṣā having niṣāda as amśa, ṣaḍja as the concluding note,	main via surya_layout
12	combined with niṣāda as graha, should be known to be devoid of ṛṣabha and	main via surya_layout
13	the concert of niṣāda and pañcama with dhaivata is there. The shade or	main via surya_layout
14	reflection (chāyā)31 (?) mixed with śaka is there.	main via surya_layout
15	(78-79)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā	main via surya_layout
17	sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā-	main via surya_layout
18	nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Bhinnapañcamī should be known to have dhaivata as the concluding note	main via surya_layout
20	and madhyama as amśa, miṣāda is kākalī mixed profusely with dhaivata, where	main via surya_layout
21	there is seen the concert of kākalī and dhaivata and where one should put up	main via surya_layout
22	communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā,	main via surya_layout
23	i.e., involves the use of <i>antar</i>a and <i>kākalī</i> and <i>kākalī</i> is frequent. 32	main via surya_layout
24	<math>(80-81)</math>	annotation_inline parent ligne 23 via heuristic_height
25	Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa	main via surya_layout
26	niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā	main via surya_layout
27	dhādhāsa nidhā. Bhinnapañcamī [vii]	editorial_bracket parent ligne 26 via heuristic_brackets
28	These seven bhāṣās of kakubha have been indicated.	main via surya_layout
29	(82)	page_footer via surya_layout

vol_I_p025 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	33	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	(Anu. 18)	annotation_inline parent ligne 4 via heuristic_height
4	But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22	main via surya_layout
5	svaras? Truly has this been said. These have been accepted because of their	main via surya_layout
6	uncommonness. Their uncommonness is because of their movement in upward	main via surya_layout
7	sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of.	main via surya_layout
8	But .... this is said to be only a sign 24 (by convention), that is to say, (the names	main via surya_layout
9	of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas	main via surya_layout
10	(teachers).	annotation_inline parent ligne 9 via heuristic_height
11	[The fourfold-ness of svaras according to kinds beginning with vadin ]	editorial_bracket parent ligne 9 via heuristic_brackets
12	(Anu. 19)	section_header via surya_layout
13	Now I show the fourfold-ness of svaras, that befits the occasion or context.	main via surya_layout
14	That is thus -	annotation_inline parent ligne 13 via heuristic_height
15	Vādin 26 is so because of vadana 27 (speaking), like the master. The	main via surya_layout
16	saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister.	main via surya_layout
17	The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking)	main via surya_layout
18	like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking),	main via surya_layout
19	like the enemy.	annotation_inline parent ligne 18 via heuristic_height
20	(Anu. 20)	section_header via surya_layout
21	But vadana and the like are the nature (dharma) of living beings, how are they	main via surya_layout
22	possible in insentient svaras? Truly has this been said. Vadana is here intended to	main via surya_layout
23	mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana	main via surya_layout
24	and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras	main via surya_layout
25	are only seven. That vādin should be understood as tenfold like the amśa.57 The	main via surya_layout
26	vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni.	main via surya_layout
27	(Anu. 21)	section_header via surya_layout
28	The samvadins should again be understood according to the interval of	main via surya_layout
29	thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the	main via surya_layout
30	two svaras concerned, in terms of number of śrutis). What indeed is that	main via surya_layout
31	samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga	main via surya_layout
32	1	page_number via heuristic_pagenum
33	produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The	main via surya_layout
34	samvādi-mandala is thus —	main via surya_layout

vol_I_p064 LEFT — 45 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	110	page_number via heuristic_pagenum
3	समनन्तरौ स्वरौ द्वौ विचरत्युद्वाहितो द्विकल एव ।	main via surya_layout
4	आरोहत्येककलां पुनरेककलां प्रसादयति। ।१४८॥	main via surya_layout
5	50otto	annotation_inline parent ligne 4 via heuristic_short
6	++++	annotation_inline parent ligne 4 via heuristic_height
7	उद्वाहित एव स्यादुपलोलकसंज्ञको द्विरभ्यस्तः ।	main via surya_layout
8	एकं द्वौ त्रीन् गच्छन् स्वरान् क्रमेण [ स ] क्रमो ज्ञेयः ॥१४९॥	editorial_bracket parent ligne 7 via heuristic_brackets
9	51सह्	annotation_inline parent ligne 7 via heuristic_height
10	(डो १डे) त्रीणि	main via surya_layout
11	۰₹۵	annotation_inline parent ligne 10 via heuristic_height
12	एकान्तरमारुह्य प्रत्येकान्तरं स्वरं यस्तु ।	main via surya_layout
13	्र भी (?)	annotation_inline parent ligne 12 via heuristic_short
14	निष्कृजितसंज्ञकोऽसौ ज्ञेयः सूरिभिरलङ्कारः ॥१५०॥	main via surya_layout
15	क्रमयोगेनानेन तु सञ्चार्येकान्तरस्वरो द्विकलः ।	main via surya_layout
16	<i>दे</i> (३)।	annotation_inline parent ligne 15 via heuristic_short
17	्नासी ज्ञेयः	main via surya_layout
18	द्वचवरः षट्पर एवं ह्यारोही हादमानः स्यात् ॥१५१॥	main via surya_layout
19	ď	annotation_inline parent ligne 18 via heuristic_height
20	त्रिकलत्वपरषड्जमेवमारोहि (?)	main via surya_layout
21	अथ रिक्षतस्तु समनन्तरस्वरे द्वे कले पुनः स्थित्वा ।	main via surya_layout
22	अर्धकलामारोही पुनरेव तथावरोही स्यात्52 ॥१५२॥	main via surya_layout
23	।हि oतत् oचापको हि	annotation_inline parent ligne 22 via heuristic_short
24	<b>.</b>4.	main via surya_layout
25	आवर्तकश्चतुर्षु स्वरेषु समनन्तरेषु सम्भवति ।	main via surya_layout
26	आरोहणावरोहणविधिना चैकान्तरेष्विप वा ॥१५३॥	main via surya_layout
27	ज्ञेयो निरन्तरकृतस्त्वष्टकलः सान्तरस्तथा कार्यः ।	main via surya_layout
28	,रुध्वंष्ट.	unknown via fallback
29	तज्ज्ञैः कलाश्चतसस्त्वावृत्त्या [ ऽऽ ] वर्तको भवति ॥१५४॥	editorial_bracket parent ligne 27 via heuristic_brackets
30	प्राज्ञेः	main via surya_layout
31	अधिरुह्य च स्वरांस्त्रीन् स्वरान्तरं लङ्घयति च निवृत्तौ ।	main via surya_layout
32	53से	annotation_inline parent ligne 31 via heuristic_height
33	पुनरपि च परावृत्त्या परीवर्तकोऽष्टकलो ज्ञेयः ॥१५५॥	main via surya_layout
34	•र्तेषु 54कलो	annotation_inline parent ligne 33 via heuristic_short
35	यस्य स्वरावतीतौ तथा परं ह्यन्तरस्वरो भवति ।	main via surya_layout
36	<b>.</b>पतितौ	annotation_inline parent ligne 35 via heuristic_short
37	परस्त्व,	annotation_inline parent ligne 35 via heuristic_height
38	य:	annotation_inline parent ligne 35 via heuristic_height
39	एककलश्च तथा भवेत् तदुद्घट्टितो नित्यम् ॥१५६॥	main via surya_layout
40	•द्वाहितो <sup>55</sup>,त्या	main via surya_layout
41	भव	annotation_inline parent ligne 40 via heuristic_height
42	आक्षिप्तकस्त्रिस्वरजः कर्तव्यः षड्विधः कलामानः ।	main via surya_layout
43	<b>०रारज प्रथगेककलात्रयकृतश्च (?)</b>	main via surya_layout
44	मा.	annotation_inline parent ligne 43 via heuristic_height
45	एककलस्त्वधरः स्यात् षट्कलिको वापरो ज्ञेयः ॥१५७॥	main via surya_layout

182 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p037 RIGHT — 41 lignes

vol_I_p044 LEFT — 33 lignes

vol_II_p087 RIGHT — 29 lignes

vol_I_p025 RIGHT — 34 lignes

vol_I_p064 LEFT — 45 lignes