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)	—

vol_I_p023 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	29	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja	main via surya_layout
4	and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras	main via surya_layout
5	become their agre-sara 68 (movers in front).	main via surya_layout
6	(52)	annotation_inline parent ligne 5 via heuristic_height
7	Thus I have spoken of the śrutis that are seated in grāma.69	main via surya_layout
8	Here ends the section on srutis.	annotation_inline parent ligne 7 via heuristic_height
9	IV [The Section on Svaras]	section_header via surya_layout
10	[The laksana of svaras]	section_header via surya_layout
11	Now I shall speak of the ascertainment of svaras. In this context, initially, the	main via surya_layout
12	(53)	annotation_inline parent ligne 11 via heuristic_height
13	etymology of the word 'svara' is being spoken about.	main via surya_layout
14	From the root raje, meaning brilliance, to which is prefixed the word sva	main via surya_layout
15	(the word 'svara' is derived); because (the meaning is) that which shines by	main via surya_layout
16	(54)	annotation_inline parent ligne 15 via heuristic_height
17	itself, hence it is known as svara.	main via surya_layout
18	[ Anu. 15 ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	But what is meant by svara? It is being answered - the dhvani (sound) which	main via surya_layout
20	is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said	main via surya_layout
21	Kohala.	annotation_inline parent ligne 20 via heuristic_height
22	"By the will of the atman, the vayu (that is) moving upward from the base of	main via surya_layout
23	the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the	main via surya_layout
24	space, is known as svara, the delightful<sup>5</sup> sound."	main via surya_layout
25	(Anu. 16)	annotation_inline parent ligne 24 via heuristic_height
26	But svara in this way is one or many, pervasive or non-pervasive or is it	main via surya_layout
27	eternal or non-eternal?	annotation_inline parent ligne 26 via heuristic_height

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_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_p057 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or,	main via surya_layout
4	saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus	main via surya_layout
5	(16)	annotation_inline parent ligne 4 via heuristic_height
6	is (ends) prasāda.	annotation_inline parent ligne 4 via heuristic_height
7	(Anu. 86)	annotation_inline parent ligne 4 via heuristic_height
8	(Pairs of) two svaras each moving to and fro in the order of ascent 53 and	main via surya_layout
9	descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari	main via surya_layout
10	riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari,	main via surya_layout
11	(17)	annotation_inline parent ligne 10 via heuristic_height
12	risa. Thus is (ends) udvāhita.	annotation_inline parent ligne 10 via heuristic_height
13	(Anu. 87)	annotation_inline parent ligne 10 via heuristic_height
14	This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being	main via surya_layout
15	repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha,	main via surya_layout
16	dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama,	main via surya_layout
17	(18)	annotation_inline parent ligne 16 via heuristic_height
18	maga maga, gari gari, risa risa. Thus is (ends) upalolaka.	main via surya_layout
19	(Anu. 88)	annotation_inline parent ligne 18 via heuristic_height
20	There, krama is that, where having reached the sthayin55 (steady) svara after	main via surya_layout
21	ascending in the svaras in successive order beginning with one, without any gap,	main via surya_layout
22	svaras are pronounced in the order of prastara, increasing one by one (in	main via surya_layout
23	successive phrases). This is not different from prastara, being identical in form.56	main via surya_layout
24	As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa,	main via surya_layout
25	sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa,	main via surya_layout
26	sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara	main via surya_layout
27	(gandhāra) and in the same order having ascended to the kākali (niṣāda) the	main via surya_layout
28	sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is	main via surya_layout
29	(19)	annotation_inline parent ligne 28 via heuristic_height
30	(ends) krama.	annotation_inline parent ligne 28 via heuristic_height
31	(Anu. 89)	annotation_inline parent ligne 28 via heuristic_height
32	Niṣkūjita is (formed) on having ascended (in the order of) first-third, then	main via surya_layout
33	second-fourth and others also in the same order. In the opinion of Kohala	main via surya_layout
34	niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga	main via surya_layout
35	(20)	annotation_inline parent ligne 34 via heuristic_height
36	rima gapa madha pani dhasa. Thus is (ends) nişküjita.	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

Legende des roles

vol_I_p023 RIGHT — 27 lignes

vol_II_p091 RIGHT — 29 lignes

vol_I_p025 RIGHT — 34 lignes

vol_I_p057 RIGHT — 36 lignes

vol_II_p035 LEFT — 31 lignes