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 21301). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p019 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	21	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[7. The definition of alpatva]	section_header via surya_layout
4	[Anu. 128]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Now I speak of alpatva (sparseness) and bahutva (abundance). Out of	main via surya_layout
6	these, alpatva comes into being on account of the sparse use of svaras and	main via surya_layout
7	bahutva is on account of (their) abundant use. Alpatva and bahutva are	main via surya_layout
8	twofold each, one operating in samnyāsa and the like and the other through	main via surya_layout
9	antaramārga. 38 The definition of antaramārga is thus—sometimes in jātis even	main via surya_layout
10	the svara that is not an amsa (anamsa) is not sparse (alpa). Similarly in	main via surya_layout
11	Kārmāravī, gāndhāra (which is not an amśa), is used in antaramārga with	main via surya_layout
12	abundance through concert (saigati) with all the other svaras; thus will be	main via surya_layout
13	said-39	annotation_inline parent ligne 12 via heuristic_short
14	"Specially gāndhāra has movement towards all (svaras)."	main via surya_layout
15	(NŚ XXVIII.136)	main via surya_layout
16	[8. The definition of bahutva]	section_header via surya_layout
17	[ Anu. 129 ]	editorial_bracket parent ligne 16 via heuristic_brackets
18	After this he (the author) spoke (speaks) of bahutva. Bahutva is like	main via surya_layout
19	alpatva; it is to be perceived, thus is the special implication of the said	main via surya_layout
20	statement (about bahutva). How is that? Thus spoke (speaks) he (the	main via surya_layout
21	author), the inversion of strong and weak, i.e. the weak one is sparse (by	main via surya_layout
22	rule), in the case of inversion it becomes strong, thus is understood the	main via surya_layout
23	characteristic of strong (svara). Hence it has been said -	main via surya_layout
24	"The sparseness in jātis is always manifested through their svaras. There	main via surya_layout
25	is sañcāra (to and fro movement) among the amsas and the strong svaras.	main via surya_layout
26	Sparseness occurs in those jātis which have weak (svaras). Antaramārga	main via surya_layout
27	(inversion of strength and weakness) and nyāsa brings about the manifestation	main via surya_layout
28	of jātis."	annotation_inline parent ligne 27 via heuristic_height
29	(Cf. NŚ XXVIII 74cd, 75)	main via surya_layout
30	[9. The definition of nyasa]	section_header via surya_layout
31	[ Anu. 130 ]	editorial_bracket parent ligne 30 via heuristic_brackets
32	Now he (the author) spoke (speaks) of nyāsa - that (svara) on which or	main via surya_layout

vol_I_p057 LEFT — 49 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	96	page_number via heuristic_pagenum
3	निधधनि २२धपपध पममप	page_header via surya_layout
4	मगगम गरिरिंग रिसंसरि [ इति ]	page_header via surya_layout
5	सनिनिस	page_header via surya_layout
6	अथवा—	page_header via surya_layout
7	१६ \|	page_header via surya_layout
8	प्रसादः ।	page_header via surya_layout
9	\| अन्₀ ८६ \|	page_header via surya_layout
10	द्वौ द्वौ स्वरौ द्विकलौ २३सञ्चरन्तावारोहक्रमेणावरोहाच्चोद्वाहितः । [ यथा— ]	page_header via surya_layout
11	वि॰	page_header via surya_layout
12	∙डु	page_header via surya_layout
13	<sup>21</sup>सरि रिंग गम मप पध धनि निस सनि निध धप पम मग गरि रिस [ इति ]	page_header via surya_layout
14	उद्वाहितः।	page_header via surya_layout
15	\| १७ \|	page_header via surya_layout
16	अनु₀ ८७	page_header via surya_layout
17	द्विरभ्यस्तैरुपलोलकः। यथा—सरिसरि रिगरिग	page_header via surya_layout
18	अयमेव	page_header via surya_layout
19	गमगम	page_header via surya_layout
20	मपमप	page_header via surya_layout
21	पधपध	page_header via surya_layout
22	धनिधनि निसनिस सनिसनि निधनिध धपधप पमपम मगमग गरिगरि रिसरिस	page_header via surya_layout
23	[ १८ ]	page_header via surya_layout
24	<b>इति । उपलोलकः।</b>	page_header via surya_layout
25	। अनु₀ ८८ ।	page_header via surya_layout
26	एकादिक्रमेणान्तरस्वरेष्वारुह्य	page_header via surya_layout
27	पुनरवरोहणक्रमण	page_header via surya_layout
28	स्थायिन	page_header via surya_layout
29	स्वर	page_header via surya_layout
30	गत्वा	page_header via surya_layout
31	प्रस्तारक्रमेणैव एकैकाभिवृद्ध्या यत्र स्वरा उच्चार्यन्ते तत्र स क्रमः। अयमेकरूपत्वात्	page_header via surya_layout
32	परिवा	page_header via surya_layout
33	प्रस्तारेण [न] भिद्यते। [ यथा ] सरिरिस सरिगगरिस सरिगममगरिस सरिगमपपमगरिस	page_header via surya_layout
34	्रगा	page_header via surya_layout
35	॰मा॰	page_header via surya_layout
36	ुपा	page_header via surya_layout
37	सरिगमपधधपमगरिस सरिगमपधनिनिधपमगरिस सरिगमपधनिस-सनिधपमगरिस	page_header via surya_layout
38	्नीनी,	page_header via surya_layout
39	धा	page_header via surya_layout
40	क्रमः। अथवान्तरस्वरमारुह्य काकलीं गत्वा तेनैव क्रमेणावरुह्य स्थायिन्यागम्यते स	page_header via surya_layout
41	<sub>व</sub>के	page_header via surya_layout
42	क्रमः [ यथा - ] सगनिनिगस [ इति ] क्रमः।	page_header via surya_layout
43	[ १९ ]	page_header via surya_layout
44	[ अनु。 ८९ ]	editorial_bracket via heuristic_brackets
45	अाद्यं तृतीयं ततो द्वितीयं ततश्च चतुर्थमनेनैव क्रमेणान्यानप्यारुह्य मन्द्राव्निष्कृजितः।	unknown via fallback
46	₀रो₀	annotation_inline via heuristic_markers
47	कोहलमते च एकान्तरस्वरारोहान्निष्कूजितः । [ यथा - ] सग रिम गप मध पनि धस	editorial_bracket via heuristic_brackets
48	[ इति निष्कृजितः ]	editorial_bracket via heuristic_brackets
49	[ २० ]	editorial_bracket via heuristic_brackets

vol_II_p067 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	117	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 200]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means - Mālavakaišika is related to madhyamagrāma on account of	main via surya_layout
5	being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the	main via surya_layout
6	sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is	main via surya_layout
7	complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the	main via surya_layout
8	with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra.	main via surya_layout
9	The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga)	main via surya_layout
10	and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in	main via surya_layout
11	songs comprised of svara and pada.	main via surya_layout
12	[The assignment of gramas to vesararagas]	section_header via surya_layout
13	Now the particular grāma of each one of the vesara (rāgas) is being shown -	main via surya_layout
14	Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the	main via surya_layout
15	one (grāma) called sadja.	annotation_inline parent ligne 14 via heuristic_height
16	(329)	annotation_inline parent ligne 14 via heuristic_height
17	Hindolaka, mālavapancama and mālavakaišika should be known to be born	main via surya_layout
18	of madhyamagrāma.	annotation_inline parent ligne 17 via heuristic_height
19	(330)	annotation_inline parent ligne 17 via heuristic_height
20	Thus have all the vesara(rāgas) been spoken of with their definitive	main via surya_layout
21	descriptions. They are known as vega-svaras 75 because the speed of svaras is	main via surya_layout
22	seen in them.	annotation_inline parent ligne 21 via heuristic_height
23	(331)	annotation_inline parent ligne 21 via heuristic_height
24	[ E. Sādhāraņa rāgas]	section_header via surya_layout
25	The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken	main via surya_layout
26	of. Now I will speak of the seven sādhāraņa ones.	main via surya_layout
27	(332)	annotation_inline parent ligne 26 via heuristic_height
28	[Anu. 201]	editorial_bracket parent ligne 26 via heuristic_brackets
29	(Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas)	main via surya_layout
30	come about? It is being answered. On account of being born of the gitis	main via surya_layout
31	pertaining to all the ragas that have been spoken of heretofore, there is their	main via surya_layout
32	sādhāraņatva (commonness); this comes about on account of their being sung in	main via surya_layout
33	the sādhāraṇa-giti. Similarly has said Kasyapa-	main via surya_layout
34	"Seven sādhāraņa (rāgas) have been said to be based in all the gitis."	main via surya_layout

vol_I_p103 RIGHT — 49 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	189	page_number via heuristic_pagenum
3	117. Conflict with varna is not easily comprehensible. Perhaps the idea is that	list_item via surya_layout
4	whatever pattern is established in an alankāra it should be followed all-through.	list_item via surya_layout
5	If varna is taken to stand for syllabic unit, then the conflict and its prohibition	list_item via surya_layout
6	become clear.	list_item via surya_layout
7	118. Using an alankāra without a varņa ( melodic movement ) is a	list_item via surya_layout
8	contradiction in itself; here also, as above (note 117) the idea seems to be that	list_item via surya_layout
9	an alankāra should not be used without establishing a definite pattern. Here	list_item via surya_layout
10	varna as a syllabic unit does not seem to be relevant.	list_item via surya_layout
11	119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alankāra in	list_item via surya_layout
12	relation to varna (the syllabic unit) have been figuratively spoken of as—(i)	list_item via surya_layout
13	the alankāra makes the varņa bright or brilliant ( like the moon ), (ii) it	list_item via surya_layout
14	'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom	list_item via surya_layout
15	(like a flower on a creeper) and (iv) it makes the varna colourful or delightful	list_item via surya_layout
16	(like an ornament on a woman).	list_item via surya_layout
17	120. It is notable that all illustrations begin with sadja and do not extend	list_item via surya_layout
18	beyond the tāra şadja.	list_item via surya_layout
19	121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna.	list_item via surya_layout
20	Section VII ( Pada-giti )	section_header via surya_layout
21	1,2,3. Giti literally means song or the act of singing, but here it stands for	list_item via surya_layout
22	specific pattern of singing with reference to the text of the song as manifest in	list_item via surya_layout
23	its syllabic units (akşara) and metre (chandas). NŠ mentions only these four	list_item via surya_layout
24	gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to	list_item via surya_layout
25	distinguish between these two types of gitis, the first type being related to the	list_item via surya_layout
26	rendering of text and the second type being related to the rendering of raga, we	list_item via surya_layout
27	have qualified the gitis under reference with pada, and the gitis of raga	list_item via surya_layout
28	classification will be qualified with svara or raga.	list_item via surya_layout
29	4. Nivitta lit. means retreated or returned to; in alankāras nivitti means	list_item via surya_layout
30	descent (of svaras); here it means repetition.	list_item via surya_layout
31	5. Nivitta lit. means receded or held back as opposed to pravitta meaning	list_item via surya_layout
32	proceeded or set forth. Here it means accomplished or completed.	list_item via surya_layout
33	6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system	list_item via surya_layout
34	which represent three 'degrees' of length of a given tāla-cycle, depending on	list_item via surya_layout
35	the duration of kalā or standard time-unit, as follows -	list_item via surya_layout
36	Duration of kalā	section_header via surya_layout
37	Name of marga	section_header via surya_layout
38	2 mātrās	annotation_inline parent ligne 37 via heuristic_height
39	1. Citra	main via surya_layout
40	4 mātrās	annotation_inline parent ligne 39 via heuristic_short
41	2. Vārtika or vṛtti	main via surya_layout
42	8 mātrās	annotation_inline parent ligne 41 via heuristic_height
43	3. Daksina	unknown via fallback
44	12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika	main via surya_layout
45	and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4	main via surya_layout
46	mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three	main via surya_layout
47	(vide)	annotation_inline parent ligne 46 via heuristic_height
48	T 1	annotation_inline parent ligne 46 via heuristic_height
49	(vide)	annotation_inline parent ligne 46 via heuristic_height

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

193 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p019 RIGHT — 32 lignes

vol_I_p057 LEFT — 49 lignes

vol_II_p067 RIGHT — 34 lignes

vol_I_p103 RIGHT — 49 lignes

vol_II_p087 RIGHT — 29 lignes