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 21307). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p119 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	221	page_number via heuristic_pagenum
3	[33. Dvipadī]	section_header via surya_layout
4	That which is (performed) with karaṇa tāla and composed in the dvipadī	main via surya_layout
5	metre, that is said to be dvipadī by those adept in vastu.<sup>29</sup>	main via surya_layout
6	(414)	main via surya_layout
7	[34. Vartanī]	section_header via surya_layout
8	Where graha and nyāsa are used only according to ańiśa, where the name	main via surya_layout
9	of the object of (glorified) description (divine or human) and that of the	main via surya_layout
10	singer (composer) is put in (and) that which is sung with svaras in a tāla	main via surya_layout
11	other than kankāla, pratitāla, druta (fast) maņțha, (and) kudukkaka, is held	main via surya_layout
12	to be vartani.	annotation_inline parent ligne 11 via heuristic_short
13	(415-416)	main via surya_layout
14	[35. <i>Elā</i>]	section_header via surya_layout
15	Where the first two feet are 'coloured' (embellished) with anuprāsa	main via surya_layout
16	(alliteration), there is anuprāsa 30 in the third or fourth foot or there is no	main via surya_layout
17	anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four	main via surya_layout
18	gītis find place in each foot, (and) after having sung one-half of its foot,	main via surya_layout
19	anuprāsa is arranged; where there is the description of renunciation, well-	main via surya_layout
20	being or prosperity, beauty, valour, steadfastness etc., that is called <i>clā</i> by the	main via surya_layout
21	experts in music.	annotation_inline parent ligne 20 via heuristic_short
22	<math>(417-419)</math>	main via surya_layout
23	It is always to be sung within the <i>gīta-vastus</i>, in combination with <i>tālas</i> like	main via surya_layout
24	maṇṭha, dvitīya, kaṅkāla and similarly elā should be combined with pratitāla	main via surya_layout
25	by the wise. That (clā) is marked with the name of the object of description	main via surya_layout
26	and the singer (composer).	main via surya_layout
27	<math>(420-421)</math>	main via surya_layout

vol_I_p093 RIGHT — 44 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	main via surya_layout
2	169	page_number via heuristic_pagenum
3	6, 7. The author seems to be speaking of svara at the same level at which	list_item via surya_layout
4	sabda has been treated as eternal and vibhu (all-pervading) by several systems	list_item via surya_layout
5	of philosophy, e.g. grammar, mimāmsā.	list_item via surya_layout
6	8. The infinity of svara, as propounded here, could be understood in two	list_item via surya_layout
7	layers viz. (i) the infinite melodic combinations and permutations of the seven	list_item via surya_layout
8	svaras (ii) the multi-farious shades of intervals coming into usage on account of	list_item via surya_layout
9	various relationships between svaras established on account of variety of	list_item via surya_layout
10	melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of	list_item via surya_layout
11	melodic configuration and bhāṣā, the derived form of rāga have been	list_item via surya_layout
12	mentioned here for indicating the infinity of variety in melodic phrasing that	list_item via surya_layout
13	brings about the infinity of svara. Raga has been omitted here, but its relevance	list_item via surya_layout
14	could be inferred on the basis of its derivative bhāṣā.	list_item via surya_layout
15	9. The statement that svaras are combined with padas means that syllabic	list_item via surya_layout
16	units are combined with svaras when the latter are rendered. These (units)	list_item via surya_layout
17	could be meaningful linguistic units or non-sensical so far as linguistic meaning	list_item via surya_layout
18	is concerned. Pada has been thus defined by Bharata -	list_item via surya_layout
19	यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् ।	main via surya_layout
20	( NŚ XXXII, 28 ab )	annotation_inline parent ligne 19 via heuristic_short
21	"Whatever is formulated with syllables, all that is called pada".	main via surya_layout
22	Thus meaningfulness is not a condition for pada in music. Tonal rendering	main via surya_layout
23	with the voice is usually combined with syllabic units, e.g. in the ālāpa in	main via surya_layout
24	dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the	main via surya_layout
25	following (and a few more) syllabic units known as padas spoken of by Brahmā	main via surya_layout
26	for nirgita (music devoid of meaningful text, rendered mainly on stringed and	main via surya_layout
27	wind instruments, accompanied by voice )-	main via surya_layout
28	झण्दु जगतिय दिगिनिगि तितिझल कुचझल	main via surya_layout
29	( NŚ XXXI, 104 )	annotation_inline parent ligne 28 via heuristic_short
30	It will be seen that these are formulated units of four-matras (time-units)	main via surya_layout
31	each. If the voice renders svaras without padas (meaningful or non-sensical	main via surya_layout
32	syllabic units) then it is combined with vowels like a, i, u etc. which themselves	main via surya_layout
33	are primary units of pada. Hence the combination of svara with pada is spoken	main via surya_layout
34	of.	main via surya_layout
35	10. In Indian music svaras are not used in a plain or unornamented way;	list_item via surya_layout
36	hence alankāra is mentioned here. The concept of alankāra will be discussed in	list_item via surya_layout
37	the respective section.	list_item via surya_layout
38	11. The prescription of the use of specific svaras in the context of different	list_item via surya_layout
39	rasas dates back to NS. It will be discussed under the reproduction of this	list_item via surya_layout
40	prescription in our text later in this section.	list_item via surya_layout
41	12,13. Pāršyadeva refutes the view that svaras are indestructible and all-	list_item via surya_layout
42	pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in	list_item via surya_layout
43	a limited time and space and not for all times or everywhere, it could not be	list_item via surya_layout
44	said to be indestructible or all-pervading.	list_item via surya_layout

vol_I_p027 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	37	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	(Anu. 23)	main via surya_layout
4	Anuvāditva (the state of being anuvādin) occurs by the state of being one	main via surya_layout
5	śruti less<sup>41</sup> (i.e. pairs of svaras where one of the constituents is less than the other	main via surya_layout
6	by one śruti are anuvādins). But what is that anuvāditva?	main via surya_layout
7	The expositorhood of the ragatva of raga brought about by the samvadin is	main via surya_layout
8	indeed anuvāditva.	annotation_inline parent ligne 7 via heuristic_short
9	The anuvādi-maņdala is thus -	main via surya_layout
10	Sa	annotation_inline parent ligne 9 via heuristic_height
11	Ň	annotation_inline parent ligne 9 via heuristic_height
12	ni	annotation_inline parent ligne 9 via heuristic_height
13	ga	annotation_inline parent ligne 9 via heuristic_height
14	dha	annotation_inline parent ligne 9 via heuristic_height
15	ma	annotation_inline parent ligne 9 via heuristic_height
16	pa	annotation_inline parent ligne 9 via heuristic_height
17	Thus ends the anuvādi-maṇḍala. [in ṣaḍjagrāma]	caption via surya_layout
18	(Anu. 24)	main via surya_layout
19	The use<sup>42</sup> of anuvadins is thus - şadja in the place of ṛṣabha and ṛṣabha in the	main via surya_layout
20	place of şadja, remaining in its own form, does not destroy jāti or rāga.	main via surya_layout
21	Dhaivata, being used in the place of pañcama and pañcama being used in the	main via surya_layout
22	place of dhaivata may not become the destroyer of jāti and rāga. Dhaivata being	main via surya_layout
23	used in the place of şadja and şadja being used in the place of dhaivata does not	main via surya_layout
24	become the destroyer of jāti and rāga. Rṣabha being used in the place of pañcama	main via surya_layout
25	and pañcama being used in the place of rṣabha does not destroy jāti and rāga.	main via surya_layout
26	Rṣabha in the place of madhyama and madhyama in the place of ṛṣabha;	main via surya_layout
27	similarly, madhyama being used in the place of dhaivata and dhaivata in the place	main via surya_layout
28	of madhyama does not destroy jāti and rāga.	main via surya_layout

vol_I_p024 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	31	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	It is being said (answered) - It is one and many, pervasive<sup>6</sup> and eternal.<sup>7</sup> In the	main via surya_layout
4	undifferentiated state there is one svara; in the form of sadja and the like svara is	main via surya_layout
5	many.	annotation_inline parent ligne 4 via heuristic_height
6	Similarly also said Kohala -	annotation_inline parent ligne 4 via heuristic_height
7	"Svara is said to be infinite" on account of (its) combination with jāti, bhāṣā	main via surya_layout
8	etc. It is combined with padas 9 (syllabic units, meaningful or non-sensical) and	main via surya_layout
9	is to be combined with alankāra10 and (used in) rasas." 11	main via surya_layout
10	(It is) eternal i.e. indestructible. 12 (It is) pervasive i.e. sarvagata 13 (contained	main via surya_layout
11	in or permeating everything).	annotation_inline parent ligne 10 via heuristic_height
12	Similarly said Kohala -	annotation_inline parent ligne 10 via heuristic_height
13	"By the effort of the ūrdhvanāḍīs14 on account of rubbing or striking of all	main via surya_layout
14	'walls', the sound that grows upto the cerebrum, is svara, it is vyāpaka	main via surya_layout
15	(pervasive) (and) para (beyond).15	main via surya_layout
16	(Anu. 17)	annotation_inline parent ligne 15 via heuristic_height
17	But how is the svaratva 16 of (svara-names) şadja and the like, on account of	main via surya_layout
18	their being consonants? If the svaratva of consonants is spoken of, then there	main via surya_layout
19	should be the svaratva of (consonants) beginning with ka?	main via surya_layout
20	Here it is being said (answered) that there is the svaratva of only şadja and	main via surya_layout
21	the like on account of their being asādhāraņa 17 (lit. uncommon, special), not of	main via surya_layout
22	(consonants) beginning with ka.	main via surya_layout
23	But why (or how) is the uncommon or special nature of sadja and the like?	main via surya_layout
24	(Answer) - on account of the upadesa 18 (speaking of) by the aptas (trusted ones)	main via surya_layout
25	the asadharanatva (uncommonness, special nature) of svaras is there.	main via surya_layout
26	So did say Maheśvara<sup>19</sup> in Kohala —	main via surya_layout
27	"The peacock speaks şadja, the cātaka (bird) speaks ṛṣabha, the goat speaks	main via surya_layout
28	gāndhāra, the kraunca (bird) speaks madhyama, in the puspasādhāraņa time	main via surya_layout
29	(common time for flowers i. e. Spring) kokilā speaks pañcama, when the rainy	main via surya_layout
30	season approaches, dardura (the frog) speaks dhaivata. O Devi ! in the same	main via surya_layout
31	way, the elephant always speaks niṣāda."	main via surya_layout
32	Or, only sadja and the like have uncommonness or special nature because of	main via surya_layout
33	their movement in upward sound, or şadja and the like are not svaras, only	main via surya_layout
34	(vowels) beginning with ākāra 20 are svaras. şadja and the like are there for the	main via surya_layout
35	pronunciation of (vowels) beginning with ākāra, so (it is said).	main via surya_layout

vol_I_p060 LEFT — 52 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	102	page_number via heuristic_pagenum
3	निधपा, मपधा धपमा, गमपा पमगा, रिगमा मगरी, सरिगा गरिसा।	main via surya_layout
4	सनिधा.	annotation_inline parent ligne 3 via heuristic_short
5	पधनी	main via surya_layout
6	मगरिस, रिगमप पमगरि, गमपध धपमग, मपधनि निधपम, पधनिस	main via surya_layout
7	अथवा— सरिगम	annotation_inline parent ligne 6 via heuristic_short
8	सनिधप, मपधनि निधपम, गमपध धपमग, रिगमप पमगरि, सरिगम मगरिस	main via surya_layout
9	इति	annotation_inline parent ligne 8 via heuristic_short
10	[ २९ ]	editorial_bracket parent ligne 8 via heuristic_brackets
11	अष्टादशकलो हुङ्कारः।	main via surya_layout
12	अनु₀ ९९	section_header via surya_layout
13	तारात् सप्तमं स्वरं गत्वा पुनस्तत्रैवागत्यावरोहक्रमेण स्वरद्वयोच्चारणेन	main via surya_layout
14	.वमा.	annotation_inline parent ligne 13 via heuristic_height
15	कलाचतुष्टयकरणात् सन्धिप्रच्छादनः।	main via surya_layout
16	कारणनात् ( ? )	annotation_inline parent ligne 15 via heuristic_short
17	यथा - ] सनि सनि सनि सनि, निध निध निध निध, धप धप धप धप, पम पम पम	editorial_bracket parent ligne 15 via heuristic_brackets
18	पम, मग मग मग मग, गरि गरि गरि गरि, रिस रिस रिस रिस।	main via surya_layout
19	रिस रिस रिस रिस, गरि गरि गरि गरि,	main via surya_layout
20	सरि सरि सरि	annotation_inline parent ligne 19 via heuristic_short
21	सरि	main via surya_layout
22	रिंग रिंग रिंग रिंग	annotation_inline parent ligne 21 via heuristic_short
23	मग मग मग, पम पम पम पम,	main via surya_layout
24	मग	annotation_inline parent ligne 23 via heuristic_short
25	गम	annotation_inline parent ligne 23 via heuristic_height
26	गम गम,	main via surya_layout
27	मप मप मप मप	annotation_inline parent ligne 26 via heuristic_short
28	धप धप धप धप, निध निध निध निध,	main via surya_layout
29	धनि	annotation_inline parent ligne 28 via heuristic_short
30	धनि	main via surya_layout
31	धनि धनि	annotation_inline parent ligne 30 via heuristic_short
32	सनि सनि सनि सनि [ इति सन्धिप्रच्छादनः। ]	editorial_bracket parent ligne 30 via heuristic_brackets
33	[ 30 ]	editorial_bracket parent ligne 30 via heuristic_brackets
34	निस	main via surya_layout
35	निस	annotation_inline parent ligne 34 via heuristic_short
36	निस निस	main via surya_layout
37	[ अनुः १०० ]	editorial_bracket parent ligne 36 via heuristic_brackets
38	अंशस्वरं चतुरुच्चार्य तदनन्तरस्वरद्वयस्य द्वृतोच्चारणादनेनैव क्रमेणारोहणादेककलो	main via surya_layout
39	विधुतः। [ यथा - ] स स स स रिग, रि रि रि रि गम,	editorial_bracket parent ligne 38 via heuristic_brackets
40	री री री री	main via surya_layout
41	सा सा सा सा	annotation_inline parent ligne 40 via heuristic_short
42	ग ग ग ग मप, म म म म पध, प प प प धनि, ध ध ध ध निस	main via surya_layout
43	गा गा गा गा	annotation_inline parent ligne 42 via heuristic_short
44	मामामा पापापा	main via surya_layout
45	धाधाधाधारि	annotation_inline parent ligne 44 via heuristic_short
46	[ इति ] विधुतः।	editorial_bracket parent ligne 44 via heuristic_brackets
47	[ ३१ ]	editorial_bracket parent ligne 44 via heuristic_brackets
48	[ अनुः १०१ ]	editorial_bracket parent ligne 44 via heuristic_brackets
49	तारादेकान्तरस्वरावरोहात् क्रमेणोद्गीतः । [ यथा - ] सध निप धम पग मरि गस	editorial_bracket parent ligne 44 via heuristic_brackets
50	.तिः	main via surya_layout
51	[ इति ] उद्गीतः।	editorial_bracket parent ligne 50 via heuristic_brackets
52	[ ३२ ]	editorial_bracket parent ligne 50 via heuristic_brackets

186 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p119 RIGHT — 27 lignes

vol_I_p093 RIGHT — 44 lignes

vol_I_p027 RIGHT — 28 lignes

vol_I_p024 RIGHT — 35 lignes

vol_I_p060 LEFT — 52 lignes