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 21317). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p032 LEFT — 32 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	46	page_number via heuristic_pagenum
3	अष्टमस्य तृतीयं तु हरिबीजसमन्वितम्।	main via surya_layout
4	आद्यं स्वरं स्वरज्ञस्तूद्धरेत् उभ्सर्वप्रयत्नतः ।।६३।।	main via surya_layout
5	•स्तु उद्धरेत् तु	annotation_inline parent ligne 4 via heuristic_height
6	सप्तमस्य द्वितीयं तु कामबीजसमन्वितम्।	main via surya_layout
7	द्वितीयं तु स्वरं विद्धि ब्रह्मस्थानसमुद्भवात्॥६४॥	main via surya_layout
8	द्वितीयस्यापि वर्गस्य तृतीयं विष्णुसंयुतम्।	main via surya_layout
9	उद्धरेच्च स्वरं नित्यं स्वरभेदमनोहरम्॥६५॥	main via surya_layout
10	षष्ठस्यापि हि वर्गस्य अन्तिमं अन्तिमं अन्तिसंयुतम्।	main via surya_layout
11	•मग्चाः	annotation_inline parent ligne 10 via heuristic_height
12	अविनष्टं विजानीयान् मध्यमं स्वरसत्तमम्।६६॥	main via surya_layout
13	<sup>36</sup>₀मुत्तमम्	annotation_inline parent ligne 12 via heuristic_markers
14	<sup>37</sup>॰सप्तकम्	annotation_inline parent ligne 12 via heuristic_markers
15	<b>म्बतदादिप्रथमोपेतं स्वरं संविद्धि शोभनम्।</b>	main via surya_layout
16	था	annotation_inline parent ligne 15 via heuristic_height
17	व्योमसंख्यासमायुक्तमोष्ठस्थानसमुद्भवम् ॥६७॥	main via surya_layout
18	पञ्चमस्यापि वर्गस्य चतुर्थं चादिसंयुतम्।	main via surya_layout
19	कोदण्डद्वयसम्भूतमुद्धरेत् स्वरमुत्तमम्।।६८॥	main via surya_layout
20	अकारान्यान्तसम्भिन्नं पञ्चमान्तं समुद्धरेत्।	main via surya_layout
21	ुन्ताः,	annotation_inline parent ligne 20 via heuristic_height
22	ब्रह्मस्थानसमुद्भूतं सुतारध्वनिसंयुतम् ॥६९॥	main via surya_layout
23	आगमस्थः स्वरोत्द्वार इति तावत् प्रदर्शितः।	main via surya_layout
24	[ स्वराणां कुलवर्णादिनिर्णयः ]	editorial_bracket parent ligne 23 via heuristic_brackets
25	अधुना सम्प्रवक्ष्यामि कुलवर्णादिनिर्णयम्।।७०।।	main via surya_layout
26	<sup>५९</sup>देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः।	main via surya_layout
27	पितृवंशसमुत्पन्नः स्वरोऽसौ पञ्चमः किल।।७१।।	main via surya_layout
28	ऋषिवंशसमुत्पन्नौ स्वरावृषभधेवतौ।	main via surya_layout
29	असुराणां कुले जातो निषादः स निसंज्ञितः ।। ७२ ॥	main via surya_layout
30	4)पद्मपत्रप्रभः षड्ज ऋषभः शुकवर्णकः।	main via surya_layout
31	कनकाभस्तु गान्धारो मध्यमः कुन्दसन्निभः॥७३॥	main via surya_layout
32	- . . . . .	annotation_inline parent ligne 31 via heuristic_height

vol_II_p100 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	183	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	15. Now the bhāṣās in pañcamaṣāḍava	section_header via surya_layout
4	Having ṛṣabha as amśa, madhyama as the concluding note, this śakabhāṣā is	main via surya_layout
5	said to be complete (and) having abundant gändhära-pañcama. The profusion	main via surya_layout
6	of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in	main via surya_layout
7	pancamaṣāḍava, being born of śakarāga. 71	main via surya_layout
8	(142-143)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā.	editorial_bracket parent ligne 7 via heuristic_brackets
10	[Thus in pañcamaṣāḍava]	section_header via surya_layout
11	Thus are the bhāṣās manifested in (this)world, that are known to be	main via surya_layout
12	accepted by many. That <math>(bh\bar{a}s\bar{a})</math> is so modified as it is performed by one.<sup>72</sup>	main via surya_layout
13	(144)	annotation_inline parent ligne 12 via heuristic_height
14	Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all	main via surya_layout
15	effort. It should always be listened to by the singers in the context of wit and	main via surya_layout
16	humour and whatever is seen in fighting or sacrifice (yajña), all that is shown	main via surya_layout
17	by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas.	main via surya_layout
18	<math>(145-146)</math>	annotation_inline parent ligne 17 via heuristic_height
19	Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā-	main via surya_layout
20	lakṣaṇa where Yāṣṭika is the leader.	main via surya_layout
21	[ B. Bhāṣās according to Śārdūla]	section_header via surya_layout
22	After this I shall speak of the description of bhāṣā according to Śārdūla.	main via surya_layout

vol_I_p016 LEFT — 28 lignes

L#	Texte OCR	Role auto
1	14	page_number via heuristic_pagenum
2	BRHADDEŚI	page_header via surya_layout
3	[ अनु. ७ ]	section_header via surya_layout
4	ननु श्रुतेः कि मानम्? उच्यते, पञ्चम [ अस्तावद् ग्रामद्वयस्थो लोके	editorial_bracket parent ligne 3 via heuristic_brackets
5	प्रसिद्धः । त- ] स्य श्रुत्युत्कर्षापकर्षाभ्यां मार्दवादायतत्वाद्वा यदन्तरं	editorial_bracket parent ligne 3 via heuristic_brackets
6	तत्प्रमाणाः श्रुतिरिति ।	main via surya_layout
7	ुणं ३८ ूरो ३६	annotation_inline parent ligne 6 via heuristic_short
8	[ अनु. ८ ]	editorial_bracket parent ligne 6 via heuristic_brackets
9	इदानीं द्वाविंशतिप्रकारताया निदर्शनं यथा-	main via surya_layout
10	<sup>39</sup>ुत्	annotation_inline parent ligne 9 via heuristic_height
11	द्वे वीणे40 तुल्यप्रमाण—तन्त्र्युप—41वादनदण्डमूर्च्छनासमे कृत्वा	main via surya_layout
12	वेणी	annotation_inline parent ligne 11 via heuristic_height
13	पा	annotation_inline parent ligne 11 via heuristic_height
14	०पो	annotation_inline parent ligne 11 via heuristic_height
15	षड्जग्रामाश्रिते कार्ये। तयोरन्यतरस्यां मध्यमग्रामिकीं श्रुतिं कृत्वा	main via surya_layout
16	पञ्चमस्यापकर्षात् तामेव श्रुतिं पञ्चमवशात् षड्जग्रामिकीं कुर्यात् ।	main via surya_layout
17	<sup>4 2</sup> पञ्चमस्य श्रुत्युत्कर्यवशात्	main via surya_layout
18	एक 🛂 - श्रुत्यपकृष्टा भवति, परं विशेषलाभो नास्ति, उच्चनीचमात्रप्रतीतेः।	unknown via fallback
19	एव	annotation_inline parent ligne 17 via heuristic_height
20	पुनरपि तद्वदेवापकर्षेद्भ यथा गान्धारनिषादौ कर्तारौ पुनरन्यतरस्यां	main via surya_layout
21	व्ययित्	annotation_inline parent ligne 20 via heuristic_height
22	स्थिरवीणायां धैवतर्षभौ कर्मतामापन्नौ प्रवेक्ष्यतः, अब्द्विश्रुत्यभ्यधिकत्वात् ।	main via surya_layout
23	<sub>॰</sub>स<sub>॰</sub>45	annotation_inline parent ligne 22 via heuristic_markers
24	पुनरपि तद्वदेवापकृष्टायां चलवीणायां धैवतर्षभौ इतरस्यां	main via surya_layout
25	पञ्चमषड्जौ प्रवेक्ष्यतः त्रिश्रुत्यभ्यधिकत्वात्। पुनरपि तद्वदेवापकृष्टायां	main via surya_layout
26	पञ्चममध्यमषड्जा इतरस्यां मध्यमगान्धारनिषादान् प्रविशन्ति चतुः-	main via surya_layout
27	इति अस्या	annotation_inline parent ligne 26 via heuristic_height
28	श्रुत्यभ्यधिकत्वात्।।	main via surya_layout

vol_I_p038 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	59	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	[ Anu . 39 ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Thus have been spoken of the fourteen complete murchanas of both the	main via surya_layout
5	grāmas. Now their names are being mentioned.	main via surya_layout
6	In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in	main via surya_layout
7	dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93)	main via surya_layout
8	Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in	main via surya_layout
9	gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one.	main via surya_layout
10	(94)	annotation_inline parent ligne 9 via heuristic_height
11	Thus are to be known the seven mūrchanās subsisting in şadja-grāma.	main via surya_layout
12	Hereafter I shall speak of the murchanas of madhyama-grama.	main via surya_layout
13	(95)	annotation_inline parent ligne 12 via heuristic_height
14	Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and	main via surya_layout
15	(96)	annotation_inline parent ligne 14 via heuristic_height
16	kalopanatā would be the mūrchanā with ṛṣabha itself.	main via surya_layout
17	Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is)	main via surya_layout
18	mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama.	main via surya_layout
19	ł	annotation_inline parent ligne 18 via heuristic_height
20	(97)	main via surya_layout
21	Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I	main via surya_layout
22	shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas.	main via surya_layout
23	(98)	annotation_inline parent ligne 22 via heuristic_height
24	Şāḍava is to be known as having six svaras and auḍavā is to be known with	main via surya_layout
25	five svaras; and the etymology of sadavas and auduvitas is being spoken of.	main via surya_layout
26	(99)	annotation_inline parent ligne 25 via heuristic_height
27	(Anu. 40)	annotation_inline parent ligne 25 via heuristic_height
28	Those six svaras that protect (the performance) are (known as) sadava	main via surya_layout
29	svaras; their use (in performance) is (called) sādava. Falling under the tāraka	main via surya_layout
30	gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’	main via surya_layout
31	is formed).	annotation_inline parent ligne 30 via heuristic_height
32	(Anu. 41)	annotation_inline parent ligne 30 via heuristic_height
33	The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as	main via surya_layout
34	auduva. By that (the word auduva) the number five is indicated. (<math>\bar{A}k\bar{a}\dot{s}a</math>) is the	main via surya_layout
35	fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa)	main via surya_layout
36	exists.	annotation_inline parent ligne 35 via heuristic_height
37	Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and	main via surya_layout
38	it is to be known as being numbered forty-nine,52 by the knowledgeable ones in	main via surya_layout
39	(100)	annotation_inline parent ligne 38 via heuristic_height
40	gīta (lit. song i.e. music).	main via surya_layout

vol_I_p052 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	86	page_number via heuristic_pagenum
3	[ अनु₀ ६५ ]	editorial_bracket parent ligne 5 via heuristic_brackets
4	यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन	editorial_bracket parent ligne 5 via heuristic_brackets
5	निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः ।	main via surya_layout
6	[ अनु₀ ६६ ]	editorial_bracket parent ligne 5 via heuristic_brackets
7	यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते।	main via surya_layout
8	(वं ?)	annotation_inline parent ligne 7 via heuristic_short
9	यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम	main via surya_layout
10	गरि पम	annotation_inline parent ligne 9 via heuristic_height
11	मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा	main via surya_layout
12	इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही।	main via surya_layout
13	अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु।	main via surya_layout
14	स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥	unknown via fallback
15	ब्दे तु	annotation_inline parent ligne 13 via heuristic_height
16	ुन्	annotation_inline parent ligne 13 via heuristic_height
17	पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम	main via surya_layout
18	प्र म्मि	annotation_inline parent ligne 17 via heuristic_height
19	मध्यम	annotation_inline parent ligne 17 via heuristic_height
20	निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर-	main via surya_layout
21	ध्(?) म्र नाद (?)	annotation_inline parent ligne 20 via heuristic_short
22	द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्-	main via surya_layout
23	शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः।	main via surya_layout
24	म्	annotation_inline parent ligne 23 via heuristic_height
25	ुगु	annotation_inline parent ligne 23 via heuristic_height
26	अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5	main via surya_layout
27	[ ना. शा. २९. १७ ]	editorial_bracket parent ligne 26 via heuristic_brackets
28	[ अनु₀ ६७ ]	editorial_bracket parent ligne 26 via heuristic_brackets
29	ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति	main via surya_layout
30	गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य	main via surya_layout
31	निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी	main via surya_layout
32	नी	annotation_inline parent ligne 31 via heuristic_height
33	्ता धध	annotation_inline parent ligne 31 via heuristic_height
34	oर्णा ?	main via surya_layout
35	ুজা	annotation_inline parent ligne 34 via heuristic_height
36	नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि	main via surya_layout
37	नी पधा	annotation_inline parent ligne 36 via heuristic_height
38	पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः—	main via surya_layout

160 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p032 LEFT — 32 lignes

vol_II_p100 RIGHT — 22 lignes

vol_I_p016 LEFT — 28 lignes

vol_I_p038 RIGHT — 40 lignes

vol_I_p052 LEFT — 38 lignes