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_II_p001 RIGHT — 12 lignes

L#	Texte OCR	Role auto
1	श्रीमतङ्गमुनिप्रणीता बृहद्देशी	section_header via surya_layout
2	Brhaddeśī of Śrī Matanga Muni	section_header via surya_layout
3	Volume II	section_header via surya_layout
4	Edited by	annotation_inline parent ligne 3 via heuristic_height
5	Prem Lata Sharma	main via surya_layout
6	Assisted by	annotation_inline parent ligne 5 via heuristic_short
7	Anil Bihari Beohar	main via surya_layout
8	INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS	main via surya_layout
9	<b>NEW DELHI</b>	annotation_inline parent ligne 8 via heuristic_short
10	and	annotation_inline parent ligne 8 via heuristic_height
11	MOTILAL BANARSIDASS PUBLISHERS PVT.LTD.	main via surya_layout
12	<b>DELHI</b>	annotation_inline parent ligne 11 via heuristic_height

vol_II_p113 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	209	page_number via heuristic_pagenum
3	prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with	main via surya_layout
4	five (forty-five).	annotation_inline parent ligne 3 via heuristic_short
5	<math>(377-378)</math>	main via surya_layout
6	This varņasvara is known to be (numbered) forty combined with six	main via surya_layout
7	(forty-sixth); that which is muktāvalī should be known to be (numbered)	main via surya_layout
8	forty, combined with seven (forty-seven).	main via surya_layout
9	(379)	annotation_inline parent ligne 8 via heuristic_short
10	Pratāpavardhana is said to be the forty-eighth. Eight combined with	main via surya_layout
11	forty(forty-eight) are (the prabandhas) spoken of by the muni.	main via surya_layout
12	(380)	annotation_inline parent ligne 11 via heuristic_short
13	I shall speak of their characteristics in brief for the sake of scholars. They	main via surya_layout
14	should be sung by those adept in music in accordance with the rules related	main via surya_layout
15	to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>.	main via surya_layout
16	(381)	main via surya_layout
17	[The description of Prabandhas]	section_header via surya_layout
18	[1. <i>Kanda</i>]	section_header via surya_layout
19	That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that	main via surya_layout
20	is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like.	main via surya_layout
21	(382)	annotation_inline parent ligne 20 via heuristic_short
22	Prabandhas like kanda are verily well-known in practice.	main via surya_layout
23	[2. <i>Vṛtta</i>]	section_header via surya_layout
24	There is never a regulation (or specification of tāla in) vṛtta (composed	main via surya_layout
25	in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence	main via surya_layout
26	of metre has been clearly specified in them, by the munis. In the end the	main via surya_layout
27	placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others	main via surya_layout
28	say that it is (formed) in the vitta metre; that is also acceptable.	main via surya_layout
29	(383-384)	main via surya_layout
30	- ---	annotation_inline parent ligne 29 via heuristic_height

vol_II_p096 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	175	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration-.....Sādhāritā [iii]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Gāndhārī has niṣāda as amśa, ṣadja as the concluding note, (and) is	main via surya_layout
5	complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in	main via surya_layout
6	karuna (rasa).<sup>57</sup>	main via surya_layout
7	(123)	annotation_inline parent ligne 6 via heuristic_height
8	Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv]	editorial_bracket parent ligne 6 via heuristic_brackets
9	Thus end the <i>bhāṣās</i> of <i>sauvīraka</i>.	main via surya_layout
10	[8. After this are being described the bhāṣās in bhinna-paācama]	section_header via surya_layout
11	Śuddhabhinnakā has dhaivata as amśa and the same as the concluding note,	main via surya_layout
12	is complete, there is concert between dhaivata-ṛṣabha and similarly between	main via surya_layout
13	șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It	main via surya_layout
14	is always sung by the Kinnaras<sup>58</sup> in view of its being delightful to the people.	main via surya_layout
15	(124-125)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā	main via surya_layout
17	pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i]	editorial_bracket parent ligne 16 via heuristic_brackets
18	Having madhyama as amśa, dhaivata as the concluding note, weak in ṛṣabha,	main via surya_layout
19	this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert	main via surya_layout
20	between şadja-dhaivata and the svaras comprised of two śrutis each alongwith	main via surya_layout
21	dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59	main via surya_layout
22	<math>(126-127)</math>	annotation_inline parent ligne 21 via heuristic_height
23	Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā.	main via surya_layout
24	Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Lower (mandra) ṛṣabha should be used and so also dhaivata again and	main via surya_layout
26	again. (The gamaka) sphurita60 should be used there as fast, medium and	main via surya_layout
27	One should bring about movement in high and low and similarly	main via surya_layout
28	slow.<sup>61</sup>	annotation_inline parent ligne 27 via heuristic_short
29	ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama.	main via surya_layout
30	<math>(128-129)</math>	main via surya_layout

vol_II_p129 LEFT — 28 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	240	page_number via heuristic_pagenum
3	[४३. वर्णस्वर:]	section_header via surya_layout
4	निबद्धो हस्तपाटैर्य: संयुतस्तेनकै: पुन:५१।	main via surya_layout
5	संयुतैस्तैर्नकै:	annotation_inline parent ligne 4 via heuristic_short
6	स्वरै: पदैश्च पाटैश्च तेनकैश्च समन्वित: ॥	main via surya_layout
7	तेन्त्र॰	annotation_inline parent ligne 6 via heuristic_markers
8	गीयते तालयुक्तो य: स वर्णस्वरक: स्मृत: ॥ ४८६॥	main via surya_layout
9	वर्णासरक:	annotation_inline parent ligne 8 via heuristic_height
10	[४४. मुक्तावली]	section_header via surya_layout
11	देशिकारपदै रम्यै: सानुप्रासै: प्रगीयते ।	main via surya_layout
12	नामानुवर्णनीयस्य सा मुक्तावलिसंज्ञिता ॥ ४८७॥	main via surya_layout
13	[४५. प्रतापवर्धन:]	section_header via surya_layout
14	उत्साहजननै: पाटै: स्वरैश्चापि सुसंयुत: ।	main via surya_layout
15	॰कै: पार्द: स्वरैध +	annotation_inline parent ligne 14 via heuristic_markers
16	तेनकैर्बिरुदैर्यत्र वर्णनीयस्य गीयते ॥	main via surya_layout
17	तेन्तकै॰	annotation_inline parent ligne 16 via heuristic_markers
18	प्रतापवर्धनो नाम प्रबन्धः परिकीर्तितः ॥ ४८८॥	main via surya_layout
19	(तो?नो)	annotation_inline parent ligne 18 via heuristic_short
20	अष्टाभिरधिका रम्याश्चत्वारिंशदिति स्फुटम् ॥ ४८९॥	main via surya_layout
21	[गीतदोषाः]	section_header via surya_layout
22	लोकदुष्टं शास्त्रदुष्टं पुनरुक्तं च वर्जयेत्।	main via surya_layout
23	॰शास्त्र +++ पञ्च	annotation_inline parent ligne 22 via heuristic_markers
24	छन्दोदुष्टं[?] तथा ग्राम्यं गतक्रममपार्थकम् ॥	editorial_bracket parent ligne 22 via heuristic_brackets
25	+ गोदुष्टं	main via surya_layout
26	पदं चार्थं तु सन्दिग्धं कलाबाह्यं विभक्तकम् <sup>५२</sup>॥ ४९०॥	main via surya_layout
27	काप्यमसन्दिग्धं	annotation_inline parent ligne 26 via heuristic_height
28	चाभ्यशि ॰	annotation_inline parent ligne 26 via heuristic_markers

vol_II_p044 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	71	page_number via heuristic_pagenum
3	gā pā mā pā nī nī nī nī	table via surya_layout
4	(11)	table via surya_layout
5	mă pă mă pariga gā gā gā gā	table via surya_layout
6	(12)	table via surya_layout
7	ni ni pā dhā ni gā gā gā	table via surya_layout
8	(13)	table via surya_layout
9	nî nî nî nî nî nî nî nî	table via surya_layout
10	(14)	table via surya_layout
11	mã mã dhã nĩ sani dhã pã pã	table via surya_layout
12	(15)	table via surya_layout
13	mā pā mā pariga gā gā gā gā	table via surya_layout
14	(16)	table via surya_layout
15	Thusends gāndhārapancami.	section_header via surya_layout
16	[8. Āndhrī]	section_header via surya_layout
17	In <i>āndhrī, niṣāda, ṛṣabha, gāndhāra</i> and <i>pañcama</i> are the <i>aniśas</i>. There is	main via surya_layout
18	concert between ṛṣabha-gāndhāra and niṣāda-dhaivata. One should proceed	main via surya_layout
19	upto the nyāsa according to the order of the respective amsas.	main via surya_layout
20	(21)	annotation_inline parent ligne 19 via heuristic_short
21	The hexatonic form comes into being with the omission of sadja. The	main via surya_layout
22	mūrchanā beginning with madhyama obtains. The kalās, tāla and viniyoga	main via surya_layout
23	(application) are said to be as in the previous one (gāndhārapañcamī).	main via surya_layout
24	(22)	annotation_inline parent ligne 23 via heuristic_short
25	Gāndhāra is the nyāsa in this āndhrī. The amsas themselves are apanyāsas.	main via surya_layout
26	The <i>prastāra</i> is thus –	main via surya_layout
27	gārirīrīrīrīrīrī	table via surya_layout
28	(1)	table via surya_layout
29	rī gā rī gā rī rī rī rī	table via surya_layout
30	(2)	table via surya_layout
31	rī rī gā gā rī rī mā mā	table via surya_layout
32	(3)	table via surya_layout
33	rī gā sā dhani nī nī nī nī	table via surya_layout
34	(4)	table via surya_layout
35	ni ri ni ri dhani dhani pā pā	table via surya_layout
36	(5)	table via surya_layout
37	mā pā mā riga gā gā gā gā	table via surya_layout
38	(6)	table via surya_layout
39	rī rī gā sa ma mā mā pā pā	table via surya_layout
40	<b>(7)</b>	table via surya_layout
41	mā pā mā riga gā gā gā gā	table via surya_layout
42	(8)	table via surya_layout
43	dhā nī gā gā gā gā gā gā	table via surya_layout
44	(9)	table via surya_layout
45	pā pā mā riga gā gā gā gā	table via surya_layout
46	(10)	table via surya_layout

Legende des roles

vol_II_p001 RIGHT — 12 lignes

vol_II_p113 RIGHT — 30 lignes

vol_II_p096 RIGHT — 30 lignes

vol_II_p129 LEFT — 28 lignes

vol_II_p044 RIGHT — 46 lignes