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 21327). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p053 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	88	page_number via heuristic_pagenum
3	पापापापापापाधानीमापागागागागागा । [ - - - -]	editorial_bracket parent ligne 5 via heuristic_brackets
4	दारव्यां भवन्ति [ - - - - ] यदर्थमुक्तं यथा एवमेते प्रवर्तन्ते तथा	editorial_bracket parent ligne 5 via heuristic_brackets
5	ुषति (?)	main via surya_layout
6	•प्पर्व	annotation_inline parent ligne 5 via heuristic_height
7	प्रवर्तयन्तीत्यर्थः शारीरस्वरे। तदुक्तम् ]	editorial_bracket parent ligne 5 via heuristic_brackets
8	एते वर्णास्तु विज्ञेयाश्चत्वारो गीतयोजकाः ॥	main via surya_layout
9	[ ना. मा. २९. १९ कख ]	editorial_bracket parent ligne 8 via heuristic_brackets
10	वीणा	unknown via fallback
11	[ इति वर्णाः ]	editorial_bracket parent ligne 8 via heuristic_brackets
12	[ अथालङ्काराः ]	editorial_bracket parent ligne 8 via heuristic_brackets
13	अनु₀ ६८ ]	section_header via surya_layout
14	इदानीं सुप्रसिद्धास्त्रयस्त्रिशदलङ्कारा नामतः प्रयोगतश्च कथ्यन्ते—	main via surya_layout
15	पादेनाततः	annotation_inline parent ligne 14 via heuristic_short
16	तत्रालङ्कारणब्देन किमुच्यते ? [ ग्व्युत्पत्तिर्वा तस्य कीदृशी ? उच्यते- ]	editorial_bracket parent ligne 14 via heuristic_brackets
17	<b>ध्नन्व</b>०	annotation_inline parent ligne 14 via heuristic_height
18	अलङ्कारशब्देन ध्मण्डनमुच्यते। यथा कटककेयूरादिनालङ्कारेण नारी पुरुषो वा	main via surya_layout
19	৹ল৹	annotation_inline parent ligne 18 via heuristic_height
20	मण्डितः शोभामावहेत्, तथा एतैरलङ्कारैः श्रप्तम्नाद्यादिभिरलङ्कृता वर्णाश्रया	main via surya_layout
21	( द्या )	annotation_inline parent ligne 20 via heuristic_height
22	गीतिर्गातृश्रोतृणां सुखावहा भवतीति। व्युत्पत्तिश्च यथा—‘डुकृञ् करणे’	main via surya_layout
23	<sup>10</sup>धातुरलंशब्दपूर्वोऽलङ्करोतीत्यलङ्कारः। घञन्तोऽयमलङ्कारशब्द इति।	main via surya_layout
24	•विः अलङ्कृतमल •	main via surya_layout
25	[ अनु₀ ६९ ]	section_header via surya_layout
26	ं तत्रालङ्काराणां नामानि कथ्यन्ते— (१) प्रसन्नादिः (२) प्रसन्नान्तः (३) प्रसन्नाद्यन्तः	main via surya_layout
27	(४) प्रसन्नमध्यः (५) समः (६) बिन्दुः (७) निवृत्तप्रवृत्तः (८) वेणुः (९) कम्पितः	main via surya_layout
28	(तः)	annotation_inline parent ligne 27 via heuristic_height
29	(१०) कुहरितः (११) रेचितः (१२) प्रेङ्घोलितः (१३) तारमन्द्रप्र [	list_item via surya_layout
30	सन्नः ।	list_item via surya_layout
31	(१४) मन्द्रतारप्रसन्नः (१५) प्रस्तारः (१६) प्रसादः (१७) उद्वाहितः	list_item via surya_layout
32	्रः ,व्रनिसनः	list_item via surya_layout
33	ह्रस्वार	list_item via surya_layout
34	(?)	list_item via surya_layout
35	(१८) उपलोलकः (१९) क्रमः (२०) निष्कृजितः (२१) ह्रादमानः (२२) रिञ्जतः	list_item via surya_layout
36	(प्रा?ह्रा)	list_item via surya_layout

vol_II_p017 RIGHT — 22 lignes

L#	Texte OCR	Role auto
1	14	page_number via heuristic_pagenum
2	17	page_number via heuristic_pagenum
3	<b>TRANSLATION</b>	page_header via surya_layout
4	The extent(gati)<sup>25</sup> of tāra should be known up to the fourth, fifth or	main via surya_layout
5	seventh svara from the amśa, it is not desirable beyond that."	main via surya_layout
6	(NŚ XXVIII.70)	annotation_inline parent ligne 5 via heuristic_height
7	[4. The definition of mandra]	section_header via surya_layout
8	[Anu. 125]	editorial_bracket parent ligne 7 via heuristic_brackets
9	Now mandra is being said - mṛdu<sup>26</sup> (lit. soft, here low) svara is mandra. And	main via surya_layout
10	the extent (gati) of mandra is threefold, viz. amśaparā (followed by amśa),	main via surya_layout
11	nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The	main via surya_layout
12	compound<sup>27</sup> bahuvrihi operates here (and the meaning is that which is	main via surya_layout
13	followed by amśa svara i.e. that which precedes the amśa). The svara that	main via surya_layout
14	comes before that (amśa), is mandra. As in dhaivatī<sup>28</sup> - dha - dha - ni - dha -	main via surya_layout
15	ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa<sup>29</sup> svara is (operative) here.	main via surya_layout
16	Similar is the case with nyāsa 30 svara.	main via surya_layout
17	[5. The definition of sadava]	section_header via surya_layout
18	[Anu. 126]	editorial_bracket parent ligne 17 via heuristic_brackets
19	Now şādava is being said - (a structure of) six svaras is şādava. Since it is	main via surya_layout
20	related to (or operates in) fourteenfold jatis, four jatis are always complete	main via surya_layout
21	and hence, on account of their absence, it (sādava)31 has forty-seven	main via surya_layout
22	varieties and similarly has said Bharata -	main via surya_layout

vol_II_p051 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	<b>g</b>.,	annotation_inline parent ligne 4 via heuristic_height
2	85	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	with minute<sup>26</sup> kākus.<sup>27</sup> Thus sādhāraņī should be known to be the abode of	main via surya_layout
5	all gitis.	annotation_inline parent ligne 4 via heuristic_short
6	<math>(284 - 285)</math>	main via surya_layout
7	[6. Bhāṣā gīti]	section_header via surya_layout
8	This bhāṣā gīti is described by the experts in gīti as consisting of prayogas	main via surya_layout
9	(melodic phrases?) that are rendered by the body (voice), are smooth,	main via surya_layout
10	colourful with kākus, well composed, shaken, soft, brilliant, combined with	main via surya_layout
11	mālavīkāku<sup>28</sup> attractive, and graceful. It is performed in the manner that	main via surya_layout
12	delights the people.	main via surya_layout
13	<math>(286 - 287)</math>	main via surya_layout
14	[7. Vibhāṣā gīti]	section_header via surya_layout
15	Vibhāṣā gīti should be composed with gamakas<sup>29</sup> that are attractive,	main via surya_layout
16	numerous, brilliant, shaken, pertaining to the chest region, even, high and	main via surya_layout
17	very high, smooth, in which madhyama shines forth in between, that are	main via surya_layout
18	delightful to the ear and are attractive. This process of composition should	main via surya_layout
19	be spontaneous and should take the course that delights the people.	main via surya_layout
20	(288-289)	annotation_inline parent ligne 19 via heuristic_short
21	[ Thus ends the description of gitis.]	editorial_bracket parent ligne 19 via heuristic_brackets
22	[ The number and nomenclature of ragas ]	section_header via surya_layout
23	The lakṣaṇa (description) of gītis has been spoken of; now the number of	main via surya_layout
24	rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the	main via surya_layout
25	bhinna ones are of the same number. Gauda (rāgas) have been said to be	main via surya_layout
26	three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven-	main via surya_layout
27	sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās	main via surya_layout
28	are only twelve and (now) know their names.	main via surya_layout
29	<math>(290 - 292)</math>	main via surya_layout

vol_I_p092 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	167	page_number via heuristic_pagenum
3	be completed at niṣāda and there would be no place for kākalī niṣāda directly.	main via surya_layout
4	The word antara in the compound 'antara-mūrchanā' covers both antara	main via surya_layout
5	gāndhāra and kākalī niṣāda. Kākalī niṣāda could find a direct place in the	main via surya_layout
6	cycle only if the cycle ends with sadja so that the interval between nisāda and	main via surya_layout
7	şadja is covered; if the cycle begins with şadja then its interval from nişāda will	main via surya_layout
8	not be directly covered. The mandala (cycle) beginning with reabha in	main via surya_layout
9	sadjagrāma will cover both the grāmas in the following manner-	main via surya_layout
10	Madhyama-grama	annotation_inline parent ligne 9 via heuristic_height
11	pa	annotation_inline parent ligne 9 via heuristic_height
12	ma	annotation_inline parent ligne 9 via heuristic_height
13	Sadja-grama	annotation_inline parent ligne 9 via heuristic_height
14	ga	annotation_inline parent ligne 9 via heuristic_height
15	п	annotation_inline parent ligne 9 via heuristic_height
16	sa	annotation_inline parent ligne 9 via heuristic_height
17	an ga dha	unknown via surya_layout
18	an ga kā ni	unknown via surya_layout
19	ma ni	annotation_inline parent ligne 9 via heuristic_height
20	ga ni	unknown via surya_layout
21	kā ni	unknown via surya_layout
22	dha	annotation_inline parent ligne 9 via heuristic_height
23	pa	annotation_inline parent ligne 9 via heuristic_height
24	пі	annotation_inline parent ligne 9 via heuristic_height
25	sa	annotation_inline parent ligne 9 via heuristic_height
26	67, 68. Matanga has used the word grāmaņī ( leader of the village ) only	main via surya_layout
27	once. Sadja and madhyama are here said to be the grāmaņis (leaders) of sadja-	main via surya_layout
28	grāma and madhyama-grāma respectively. Other svaras are said to be their ( of	main via surya_layout
29	şadja and madhyama) agre-sara; this term could be explained in two ways	main via surya_layout
30	according to the association of agre with time and space. In the context of time	main via surya_layout
31	agre usually stands for 'later', e.g. agre vakṣyāmaḥ, "we shall speak of it later". In	main via surya_layout
32	the context of space it stands for 'in front' i.e. before. Other svaras come 'later'	main via surya_layout
33	than şadja and madhyama, because primarily şadja and madhyama have to be	main via surya_layout
34	established or accepted on an arbitrary sound and then the interval of rsabha-	main via surya_layout
35	pañcama could be shown. Thus the other svaras beginning with rşabha and	main via surya_layout
36	pañcama in the two grāmas come 'later'. In the context of space, the other svaras	main via surya_layout
37	come first, agre meaning in front. Monier Williams translates agre-sara as moving	main via surya_layout
38	in front or preceding; here preceding will have to be construed in terms of	main via surya_layout
39	space and not in terms of time. ni-ga-ma-pa-dha-ni are moving in front of 'sa'	main via surya_layout
40	and similarly pa-dha-ni-sa-ri-ga are moving in front of 'ma'; 'sa' and 'ma' are	main via surya_layout
41	'behind' in the sense that they have been accepted or supposed first. The 'first'	main via surya_layout
42	in time comes last in space; e.g. if some beeds are filled up in a bottle, those	main via surya_layout

vol_II_p155 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŠA</b>	section_header via surya_layout
2	(Annotations)	main via surya_layout
3	Chapter II	section_header via surya_layout
4	(Jātis)	section_header via surya_layout
5	1. The number 140 pertains to the modified varieties of jātis comprising	main via surya_layout
6	the complete, hexatonic and pentatonic formations of jātis in accordance	main via surya_layout
7	with each of the amsa svaras assigned to each of the eighteen jātis. This	main via surya_layout
8	number is computed as follows -	main via surya_layout
9	The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63	main via surya_layout
10	complete varieties of jātis. Out of these 63, there are 16 amsas that do not	main via surya_layout
11	permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math>	main via surya_layout
12	that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math>	main via surya_layout
13	<math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163;	main via surya_layout
14	the treatment is incomplete because of a break in the text.	main via surya_layout
15	Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by	main via surya_layout
16	adding the śuddhā states of the seven jātis bearing svara-names.	main via surya_layout
17	2. Brahmā has been said here to be the original author of the number	main via surya_layout
18	of jātis in NS, from where we have taken the verse under reference. In NS,	main via surya_layout
19	Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have	main via surya_layout
20	added only dance to theatre. As between Brahmā and Šiva, the former is said	main via surya_layout
21	to be responsible for all the elaboration based on vāk. The origin of all the	main via surya_layout
22	Vedas is also attributed to him. Siva has special relationship with the	main via surya_layout
23	movements of the body (anga). Jāti being the first formation of melodic	main via surya_layout
24	structure, its association with Brahmā is understandable because melody is	main via surya_layout
25	a manifestation of the tonal aspect of vāk.	main via surya_layout
26	Abhi Bhā explains the reference to Brahmā in the text of NS,	main via surya_layout
27	(XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by	main via surya_layout
28	knowledgeable and trustworthy authorities cannot be wrong. The fact that	main via surya_layout
29	no less than Brahmā is the authority regarding the jātis lends a special	main via surya_layout
30	sanctity to this melodic abstraction that is striking on account of its	main via surya_layout
31	comprehensive sweep.	main via surya_layout
32	3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains	list_item via surya_layout
33	it as "I shall throw light on the forms of jātis retained in my mind through the	list_item via surya_layout
34	description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide	list_item via surya_layout
35	Abhi Bhā on NS XXVIII. 39, p.36).	list_item via surya_layout
36	4. The alteration in respect of amsa i.e using an amsa other than that	list_item via surya_layout

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Legende des roles

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vol_I_p092 RIGHT — 42 lignes

vol_II_p155 RIGHT — 36 lignes