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 21329). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p098 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	179	page_number via heuristic_pagenum
3	11. Now in <i>takkakaišika</i>	section_header via surya_layout
4	Mālavapañcamī should be known to be combined with dhaivata as the	main via surya_layout
5	initial and concluding note. There is concert between șadja-ṛṣabha and	main via surya_layout
6	similarly between sadja-dhaivata. This is complete with beautiful svaras	main via surya_layout
7	(and) is a charming regional<sup>65</sup> bhāsā.	main via surya_layout
8	(133)	annotation_inline parent ligne 7 via heuristic_short
9	lllustration - Dhaivata dhāpādhaivata dhādhādhārimāmādhā.Pāmadhādhā	main via surya_layout
10	pāmāgarimādhāpādhā. Mālavā [i]	editorial_bracket parent ligne 9 via heuristic_brackets
11	Bhinnavālikā should be known to have şadja as amśa (and) dhaivata as	main via surya_layout
12	nyāsa. The mutual profusion of dhaivata and niṣāda is seen sometimes and	main via surya_layout
13	not so at other times. It bears the name bhinnapañcama<sup>66</sup> (?). This bhāṣā is	main via surya_layout
14	commonly known as sankīrņā (mixed) and is beautiful.	main via surya_layout
15	<math>(134-135)</math>	main via surya_layout
16	Illustration-Sāsāsāgāsādhā nīsāsādhānīmadhā nidhādhādhā nidhāmādhā	main via surya_layout
17	nimadhāpādhādhādhā.Bhinnavālikā [ii]	editorial_bracket parent ligne 16 via heuristic_brackets
18	Drāvidī is said to have gāndhāra as amśa, dhaivata as the concluding note,	main via surya_layout
19	there is (mutual) movement between the svaras comprised of two śrutis each	main via surya_layout
20	and similarly between şadja-dhaivata. This pertains to the Drāvida region,	main via surya_layout
21	is charming and bears a regional name.	main via surya_layout
22	(136)	annotation_inline parent ligne 21 via heuristic_short
23	Illustration-[<i>Gā] Dhānimadhānidhādhādhā-nidhāmadhāpādhādhādhā</i>	editorial_bracket parent ligne 21 via heuristic_brackets
24	pāmādhādhā-gāmādhādhāsāgāsānidhādhā pāmāgāmamani [dhā]. Drāvidī [iii]	editorial_bracket parent ligne 21 via heuristic_brackets
25	These are the three <i>bhāṣās</i> of <i>ṭakkakaiśika</i>.	main via surya_layout
26	12. Now in vesarașādava	section_header via surya_layout
27	Bāhyaşāḍavā should be known to be combined with madyama as the initial	main via surya_layout
28	and concluding note. There is concert between the two svaras comprised of	main via surya_layout
29	two śrutis each and similarly between madhyama-ṛṣabha. This bhāṣā is sung by	main via surya_layout
30	people as being complete in svaras. Bāhyaṣāḍavikā<sup>67</sup> is a bhāṣā there in	main via surya_layout
31	vesara-șâdava (rāga).	main via surya_layout
32	<math>(137-138)</math>	main via surya_layout

vol_I_p070 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	123	page_number via heuristic_pagenum
3	<b>TRANSLATION</b>	page_header via surya_layout
4	Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side	main via surya_layout
5	of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the	main via surya_layout
6	performer), and vartini is moved downwards, visarjitā is moved outwards	main via surya_layout
7	(farther from the performer), vikşiptā is curved26 or bent, and patākā moves	main via surya_layout
8	(179, 180)	annotation_inline parent ligne 7 via heuristic_height
9	upwards, (and) patită reaches (touches) the ground.	main via surya_layout
10	Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next	main via surya_layout
11	two viz. kṛṣṇā and padmini27 are also (used).	main via surya_layout
12	In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used).	main via surya_layout
13	(181)	annotation_inline parent ligne 12 via heuristic_height
14	(Anu. 108)	annotation_inline parent ligne 12 via heuristic_height
15	Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the	main via surya_layout
16	predominance of 'song' (melody, of both 'song' and instrument)29 and of	main via surya_layout
17	instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti,	main via surya_layout
18	having the predominance of both is vitti vitti, (and) having the predominance	main via surya_layout
19	of instrument is citrā vṛtti.	main via surya_layout
20	(Anu. 109)	annotation_inline parent ligne 19 via heuristic_height
21	Now he (the author) explains the changing<sup>50</sup> predominance (of different	main via surya_layout
22	temporal components in vittis) brought about by pāņi.51 It has been said —	main via surya_layout
23	The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become	main via surya_layout
24	manifestors35 (rather manifest) according to their own (form) in these (vyttis).	main via surya_layout
25	In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti	main via surya_layout
26	and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati,	main via surya_layout
27	madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly,	main via surya_layout
28	in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya,	main via surya_layout
29	avapāņi,46 pṛthulā gīti and tattya is the limb.	main via surya_layout
30	(Anu. 110)	annotation_inline parent ligne 29 via heuristic_height
31	The vādya (presentation on instruments) should be done with sama, atīta	main via surya_layout
32	and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti	main via surya_layout
33	(vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination	main via surya_layout
34	110	page_number via heuristic_pagenum

vol_I_p011 RIGHT — 32 lignes

L#	Texte OCR	Role auto
1	5	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	The state of being consonant (vyanjanatva) is common to all the (seven)	main via surya_layout
4	groups (of consonants) beginning with the group of 'k'. Vyanjana16 attains the	main via surya_layout
5	state of Siva simply on account of (its) manifestation through Sakti (svara). (8)	main via surya_layout
6	Varņas (letters and syllables) are known as such because they delineate the	main via surya_layout
7	whole world through the own form<sup>17</sup> (svarūpa) of pada (word) and vākya 18	main via surya_layout
8	(sentence) and through the conveying of the meaning of sentence. (9)	main via surya_layout
9	This pada 19 is always known by the wise to be preceded by syllable (varna)	main via surya_layout
10	i.e. the former presupposes the latter. The sentence, on the other hand, is a	main via surya_layout
11	combination of kriyā 20 (action, verb) and Kāraka 21 (instrumental in bringing	main via surya_layout
12	about the action denoted by a verb) (and) is made up of words. (10)	main via surya_layout
13	From the vākya (sentence) (arises) the mahāvākya 22 (lit. big or great	main via surya_layout
14	sentence) and in succession (arise) the Vedas with their angas 23 (anciliary	main via surya_layout
15	disciplines); all those are manifested from dhvani. From there (Vedas) is the	main via surya_layout
16	origin of Gandharva<sup>24</sup> (music). (11)	main via surya_layout
17	Dhvani<sup>25</sup> is the ultimate origin (yoni, — lit. womb); dhvani is the cause of	main via surya_layout
18	everything. The whole world of immobile and mobile (beings) is encompassed	main via surya_layout
19	by dhvani. (12)	annotation_inline parent ligne 18 via heuristic_height
20	Dhvani is said to be twofold according to (its) division into manifest and	main via surya_layout
21	unmanifest (states). Being manifest on account of the obtaining of varnas 26 it	main via surya_layout
22	(dhvani) has reached the countenance (beginning) of desi. (13)	main via surya_layout
23	Thus ends the origin of desi.	main via surya_layout
24	[The definition of dest and marga ]	section_header via surya_layout
25	That which is sung by women, children, cowherds and kings<sup>27</sup> out of their	main via surya_layout
26	own will with love (and pleasure) in their own (respective) regions is called desi	main via surya_layout
27	(music). (14)	annotation_inline parent ligne 26 via heuristic_height
28	This mārga 28 (course) (of deśi) is known to be twofold viz. that which is	main via surya_layout
29	nibaddha (structured, lit. bound) and that which is anibaddha (lit. unbound,	main via surya_layout
30	relatively less structured). That which is structured through ālāpa (melodic	main via surya_layout
31	elaboration) etc. is called mārga 29 (lit. path), but the one devoid of ālāpa etc. is	main via surya_layout
32	called desi. (15, 16ab).	annotation_inline parent ligne 31 via heuristic_height

vol_II_p039 RIGHT — 48 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	61	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	gā gama pā padha mā dhani pā pā	table via surya_layout
5	<b>(7)</b>	table via surya_layout
6	rī gā sā sadha nī nī dhā dhā	table via surya_layout
7	(8)	table via surya_layout
8	gā riga sā sani gā riga sā sā	table via surya_layout
9	(9)	table via surya_layout
10	sã sã sã mã mani dhani nĩ nĩ	table via surya_layout
11	(10)	table via surya_layout
12	(11)	table via surya_layout
13	mā pā mā pariga gā gā sā sā	table via surya_layout
14	gã sã gã sã mã pã mã pariga	table via surya_layout
15	(12)	table via surya_layout
16	gã gã gã gã gã gã sã	table via surya_layout
17	(13)	table via surya_layout
18	ni ni pā dhā ni gā gā gā	table via surya_layout
19	(14)	table via surya_layout
20	ni ni dhā pā dhā pā mā pā	table via surya_layout
21	(15)	table via surya_layout
22	(16)	table via surya_layout
23	dhã pã mã mã mã mã mã mã	table via surya_layout
24	Thus ends gändhärodīcyavatī.	section_header via surya_layout
25	[3. Raktagāndhārī]	section_header via surya_layout
26	Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The	main via surya_layout
27	proximity and combination of șadja and gāndhāra is brought about by	main via surya_layout
28	leaping over rşabha.	main via surya_layout
29	(7)	annotation_inline parent ligne 28 via heuristic_short
30	The hexatonic and pentatonic forms are said to come into being with the	main via surya_layout
31	omission of rşabha and rşabha-dhaivata respectively. There is the abundance	main via surya_layout
32	of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form.	main via surya_layout
33	(8)	annotation_inline parent ligne 32 via heuristic_short
34	Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form.	main via surya_layout
35	Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as	main via surya_layout
36	in şādjī. The mūrchanā beginning with rṣabha obtains.	main via surya_layout
37	(9)	annotation_inline parent ligne 36 via heuristic_short
38	The application is (prescribed) in the dhruvā pertaining to the third	main via surya_layout
39	act.	annotation_inline parent ligne 38 via heuristic_height
40	(10)	main via surya_layout
41	Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra	main via surya_layout
42	is thus –	main via surya_layout
43	pā nī sā sā gā sā pā nī	table via surya_layout
44	(1)	table via surya_layout
45	sã sã pã pã mã mã gã gã	table via surya_layout
46	(2)	table via surya_layout
47	mã pã dhã pã mã pã dhapa maga	table via surya_layout
48	(3)	table via surya_layout

vol_II_p101 LEFT — 38 lignes

L#	Texte OCR	Role auto
1	-- 1	annotation_inline parent ligne 4 via heuristic_height
2	History of the State of the State of the State of the State of the State of the State of the State of the State of the S	annotation_inline parent ligne 4 via heuristic_height
3	184	page_number via heuristic_pagenum
4	BRHADDEŚĪ	section_header via surya_layout
5	[१. अथ टके]	section_header via surya_layout
6	पञ्चमांशा तु षड्जान्ता रभाषा टक्के प्रयोजयेत्।	main via surya_layout
7	..(ता? न्ता)	annotation_inline parent ligne 6 via heuristic_height
8	भाषे	annotation_inline parent ligne 6 via heuristic_height
9	<sup>३</sup>देवालवर्धनी पूर्णा भाषा चासामनुक्रमात् ॥ १॥	main via surya_layout
10	चैषा ॰	annotation_inline parent ligne 9 via heuristic_markers
11	उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा	main via surya_layout
12	धासासानीधानीधा[सा सा]। देवालवर्धनी । [१]	editorial_bracket parent ligne 11 via heuristic_brackets
13	मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा ।	main via surya_layout
14	सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा ॥ २॥	main via surya_layout
15	उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि-	main via surya_layout
16	सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा-	main via surya_layout
17	सानिसा। पौराली । [२]	editorial_bracket parent ligne 16 via heuristic_brackets
18	धैवतांशा तु षड्जान्ता पञ्चमर्षभवर्जिता ।	main via surya_layout
19	(वैध ? धैव)	annotation_inline parent ligne 18 via heuristic_height
20	टक्कभाषा त्वौडुविता त्रावणी कामिनीषु च ॥ ३॥	main via surya_layout
21	शकभाषा	annotation_inline parent ligne 20 via heuristic_height
22	उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा-	main via surya_layout
23	माधमागसासासा । त्रावणी । [३]	editorial_bracket parent ligne 22 via heuristic_brackets
24	मध्यमांशा तु षड्जान्ता तानवलितिकाऽपि वा ।	main via surya_layout
25	विपा	annotation_inline parent ligne 24 via heuristic_height
26	मान	annotation_inline parent ligne 24 via heuristic_height
27	विभाषा टक्करागस्य गीयते ४मध्यमाश्रिता ॥ ४॥	main via surya_layout
28	॰रागस्यैपा	annotation_inline parent ligne 27 via heuristic_markers
29	मूढलालिता	annotation_inline parent ligne 27 via heuristic_height
30	उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसा धामाधाधामाधामाधानीसासा ।	main via surya_layout
31	रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४]	editorial_bracket parent ligne 30 via heuristic_brackets
32	तानल॰	annotation_inline parent ligne 30 via heuristic_markers
33	भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा ।	main via surya_layout
34	साधारणा तु पङ्जांशान्ता	main via surya_layout
35	पञ्चमर्षभहीना तु देशाख्या टक्करागजा ॥ ५॥	main via surya_layout
36	<b>ल्होनं</b>	annotation_inline parent ligne 35 via heuristic_height
37	স্ত(?)	annotation_inline parent ligne 35 via heuristic_height
38	1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE	annotation_inline parent ligne 35 via heuristic_height

184 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p098 RIGHT — 32 lignes

vol_I_p070 RIGHT — 34 lignes

vol_I_p011 RIGHT — 32 lignes

vol_II_p039 RIGHT — 48 lignes

vol_II_p101 LEFT — 38 lignes