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 21332). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p104 RIGHT — 66 lignes

L#	Texte OCR	Role auto
1	VIMARSA	page_header via surya_layout
2	191	page_number via heuristic_pagenum
3	30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about	main via surya_layout
4	by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative	main via surya_layout
5	predominance of gita and vādya has been viewed here alongwith temporal	main via surya_layout
6	factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101	main via surya_layout
7	( prose portion not commented upon by Abhinavagupta and put by the editor	main via surya_layout
8	within square brackets) and in S R VI, 168-170 as others' opinion. The	main via surya_layout
9	following correspondences have been indicated in the above passages in NS and	main via surya_layout
10	S R; BrD is in agreement with them here.	main via surya_layout
11	Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in	main via surya_layout
12	note 20 above ). (The prose passage of NS referred to above does use the word	main via surya_layout
13	graha).	main via surya_layout
14	Vytti	table via surya_layout
15	<b>Git</b>i	table via surya_layout
16	Mārga	table via surya_layout
17	Yati	table via surya_layout
18	Pāņi or	table via surya_layout
19	Avayava	table via surya_layout
20	Laya	table via surya_layout
21	Graha	table via surya_layout
22	Citrā	table via surya_layout
23	Māgadhi	table via surya_layout
24	Citrā	table via surya_layout
25	Druta	table via surya_layout
26	Samā	table via surya_layout
27	Uparipāņi	table via surya_layout
28	Ogha	table via surya_layout
29	Sambhāvitā Vārtika	table via surya_layout
30	Vytti	table via surya_layout
31	Madhya	table via surya_layout
32	Srotogatā Sama	table via surya_layout
33	Anugata	table via surya_layout
34	Daksiņā Pythulā	table via surya_layout
35	Vilambita	table via surya_layout
36	Daksina	table via surya_layout
37	Gopucchā Avapāņi	table via surya_layout
38	Tattva	table via surya_layout
39	32. Tāla is the structured cycle for time-measure in music and dance, here	list_item via surya_layout
40	this word seems to have been used in the general sense of the variable factors	list_item via surya_layout
41	that operate tāla, like mārga, yati, laya etc.	list_item via surya_layout
42	33. Laya lit. means merging; the rest or pause immediately following an	list_item via surya_layout
43	action is laya. The duration of a kriyā is determined by laya i.e. by the pause or	list_item via surya_layout
44	intervening time between one kriyā (action) and another. Druta (fast),	list_item via surya_layout
45	madhya (medium) and vilambita (slow) are the three layas that are	list_item via surya_layout
46	progressively double, each succeeding laya being double of the preceding one	list_item via surya_layout
47	i.e. the rest or pause is double and hence the tempo is slower.	list_item via surya_layout
48	34. Yati is the order of the use of laya in a given piece. Either the laya	list_item via surya_layout
49	remains constant all-through, that is samā yati, or it proceeds from fast to slow,	list_item via surya_layout
50	that is gopucchā yati or from slow to fast, that is srotogatā yati.	list_item via surya_layout
51	35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor	list_item via surya_layout
52	or manifested.	list_item via surya_layout
53	36. See note 34 above.	list_item via surya_layout
54	37. See note 33 above.	list_item via surya_layout
55	38. Uparipāņi is equated with anāgata graha ( see note 20 above ).	list_item via surya_layout
56	39. Ogha is one of the three types of gitanuga vadya (instrumental	list_item via surya_layout
57	rendering that follows 'song'). When the instrument uses profuse strokes for	list_item via surya_layout
58	each unit of 'song' or melody that is ogha.	list_item via surya_layout
59	40. See note 34 above.	list_item via surya_layout
60	41. See note 33 above.	list_item via surya_layout
61	42. Samapāņi is equated with sama graha. ( see note 20 above )	list_item via surya_layout
62	43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It	list_item via surya_layout
63	follows the song or melody, which means that it is not perfectly identical with	list_item via surya_layout
64	the latter.	list_item via surya_layout
65	44. See note 34 above.	list_item via surya_layout
66	45. See note 33 above.	list_item via surya_layout

vol_I_p039 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	61	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	Audūvita is with five svaras; its lakṣaṇa (description) is fivefold, it is	main via surya_layout
4	numbered thirty-five,33 as explained by the ācāryas (teachers).	main via surya_layout
5	(101)	annotation_inline parent ligne 4 via heuristic_height
6	(Anu. 42)	annotation_inline parent ligne 4 via heuristic_height
7	With (the omission of) șadja, rșabha, pañcama and nișāda the șādava	main via surya_layout
8	(mūrchanās) of ṣadja-grāma (come into being). Those devoid of ṣadja, ṛṣabha and	main via surya_layout
9	gandhara are şadavas in madhyama-grama.	main via surya_layout
10	(Anu. 43)	annotation_inline parent ligne 9 via heuristic_short
11	The state of auduvita (comes into being) on account of the omission of	main via surya_layout
12	(two) samvadins,34 because of this statement the general rule is that the state of	main via surya_layout
13	auduvita is attained through two samvadin svaras. Sometimes the state of	main via surya_layout
14	auduvita comes into being with (the omission of) two55 anuvādin svaras, this is	main via surya_layout
15	also a general rule. Sometimes the state of anuvadin does come into existence	main via surya_layout
16	with (the omission) of pañcama-ṛṣabha in ṣadja-grāma (and) that of dhaivata-	main via surya_layout
17	rşabha in madhyama-grāma.	main via surya_layout
18	The auduvitas in şadja-grāma are devoid of pañcama-şadja, two (svaras) that	main via surya_layout
19	are comprised of two śrutis (each) (viz. gandhāra and niṣāda) and pañcama-	main via surya_layout
20	(102)	annotation_inline parent ligne 19 via heuristic_short
21	rşabha.	main via surya_layout
22	The pentatonic tānas in madhyama-grāma are verily devoid of dhaivata-ṛṣabha	main via surya_layout
23	and two (svaras) comprised of two śrutis (each) (viz. niṣāda and gāndhāra).	main via surya_layout
24	(103)	annotation_inline parent ligne 23 via heuristic_short
25	(Anu. 44)	main via surya_layout
26	Now he (the author) demonstrates this very (description) with prastara.36	main via surya_layout
27	That is thus in sadja-grāma—	main via surya_layout
28	X ri ga ma pa dha ni	main via surya_layout
29	ni X ri ga ma pa dha	main via surya_layout
30	dha ni X ri ga ma pa	main via surya_layout
31	pa dha ni X ri ga ma	main via surya_layout
32	ma pa dha ni X ri ga	main via surya_layout
33	ga ma pa dha ni X ri	main via surya_layout
34	ri ga ma pa dha ni X	main via surya_layout
35	(Tānas) devoid of şadja.	main via surya_layout

vol_I_p034 LEFT — 31 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	50	page_number via heuristic_pagenum
3	V [ ग्राममूर्छनाप्रकरणम् ]	section_header via surya_layout
4	[ अनु. ३० ]	editorial_bracket parent ligne 3 via heuristic_brackets
5	अथ किमुच्यते ग्रामशब्देन ? ननु कति ग्रामा भवन्ति ?	main via surya_layout
6	कस्मादुत्पद्यते ग्रामः कि वा तस्य प्रयोजनम्।।८४॥	main via surya_layout
7	अश्रोच्यते—	unknown via fallback
8	म्समूहवाचिनौ ग्रामौ स्वरश्रुत्यादिसंयुतौ ॥८५॥	main via surya_layout
9	यथा कुटुम्बिनः सर्व एकीभूत्वा वसन्ति हि।	main via surya_layout
10	₀ता²	annotation_inline parent ligne 9 via heuristic_markers
11	सर्वलोकेषु स ग्रामो यत्र नित्यं व्यवस्थितिः ।।८६॥	main via surya_layout
12	₄तः	annotation_inline parent ligne 11 via heuristic_height
13	षड्जमध्यमसंज्ञौ तु द्वौ ग्रामौ विश्रुतौ किल।	main via surya_layout
14	गान्धारं नारदो बूते स तु मर्त्यैर्न गीयते॥८७॥	main via surya_layout
15	सामवेदात् स्वरा जाताः स्वरभ्यो ग्रामसम्भवः।	main via surya_layout
16	द्वावेतौ च इमौ ज्ञेयौ षड्जमध्यमलक्षितौ॥८८॥	main via surya_layout
17	[ अनु. ३१ ]	editorial_bracket parent ligne 16 via heuristic_brackets
18	प्रयोजनं च यथा—स्वरश्रुतिमूर्छना—तानजातिरागाणां व्यवस्थापनत्वं	main via surya_layout
19	o404	annotation_inline parent ligne 18 via heuristic_height
20	नाम प्रयोजनम्।	main via surya_layout
21	[ अनु. ३२ ]	editorial_bracket parent ligne 20 via heuristic_brackets
22	ननु कथं षड्जमध्यमस्वराभ्यां ग्रामण्यपदेशः ? उच्यते—असाधारणत्वेन ताभ्यां	main via surya_layout
23	ग्रामण्यपदेशः। असाधारणत्वं च देवकुलसमुत्पन्नत्वेन।	main via surya_layout
24	₀लोत्पन्न,<sup>5</sup>	annotation_inline parent ligne 23 via heuristic_markers
25	तथा चाह नारदः –	main via surya_layout
26	"देवकुलसमुत्पन्नाः षड्जगान्धारमध्यमाः।	main via surya_layout
27	एतेपां देवता जेया ब्रह्माविष्णुमहेश्वराः॥ "6	main via surya_layout
28	उभयोग्रामियोर्मध्ये मुख्यत्वं कस्य गम्यते।	main via surya_layout
29	ुण्युः	annotation_inline parent ligne 28 via heuristic_height
30	षड्जस्यैव हि मुख्यत्वं गम्यते वचनान्भुनेः॥८९॥	main via surya_layout
31	__ु•वाह्रि च __	main via surya_layout

vol_I_p023 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	29	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	expound antara - mūrchanā 66 in both the grāmas, or in both the grāmas, şadja	main via surya_layout
4	and madhyama svaras become grāmanīs67 (leader of grāma), the other svaras	main via surya_layout
5	become their agre-sara 68 (movers in front).	main via surya_layout
6	(52)	annotation_inline parent ligne 5 via heuristic_height
7	Thus I have spoken of the śrutis that are seated in grāma.69	main via surya_layout
8	Here ends the section on srutis.	annotation_inline parent ligne 7 via heuristic_height
9	IV [The Section on Svaras]	section_header via surya_layout
10	[The laksana of svaras]	section_header via surya_layout
11	Now I shall speak of the ascertainment of svaras. In this context, initially, the	main via surya_layout
12	(53)	annotation_inline parent ligne 11 via heuristic_height
13	etymology of the word 'svara' is being spoken about.	main via surya_layout
14	From the root raje, meaning brilliance, to which is prefixed the word sva	main via surya_layout
15	(the word 'svara' is derived); because (the meaning is) that which shines by	main via surya_layout
16	(54)	annotation_inline parent ligne 15 via heuristic_height
17	itself, hence it is known as svara.	main via surya_layout
18	[ Anu. 15 ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	But what is meant by svara? It is being answered - the dhvani (sound) which	main via surya_layout
20	is the progenitor of raga? (lit. colour, delight) is svara. Similarly, also said	main via surya_layout
21	Kohala.	annotation_inline parent ligne 20 via heuristic_height
22	"By the will of the atman, the vayu (that is) moving upward from the base of	main via surya_layout
23	the 'earth's (nābhi, navel) (and) is held on the 'wall'4 of the nādīs and in the	main via surya_layout
24	space, is known as svara, the delightful<sup>5</sup> sound."	main via surya_layout
25	(Anu. 16)	annotation_inline parent ligne 24 via heuristic_height
26	But svara in this way is one or many, pervasive or non-pervasive or is it	main via surya_layout
27	eternal or non-eternal?	annotation_inline parent ligne 26 via heuristic_height

vol_II_p082 RIGHT — 26 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	147	page_number via heuristic_pagenum
3	of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones	main via surya_layout
4	in music.	annotation_inline parent ligne 3 via heuristic_short
5	<math>(56-57)</math>	main via surya_layout
6	Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā.	main via surya_layout
7	Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī	main via surya_layout
8	dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv]	editorial_bracket parent ligne 7 via heuristic_brackets
9	The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be	main via surya_layout
10	always complete, has madhyama as amśa and sadja as the concluding note,	main via surya_layout
11	bears the concert between <i>ṣaḍja</i> and <i>madhyama</i>. This <i>bhāṣā</i> is always <i>saṅkīrṇā</i>	main via surya_layout
12	(mixed) and is placed in takkarāga.	main via surya_layout
13	(58)	annotation_inline parent ligne 12 via heuristic_short
14	Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā	main via surya_layout
15	nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā.	main via surya_layout
16	Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv)	main via surya_layout
17	Gāndhārapahācamī should be known to have dhaivata as amśa, sadja as the	main via surya_layout
18	concluding note, is embellished with the svara gandhara, has the combination	main via surya_layout
19	between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by	main via surya_layout
20	the <i>Nāgas</i><sup>22</sup> and <i>Kinnaras</i>.<sup>23</sup>	main via surya_layout
21	(59)	annotation_inline parent ligne 20 via heuristic_short
22	Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā.	main via surya_layout
23	Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā	main via surya_layout
24	māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi]	editorial_bracket parent ligne 23 via heuristic_brackets
25	These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika.	main via surya_layout
26	(60)	page_footer via surya_layout

185 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p104 RIGHT — 66 lignes

vol_I_p039 RIGHT — 35 lignes

vol_I_p034 LEFT — 31 lignes

vol_I_p023 RIGHT — 27 lignes

vol_II_p082 RIGHT — 26 lignes