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 21348). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p105 RIGHT — 20 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	193	page_number via heuristic_pagenum
3	Mārga	main via surya_layout
4	Threefold duration of kalā represented by corresponding mārgas	main via surya_layout
5	Daksiņa	annotation_inline parent ligne 4 via heuristic_short
6	8, 4, 2 dakşina, vartika and citra	main via surya_layout
7	Vārtika or Vṛtti	annotation_inline parent ligne 6 via heuristic_short
8	4, 2, 1 vārtika, citrā and dhruva.	main via surya_layout
9	Citra	annotation_inline parent ligne 8 via heuristic_short
10	2, 1, 1/2 Citra, dhruva and śūnya.	main via surya_layout
11	The introduction of sunya paves the way for the unit druta (1/2 mātrā) in	main via surya_layout
12	desi tālas. It is notable that the notational sign for druta in later texts is 0 that	main via surya_layout
13	represents zero or śūnya. (cf. SRV, section on deśi tālas)	main via surya_layout
14	•	annotation_inline parent ligne 13 via heuristic_height
15	-	annotation_inline parent ligne 13 via heuristic_height
16	.	annotation_inline parent ligne 13 via heuristic_height
17	•	annotation_inline parent ligne 13 via heuristic_height
18	•	unknown via fallback
19	•	annotation_inline parent ligne 13 via heuristic_height
20	•	annotation_inline parent ligne 13 via heuristic_height

vol_II_p050 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	83	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[3. Gaudī giti and its component ohāțī]	section_header via surya_layout
4	The svaras of gaudi are beautiful and are attractive with ohāṭī. Ohāṭiī is said	main via surya_layout
5	to consist of a combination of the sound 'ha' and 'o'.	main via surya_layout
6	(277)	annotation_inline parent ligne 5 via heuristic_height
7	Ohāţī belongs to the low (register); (it is produced) by placing the chin on	main via surya_layout
8	the chest. It is to be made fast and faster, being pressed with the shake 15 of	main via surya_layout
9	svara.	annotation_inline parent ligne 8 via heuristic_height
10	(278)	annotation_inline parent ligne 8 via heuristic_height
11	And ohāţī is also beautiful with seen and unseen actions; it comprises of	main via surya_layout
12	actions <math>^{16}</math> in the three registers and is confounded (<math>\bar{a}kula^{17}</math>) with movements	main via surya_layout
13	in the three registers.	annotation_inline parent ligne 12 via heuristic_height
14	(279)	annotation_inline parent ligne 12 via heuristic_height
15	Similarly, ohāţī has to be used by the knowledgeable ones in vocal music	main via surya_layout
16	in a four-fold manner, viz. samākṣara (with even syllables), sama 18 (smooth),	main via surya_layout
17	in ascent and in descent. Ohāṭī is obtained in performance as being born in	main via surya_layout
18	the low (register) with shakes 19 of sound.	main via surya_layout
19	(280)	annotation_inline parent ligne 18 via heuristic_height
20	Gaudī gīti is said to subsist without rest in the three registers.	main via surya_layout
21	(281)	annotation_inline parent ligne 20 via heuristic_height
22	[4. Rāga giti]	section_header via surya_layout
23	Rāgagīti is said to be with attractive gamakas,20 with variegated low	main via surya_layout
24	(prasanna)<sup>21</sup> (svaras) pertaining to the chest-region, even, colourful or	main via surya_layout
25	delightful arrangements of svaras.	main via surya_layout
26	(282)	annotation_inline parent ligne 25 via heuristic_height
27	The rāgas (melodic configurations) are so called because the beautiful	main via surya_layout
28	rāga (colourfulness or delightfulness) that comes about in all the four varņas	main via surya_layout
29	is seen in them in its completeness.	main via surya_layout
30	(283)	annotation_inline parent ligne 29 via heuristic_height
31	[5. Sādhāraṇī gīti]	section_header via surya_layout
32	(This gīti) should be made with straight, attractive, somewhat minute and	main via surya_layout
33	large, properly audible, slightly fast, similarly soft, attractive, 22 smooth (or	main via surya_layout
34	soft<sup>23</sup>) and minute<sup>24</sup> prayogas<sup>25</sup> (melodic phrases?) that are well combined	main via surya_layout

vol_I_p077 LEFT — 45 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	136	page_number via heuristic_pagenum
3	22. C.r. in S R I Sudhā, p. 94.	list_item via surya_layout
4	23. Added according to C.r. in S R I Sudhā, p. 94.	list_item via surya_layout
5	24. Portion added according to C.r. in S R I Sudhā, p. 95.	list_item via surya_layout
6	25. P.t. adds 'pañcama' before 'ṛṣabhaḥ' which is unwarranted.	list_item via surya_layout
7	26. P.t. combines sapta-svarāķ etc. and that has led to a misunderstanding	list_item via surya_layout
8	among scholars to the effect that Matanga has accepted the 'samvāda' of seven-	list_item via surya_layout
9	sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ,	list_item via surya_layout
10	No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is	list_item via surya_layout
11	related to 'svarāḥ'; hence a full-stop has been added after sapta and that clears	list_item via surya_layout
12	the whole confusion.	list_item via surya_layout
13	27. The ed. states that the text is broken here; the missing portion has been	list_item via surya_layout
14	taken by us from S R I Sudhā, p. 121.	list_item via surya_layout
15	28. Missing portion (verse 55-60) taken from C.r. in S R I Kalā, p. 79-81.	list_item via surya_layout
16	The cited verses are interspersed by Kallinatha with prose sentences of his own,	list_item via surya_layout
17	but they have been omitted by us.	list_item via surya_layout
18	29. C.r. in S R I Kalā, p. 81.	list_item via surya_layout
19	30. Sam S Sā, p. 14 and C.r. in S R I Kalā, p. 81.	list_item via surya_layout
20	31. This portion is missing in the MSS, it has been paraphrased in S R I Kalā,	list_item via surya_layout
21	p. 81 and cited in ibid. Sudhā, p. 97.	list_item via surya_layout
22	32. cf. व्हाजाती समी जेयी रिधी क्षत्रियजातिको ।	list_item via surya_layout
23	निर्गा वैश्याविति प्रौक्तौ पञ्चमः शूद्रजातिकः ॥	list_item via surya_layout
24	( Sam Mak I. 29 )	main via surya_layout
25	33. C.r. in S R I Sudhā, p. 97 and Sam Cû, p. 71.	list_item via surya_layout
26	34. C.r. in S R I Sudhā, p. 98.	list_item via surya_layout
27	35. Reading suggested by the ed.	list_item via surya_layout
28	36. C.r. in S R I Sudhā, p. 98.	list_item via surya_layout
29	37. C.r. in Sam Cu, p. 72.	list_item via surya_layout
30	38. C.r. in S R I Sudhā, p. 98.	list_item via surya_layout
31	39. cf. स्वराः सरिगमाश्चैव चत्वारो राक्षसाः स्मृताः ।	list_item via surya_layout
32	पधौ मानुषसज्ञौ च निपाद दैवत विदुः ॥	list_item via surya_layout
33	(Sam Mak I. 1.46)	main via surya_layout
34	40. After this P.t. has the following half-verse –	main via surya_layout
35	शृद्धजातिसमृत्पन्नी तौ काकल्यन्तरी स्वरी ।	main via surya_layout
36	This is redundant and misplaced because verse 61 d has already spoken of	main via surya_layout
37	kākali and antara svaras being śūdra and this line does not fit into the context	main via surya_layout
38	after verse 72; hence it has been omitted by us.	main via surya_layout
39	41. cf. Nā Ši I.4.1,2 and Gītālankāra, p. 50.	list_item via surya_layout
40	42. cf. Nā Ši I.5.14-18.	list_item via surya_layout
41	43. The reading 'hara' suggested by the ed. in the place of 'bhi' of MSS.	list_item via surya_layout
42	44. cf. Nā Ši 1.5.12-14.	list_item via surya_layout
43	पर्जाञ्चतर्वारी च ऋषभस्य च गंद्रकः ।	list_item via surya_layout
44	45. cf.	list_item via surya_layout
45	गान्धारस्य च शान्त च हास्यास्य मध्यमस्य च ॥	list_item via surya_layout

vol_I_p022 LEFT — 24 lignes

L#	Texte OCR	Role auto
1	26	page_number via heuristic_pagenum
2	<b>BRHADDES!</b>	page_header via surya_layout
3	इदानी सम्प्रवक्ष्यामि मध्यमश्रुतिमण्डलम् ।	main via surya_layout
4	ज्ञेयस्तिस्रो ह्यतिक्रम्य मध्यमोऽयं चतुःश्रुतिः॥४८॥	main via surya_layout
5	श्रुतिद्वयमतिक्रम्य तृतीया पञ्चमो भवेत्।	main via surya_layout
6	०यः	annotation_inline parent ligne 5 via heuristic_height
7	ततस्तिस्रो ह्यतिक्रम्य चतुर्थी धैवतो भवेत्॥४९॥	main via surya_layout
8	॰र्यो	annotation_inline parent ligne 7 via heuristic_markers
9	ज्ञेयस्त्वेकामतिक्रम्य निषादस्तु द्वितीयिका।	main via surya_layout
10	•यकः	annotation_inline parent ligne 9 via heuristic_height
11	श्रुतित्रयमतिक्रम्य ततः षड्जश्चतुर्थिका॥५०॥	main via surya_layout
12	<b>ः</b>र्थकः	annotation_inline parent ligne 11 via heuristic_height
13	ऋषभस्तु द्वयं त्यक्त्वा तृतीया परतो भवेत् ।	main via surya_layout
14	• यः	annotation_inline parent ligne 13 via heuristic_height
15	श्रुतिमेकामतिक्रम्य गान्धारः स्याद् द्वितीयिका॥५१॥	main via surya_layout
16	•यकः	annotation_inline parent ligne 15 via heuristic_height
17	[ तद्यथा — ] मध्यमग्रामे श्रुतिमण्डलम्—	editorial_bracket parent ligne 15 via heuristic_brackets
18	म	annotation_inline parent ligne 15 via heuristic_height
19	ग	annotation_inline parent ligne 15 via heuristic_height
20	रि	unknown via surya_layout
21	स	annotation_inline parent ligne 15 via heuristic_height
22	नि	unknown via surya_layout
23	[ अनु. १४ ]	editorial_bracket parent ligne 15 via heuristic_brackets
24	भरतस्तु पुनऋषभादिश्रुतिमण्डलं दर्शयति।	main via surya_layout

vol_II_p061 RIGHT — 33 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	105	page_number via heuristic_pagenum
4	[C. Gauda rāgas]	section_header via surya_layout
5	[Anu. 186]	section_header via surya_layout
6	(Contention) Why are they known as gaudas? It is being answered, on	main via surya_layout
7	account of being related to gaudigiti. What is its description? It is being	main via surya_layout
8	answered. That is thus -	annotation_inline parent ligne 7 via heuristic_height
9	Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with	main via surya_layout
10	shaken sounds, without pause, in the three registers, gaudī gīti is said to	main via surya_layout
11	prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5).	main via surya_layout
12	(315)	annotation_inline parent ligne 11 via heuristic_height
13	[1. Gaudapañcama]	section_header via surya_layout
14	The description of gaudapañcama -	main via surya_layout
15	Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It	main via surya_layout
16	has dhaivata as its amśa and madhyama as its concluding note; it is devoid of	main via surya_layout
17	pañcama.	annotation_inline parent ligne 16 via heuristic_height
18	(316)	annotation_inline parent ligne 16 via heuristic_height
19	[Anu. 187]	section_header via surya_layout
20	This means - gaudapañcama is related to sadjagrāma on account of being	main via surya_layout
21	born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha.	main via surya_layout
22	Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is	main via surya_layout
23	hexatonic, being devoid of pañcama. Its application is prescribed in	main via surya_layout
24	passionate acting (or dance) and in vipralambha śringāra (love in separation).	main via surya_layout
25	Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with	main via surya_layout
26	dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The	main via surya_layout
27	kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and	main via surya_layout
28	the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
29	comprised of svara and pada.	main via surya_layout
30	[2. Gaudakaisika]	section_header via surya_layout
31	Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is	main via surya_layout
32	said to have şadja as the amśa and pañcama as the nyāsa.	main via surya_layout
33	(317)	annotation_inline parent ligne 32 via heuristic_height

156 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p105 RIGHT — 20 lignes

vol_II_p050 RIGHT — 34 lignes

vol_I_p077 LEFT — 45 lignes

vol_I_p022 LEFT — 24 lignes

vol_II_p061 RIGHT — 33 lignes