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 21422). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p020 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	22	page_number via heuristic_pagenum
3	तदुक्तम्—	main via surya_layout
4	"कथं प्रतीतिश्च भवेदमुष्या	main via surya_layout
5	नादौ नभो व्याकुलितश्रुति स्यात् ।	main via surya_layout
6	ुत्वा, ।	annotation_inline parent ligne 5 via heuristic_height
7	रा	annotation_inline parent ligne 5 via heuristic_height
8	भवेदलक्ष्यावयवा श्रुतिस्तु	main via surya_layout
9	[ तेनैव ] नैवावयवा प्रतीता ।।	editorial_bracket parent ligne 8 via heuristic_brackets
10	॰वी	annotation_inline parent ligne 8 via heuristic_markers
11	ताः सम्भवन्तीतस्ताः स्युः कियत्यो मातृकाः प्रति ।	main via surya_layout
12	तासा भवतीताः	annotation_inline parent ligne 11 via heuristic_height
13	ती २	annotation_inline parent ligne 11 via heuristic_height
14	यदि द्वाविंशतिस्तासां व्यापारः कः क्रमोत्क्रमात् ॥	main via surya_layout
15	श्रुतीनां यद्यानन्त्यं च [ वाऽ ] निवार्यं प्रसज्यते।	editorial_bracket parent ligne 14 via heuristic_brackets
16	एकत्वं वा भवेत् तासां मातृकाणामसंशयम् ॥	main via surya_layout
17	तस्या	annotation_inline parent ligne 16 via heuristic_height
18	ুস্	annotation_inline parent ligne 16 via heuristic_height
19	मातृका एव नो सन्ति कथं तासां विकल्पनम् ॥	main via surya_layout
20	٥٣,	annotation_inline parent ligne 19 via heuristic_height
21	सित धर्मिणि धर्माणां सत्तेत्याहुर्मनीषिणः।	main via surya_layout
22	[ धर्मिष्वसत्सु ] धर्मा नो सन्तीत्याहुर्मनीषिणः ।।	editorial_bracket parent ligne 21 via heuristic_brackets
23	₀णः ₀न्तोऽप्या₃	annotation_inline parent ligne 21 via heuristic_markers
24	++++	main via surya_layout
25	सत्त्वासत्त्वे तदा गुणदोषाणां गुणिनां यदा ।	main via surya_layout
26	०णी तु	annotation_inline parent ligne 25 via heuristic_short
27	स	annotation_inline parent ligne 25 via heuristic_height
28	विनैव कारणं तास्ताः स्वराणां कारणं यदि ॥	main via surya_layout
29	भवेयुः श्रुतयस्तासामादिर्नेष्येत कारणम् ॥	main via surya_layout
30	किञ्च प्रमाणगम्यत्वे समेऽपि यदि मातृकाः ।	main via surya_layout
31	निह्नोतव्यास्तदा रक्षा श्रुतीनामपि दुर्लभा ॥"	main via surya_layout
32	अत्रोच्यते-	annotation_inline parent ligne 31 via heuristic_short
33	अर्थापत्त्याऽनुमानेन प्रत्यक्षज्ञानतोऽपि वा।	main via surya_layout
34	₀প্লাপ্রউন<sup>87</sup>	annotation_inline parent ligne 33 via heuristic_markers
35	गृह्यन्ते श्रुतयस्तावत् स्वराभिव्यक्तिहेतवः	main via surya_layout
36	118311	main via surya_layout

vol_I_p036 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	55	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The heptad of svaras (that functions) through ascent and descent<sup>21</sup> in	main via surya_layout
4	respective order,22 should be known by the adept ones as being spoken of by the	main via surya_layout
5	(91)	annotation_inline parent ligne 4 via heuristic_height
6	word mürchanā.	annotation_inline parent ligne 4 via heuristic_height
7	[ Anu. 36 ]	editorial_bracket parent ligne 4 via heuristic_brackets
8	That murchanā again is twofold — one composed of seven svaras and the	main via surya_layout
9	other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24	main via surya_layout
10	__ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic),	main via surya_layout
11	auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them	main via surya_layout
12	pūrņā is that which is sung with seven svaras, that which is sung with six svaras is	main via surya_layout
13	ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with	main via surya_layout
14	kākalī and antara svaras, is sādhāraņā.	main via surya_layout
15	(Anu. 37)	annotation_inline parent ligne 14 via heuristic_height
16	Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for	main via surya_layout
17	mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the	main via surya_layout
18	same number of) squares (kosthakas), on account of the process that follows a	main via surya_layout
19	set path or order.	annotation_inline parent ligne 18 via heuristic_short
20	That is thus—	annotation_inline parent ligne 18 via heuristic_height
21	Forty-nine squares filled25 with svaras, have, indeed, to be made with eight	main via surya_layout
22	(92)	annotation_inline parent ligne 21 via heuristic_height
23	horizontal and vertical lines.	main via surya_layout
24	(Anu. 38)	annotation_inline parent ligne 23 via heuristic_height
25	There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha	main via surya_layout
26	- pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni -	main via surya_layout
27	dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in	main via surya_layout
28	the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni -	main via surya_layout
29	į	annotation_inline parent ligne 28 via heuristic_height
30	sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the	main via surya_layout
31	order) in madhyama-grāma.	main via surya_layout
32	Thus there are the fourteen sampūrņā (complete) mūrchanās of the two	main via surya_layout
33	grāmas.	annotation_inline parent ligne 32 via heuristic_height
34	sa - ri - ga - ma - pa - dha - ni<br>ni - sa - ri - ga - ma - pa - dha	main via surya_layout

vol_II_p057 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[1.Bhinna-şadja]	section_header via surya_layout
4	Bhinna-ṣadja is known by the wise to have dhaivata as its amśa, madhyama as its	main via surya_layout
5	conclusion, to be devoid of pañcama and ṛṣabha and having been born of	main via surya_layout
6	ṣadjodicyavati (jāti).	main via surya_layout
7	(306)	main via surya_layout
8	[Anu. 175]	section_header via surya_layout
9	This means – bhinna – şadja is related to şadjagrāma on account of being born	main via surya_layout
10	of ṣadjodicyavatī jāti. Dhaivata is the graha and aniśa, madhyama is the nyāsa; it is	main via surya_layout
11	pentatonic with the omission of <i>ṛṣabha</i> and <i>pañcama. Niṣāda</i> and <i>gāndhāra</i> are	main via surya_layout
12	kākalī and antara. Its application is prescribed in prāvešikī (dhruvās) related to the	main via surya_layout
13	entry of the hero in a situation where he is inclined towards the use of all	main via surya_layout
14	implements or tools (upakaraṇa), has an aversion to fighting which does not	main via surya_layout
15	match his disposition (vijātīya) and proceeds for hunting.	main via surya_layout
16	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
17	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed in	main via surya_layout
18	the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in	main via surya_layout
19	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara	main via surya_layout
20	and <i>pada</i>.	main via surya_layout
21	[2.Bhinna-pañcama]	section_header via surya_layout
22	[Anu. 176]	section_header via surya_layout
23	......This bhinna-pañcama is said to be svarabhinna. Its description is thus-	main via surya_layout
24	The knowledgeable ones in svara have spoken of bhinna-pañcama being	main via surya_layout
25	similar48 to śuddha-pañcama. It has dhaivata as its ainśa, pañcama as its	main via surya_layout
26	concluding note and is (applied) in the entry of the sūtradhāra.	main via surya_layout
27	(307)	main via surya_layout
28	[Anu. 177]	section_header via surya_layout
29	This means-bhinna-pañcama is related to madhyamagrāma on account of	main via surya_layout
30	being born of madhyamā and pañcamī jātis. Dhaivata is the graha and amśa,	main via surya_layout
31	pañcama is the <i>nyāsa</i>, <i>niṣāda</i> is <i>kākalī</i> here. Sometimes <i>niṣāda</i><sup>49</sup> is also used	main via surya_layout
32	and this (rāga) is complete. It is applied in the entry of the sūtradhāra.	main via surya_layout
33	Bībhatsaand bhayānakaare the rasas. The mūrchanā beginning with dhaivata	main via surya_layout
34	obtains. Sañcārīn is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
35	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
36	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
37	comprised of svara and pada.	main via surya_layout

vol_II_p156 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	295	page_number via heuristic_pagenum
3	becoming an adjective of vidhi and the total meaning being 'general rule'.	main via surya_layout
4	Utsarga and apavāda is another pair that is commonly used in Pūrva	main via surya_layout
5	Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga'	main via surya_layout
6	has been used in isolation, the compound utsarga-vidhi being implicit.	main via surya_layout
7	'Vidhi' meaning rule or injunction has been used with the adjective samvādī	main via surya_layout
8	-anuvādī in a compound, meaning the rule pertaining to the samvādin and	main via surya_layout
9	anuvādin svaras.	annotation_inline parent ligne 8 via heuristic_height
10	14. This phrase or piece of notation does not occur in SR in the	list_item via surya_layout
11	prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī.	list_item via surya_layout
12	15. 'Svasthāna' is known to stand for a section of 'ālapti' or	list_item via surya_layout
13	improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here	list_item via surya_layout
14	in jāti which is a prototype of rāga. It is not improbable that our text is using	list_item via surya_layout
15	this word in a different meaning, which could, perhaps, be graha.	list_item via surya_layout
16	16. The purport is that amsa is the regulator of graha, apanyasa,	list_item via surya_layout
17	vinyāsa, samnyāsa and nyāsa on account of being the point of reference both	list_item via surya_layout
18	in intervallic and melodic organisation.	list_item via surya_layout
19	17,18. Gīta is melodic rendering and pada is a unit of text or melody	list_item via surya_layout
20	or text-cum-melody, as the case may be, i.e., gīta could stand for melodic	list_item via surya_layout
21	rendering with or without text and 'pada' could stand for self-contained	list_item via surya_layout
22	units of text (meaningful or otherwise) or of melody or of text-cum-melody.	list_item via surya_layout
23	Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the	list_item via surya_layout
24	pause between one vidārī and another.	list_item via surya_layout
25	19. 'Pāda', literally meaning foot is used both in the context of	list_item via surya_layout
26	textual metre and musical composition.	list_item via surya_layout
27	20. 'Peśī', literally meaning muscle suggests the conception of the	list_item via surya_layout
28	'body' of a musical structure on the model of the human body. SR IV. 12a	list_item via surya_layout
29	speaks of the dhātus (lit. humours) of prabandha that are so called because	list_item via surya_layout
30	of upholding the 'body' of prabandha and again in 13b speaks of the	list_item via surya_layout
31	'prabandha-puruşa' that has six angas or limbs. The word peśī has also been	list_item via surya_layout
32	used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going	list_item via surya_layout
33	much earlier than our text.	list_item via surya_layout
34	21. NS. XXVIII.68, 69 has reading variants in all the editions; the	list_item via surya_layout
35	citation in our text has proximity to c.r. in Kalā. It is notable that the name	list_item via surya_layout
36	of Bharata does not occur in the introduction to the citation.	list_item via surya_layout
37	22. The octave of the amsa is implied here; that is the beginning of	list_item via surya_layout
38	tāra (high).	list_item via surya_layout
39	23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī	list_item via surya_layout
40	in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās'	list_item via surya_layout
41	indicating their tara position.	list_item via surya_layout

vol_II_p040 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	63	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mā mā mā mā mā mā mā mā	table via surya_layout
4	(4)	table via surya_layout
5	dhā nī pā mapa dhā nī pā pā	table via surya_layout
6	(5)	table via surya_layout
7	(6)	table via surya_layout
8	mā pā mā dhani pā pā pā pā	table via surya_layout
9	(7)	table via surya_layout
10	rî gā mā pā pā pā mā pā	table via surya_layout
11	(8)	table via surya_layout
12	rī gā mā pā pā pā mā pā	table via surya_layout
13	(9)	table via surya_layout
14	pā pā pā pā pā pā pā pā	table via surya_layout
15	(10)	table via surya_layout
16	rī gā sā sā rī gā gā gā	table via surya_layout
17	(11)	table via surya_layout
18	gã gã pã dhama dhã nidha pã pã	table via surya_layout
19	(12)	table via surya_layout
20	mā pā mā pariga gā gā gā gā	table via surya_layout
21	Thus ends raktagāndhārī.	section_header via surya_layout
22	[4. Kaiśikī]	section_header via surya_layout
23	In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the	main via surya_layout
24	amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis	main via surya_layout
25	(gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know	main via surya_layout
26	niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas.	main via surya_layout
27	(11)	annotation_inline parent ligne 26 via heuristic_short
28	The hexatonic and pentatonic forms are known to come into being with	main via surya_layout
29	the omission of <i>rṣabha</i> and <i>rṣabha-dhaivata</i>. <i>Rṣabha</i> is sparse, there is the	main via surya_layout
30	abundance of niṣāda and pañcama. The amsas have mutual concert.	main via surya_layout
31	(12)	annotation_inline parent ligne 30 via heuristic_short
32	Pañcama and dhaivata are averse to the hexatonic and pentatonic forms	main via surya_layout
33	respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā	main via surya_layout
34	beginning with gāndhāra obtains.	main via surya_layout
35	(13)	annotation_inline parent ligne 34 via heuristic_short
36	The application is (prescribed) in the dhruvā pertaining to the fifth act.	main via surya_layout
37	Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting	main via surya_layout
38	rṣabha or seven svaras are apanyāsas. The prastāra is thus -	main via surya_layout
39	(1)	table via surya_layout
40	pā dhani pā dhani gā gā gā gā	table via surya_layout
41	pā pā mā nidha nidha pā pā pā	table via surya_layout
42	(2)	table via surya_layout

190 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p020 LEFT — 36 lignes

vol_I_p036 RIGHT — 34 lignes

vol_II_p057 RIGHT — 37 lignes

vol_II_p156 RIGHT — 41 lignes

vol_II_p040 RIGHT — 42 lignes