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 21429). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p113 LEFT — 42 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	208	page_number via heuristic_pagenum
3	प्रबन्धोऽयं स्वरार्थ: स्याद् ज्ञेयोऽसौ गीतवेदिभि: ।	main via surya_layout
4	चत्वारिंशत्तमं प्रोक्तं करणं पञ्चभिर्युतम् ॥३७८॥	main via surya_layout
5	चत्वारिंशद्युत: षड्भिश्चासौ वर्णस्वर: स्मृत:।	main via surya_layout
6	°ता:	annotation_inline parent ligne 5 via heuristic_markers
7	चत्वारिंशत्सप्तयुता ज्ञेया मुक्तावलीति या ॥ ३७९॥	main via surya_layout
8	प्रतापवर्धनश्चाष्ट्रचत्वारिशः प्रकीर्तितः ।	main via surya_layout
9	(त?न)	annotation_inline parent ligne 8 via heuristic_short
10	॰शत्	annotation_inline parent ligne 8 via heuristic_markers
11	अष्टौ च मुनिना ख्याताश्चत्वारिंशत् सुसंयुता[:] ॥ ३८०॥	editorial_bracket parent ligne 8 via heuristic_brackets
12	पञ्चधा मुनिना	main via surya_layout
13	न्ता चत्वाः	annotation_inline parent ligne 12 via heuristic_height
14	एतेषां लक्षणं विच्य समासाद् विदुषां कृते ।	main via surya_layout
15	चच्छि	annotation_inline parent ligne 14 via heuristic_short
16	विदुषात्तमम्	main via surya_layout
17	यथोक्तं चात्र नियमै[:] [पदतालादिसंयुतै:] ॥	editorial_bracket parent ligne 16 via heuristic_brackets
18	रागैर्यथावदुक्तैस्तु गातव्या गीतकोविदै: ॥ ३८१॥	main via surya_layout
19	[प्रबन्धानां लक्षणानि]	section_header via surya_layout
20	[१.कन्द:]	section_header via surya_layout
21	तालशून्यस्तु य: पाटैर्बिरुदेश्च समन्वित:।	main via surya_layout
22	॰ता:	annotation_inline parent ligne 21 via heuristic_markers
23	स कन्द इति कर्णाटभाषादिपदिमश्रित: ॥३८२॥	main via surya_layout
24	कन्दादिप्रबन्धा लक्ष्यत: प्रसिद्धा एव ।	main via surya_layout
25	क(दा?न्दा)	main via surya_layout
26	[२. वृत्त:]	section_header via surya_layout
27	आर्यायां द्विपथे वृत्तो गाथायां दोघके तथा।	main via surya_layout
28	वृते गाधाया जेधके तथा(?)	main via surya_layout
29	्याः	annotation_inline parent ligne 28 via heuristic_height
30	तोटके[ ऽथ] च तालस्य नियमो नास्ति कदाचन ॥	editorial_bracket parent ligne 28 via heuristic_brackets
31	•केन	main via surya_layout
32	मुख्यता तेषु निर्दिष्टा मुनिभिश्छन्दस: स्फुटम्<sup>४</sup>॥ ३८३॥	main via surya_layout
33	॰सा	annotation_inline parent ligne 32 via heuristic_markers
34	अन्ते च स्वरविन्यास: [स्वरहीनं स्मृतं परै:] ।	editorial_bracket parent ligne 32 via heuristic_brackets
35	अन्त: स्वर + विन्यास: + + + + +	main via surya_layout
36	[वृत्ते छन्दिस यच्चान्ये] वङ्क्ति तदिप सम्मतम् ॥३८४॥	editorial_bracket parent ligne 35 via heuristic_brackets
37	. . . . . . . . .	annotation_inline parent ligne 35 via heuristic_height
38	न्तः	annotation_inline parent ligne 35 via heuristic_height
39	NAME OF TAXABLE PARTY.	annotation_inline parent ligne 35 via heuristic_height
40	محفظ ماملا دي ماسي الراكات المار	annotation_inline parent ligne 35 via heuristic_height
41	4 . . . . . . . . .	annotation_inline parent ligne 35 via heuristic_height
42	(vide)	annotation_inline parent ligne 35 via heuristic_height

vol_II_p071 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	125	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 210]	editorial_bracket parent ligne 4 via heuristic_brackets
4	Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma. Ŗṣabhais its graha	main via surya_layout
5	and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it	main via surya_layout
6	sometimes becomes amśa also. Niṣāda is kākalī here and this (rāga) is complete.	main via surya_layout
7	Its application is prescribed in the passionate performance of cārīs, maṇḍalas and	main via surya_layout
8	(situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning	main via surya_layout
9	with ṛṣabha obtains. Prasannādyanta is the alankāra. The kalā is formed in the	main via surya_layout
10	dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in	main via surya_layout
11	the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and	main via surya_layout
12	pada	annotation_inline parent ligne 11 via heuristic_height
13	[9. Revagupta]	section_header via surya_layout
14	Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as	main via surya_layout
15	its amsa and madhyama as its concluding note and is with complete svaras.	main via surya_layout
16	(340)	annotation_inline parent ligne 15 via heuristic_height
17	[Anu. 211]	editorial_bracket parent ligne 15 via heuristic_brackets
18	Its meaning is thus - Revagupta is related to sadjagrāma. Although it is born	main via surya_layout
19	of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of	main via surya_layout
20	pañcama being comprised of four śrutis. Rṣabha is its graha and amśa,	main via surya_layout
21	<math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> he	main via surya_layout
22	svaras. Its application is prescribed in the passionate performance of cārīs,	main via surya_layout
23	mandalas and (situations of) combat. Vira and the like is the rasa. The	main via surya_layout
24	mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa. Prasannānta is	main via surya_layout
25	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in	main via surya_layout
26	the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like	main via surya_layout
27	caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
28	[10. Takkasaindhava]	section_header via surya_layout
29	The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis, is	main via surya_layout
30	combined with sadja as amsa and nyāsa and is weak in pancama.	main via surya_layout
31	(341)	annotation_inline parent ligne 30 via heuristic_height
32	[Anu. 212]	editorial_bracket parent ligne 30 via heuristic_brackets
33	Its meaning is thus - takkasaindhava rāga is related to şadjagrāma on	main via surya_layout
34	account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and	main via surya_layout
35	nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of	main via surya_layout
36	pañcama and this (rāga) is complete in svaras. Its application is prescribed	main via surya_layout

vol_II_p166 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	315	page_number via heuristic_pagenum
3	a bhāṣā is something that deserves special notice.	main via surya_layout
4	31. 'Pārvatī' is associated with parvata or mountains; whether or not	main via surya_layout
5	a particular mountainous region is implied, is hard to confirm. "Parvata is	main via surya_layout
6	1. a country in the Panjab to the north-west of Multan between the Ravi and	main via surya_layout
7	Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether	main via surya_layout
8	the mountains in general or a particular mountainous region or either of	main via surya_layout
9	the two identifications cited above is intended.	main via surya_layout
10	Chapter V	section_header via surya_layout
11	(Desī rāgas)	section_header via surya_layout
12	1. This verse bears a distinct stamp of the Tantric stream and is	list_item via surya_layout
13	significant on account of being placed in the beginning of the chapter on	list_item via surya_layout
14	desī rāgas. It could be conjectured on the evidence of this verse and on other	list_item via surya_layout
15	evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III).	list_item via surya_layout
16	2. Deśī rāgas are contradistinct to grāmarāgas.	list_item via surya_layout
17	3. Reference to laksya in the context of desi rāgas points to the fact that	list_item via surya_layout
18	they must have been in vogue in the author's time.	list_item via surya_layout
19	4. The citation in the name of Matanga given by Kalli, in his	list_item via surya_layout
20	commentary on SR II.2.1. also mentions these three types of desī-rāgas, but	list_item via surya_layout
21	Sārngadeva has added a fourth category named upānga.	list_item via surya_layout
22	5. 'Chāyā' is subtle similarity.	list_item via surya_layout
23	6. The special mention of panegyric in the context of bhāṣāṅga rāgas	list_item via surya_layout
24	is worth noticing.	list_item via surya_layout
25	7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā.	list_item via surya_layout
26	8. 'Kriyā' seems to stand for expressive rendering.	list_item via surya_layout
27	9. Karuņā and utsāha are two pervasive names that symbolise mādhurya	list_item via surya_layout
28	and ojas respectively (See Vol. III).	list_item via surya_layout
29	10. The text is mutilated at this point and a small portion on bhāṣāṅga	list_item via surya_layout
30	rāgas seems to have survived.	list_item via surya_layout
31	11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was	list_item via surya_layout
32	called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal	list_item via surya_layout
33	De).	list_item via surya_layout
34	12. Māngalī has been described as a bhāṣā in the preceding section.	list_item via surya_layout
35	13. Bhammāṇa is not known as a region.	list_item via surya_layout
36	14. 'Pulindikā' refers directly to the ethnic group known as the	list_item via surya_layout
37	pulindas.	list_item via surya_layout
38	15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj	list_item via surya_layout
39	II.2.3.203, but is said to be out of vogue and is not, therefore, described.	list_item via surya_layout
40	16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are	list_item via surya_layout
41	different.	list_item via surya_layout

vol_II_p067 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	117	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 200]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means - Mālavakaišika is related to madhyamagrāma on account of	main via surya_layout
5	being born of kaiśikī jāti. Ṣadja is the graha, aniśa and nyāsa. There is the	main via surya_layout
6	sparseness of dhaivata here. In usage, niṣāda is kākalī here and this (rāga) is	main via surya_layout
7	complete in svaras. Its application is prescribed in vipralambha-śṛṅgāra (love in separation). Vīra<sup>74</sup> and the	main via surya_layout
8	with sadja obtains. Ārohin is the varņa. Prasannamadhyama is the alankāra.	main via surya_layout
9	The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga)	main via surya_layout
10	and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in	main via surya_layout
11	songs comprised of svara and pada.	main via surya_layout
12	[The assignment of gramas to vesararagas]	section_header via surya_layout
13	Now the particular grāma of each one of the vesara (rāgas) is being shown -	main via surya_layout
14	Ţakkarāga, similarly sauvīra, ṭakkakaišika, boṭṭarāga and vesara-ṣāḍava are in the	main via surya_layout
15	one (grāma) called sadja.	annotation_inline parent ligne 14 via heuristic_height
16	(329)	annotation_inline parent ligne 14 via heuristic_height
17	Hindolaka, mālavapancama and mālavakaišika should be known to be born	main via surya_layout
18	of madhyamagrāma.	annotation_inline parent ligne 17 via heuristic_height
19	(330)	annotation_inline parent ligne 17 via heuristic_height
20	Thus have all the vesara(rāgas) been spoken of with their definitive	main via surya_layout
21	descriptions. They are known as vega-svaras 75 because the speed of svaras is	main via surya_layout
22	seen in them.	annotation_inline parent ligne 21 via heuristic_height
23	(331)	annotation_inline parent ligne 21 via heuristic_height
24	[ E. Sādhāraņa rāgas]	section_header via surya_layout
25	The śuddha, bhinna, gauḍa and similarly vegasvara (rāgas) have been spoken	main via surya_layout
26	of. Now I will speak of the seven sādhāraņa ones.	main via surya_layout
27	(332)	annotation_inline parent ligne 26 via heuristic_height
28	[Anu. 201]	editorial_bracket parent ligne 26 via heuristic_brackets
29	(Contention) Howdoes the sidhāraṇatva (commonness) of sādhāraṇa (rāgas)	main via surya_layout
30	come about? It is being answered. On account of being born of the gitis	main via surya_layout
31	pertaining to all the ragas that have been spoken of heretofore, there is their	main via surya_layout
32	sādhāraņatva (commonness); this comes about on account of their being sung in	main via surya_layout
33	the sādhāraṇa-giti. Similarly has said Kasyapa-	main via surya_layout
34	"Seven sādhāraņa (rāgas) have been said to be based in all the gitis."	main via surya_layout

vol_II_p044 LEFT — 47 lignes

L#	Texte OCR	Role auto
1	BRHADDEŠĪ	page_header via surya_layout
2	70	page_number via heuristic_pagenum
3	गां पा मां पा नी नी नी नी	table via surya_layout
4	(११)	table via surya_layout
5	(१२)	table via surya_layout
6	मापा मा परि गा गा गा गा	table via surya_layout
7	(१३)	table via surya_layout
8	नी नी पा धा नी गां गां गां	table via surya_layout
9	(१४)	table via surya_layout
10	नी नी नी नी नी नी नी	table via surya_layout
11	(१५)	table via surya_layout
12	मां मां धा नी सनि धा पा पा	table via surya_layout
13	(१६)	table via surya_layout
14	मां पां मां परिग गां गां गां गां	table via surya_layout
15	. ॥ [इति] गान्धारपञ्चमी ॥	editorial_bracket parent ligne 17 via heuristic_brackets
16	। म॥	annotation_inline parent ligne 17 via heuristic_height
17	[८, आन्ध्री]	section_header via surya_layout
18	१८३ आन्ध्र्यामंशा निरिगपा रिगयोर्निधयोस्तथा ।	main via surya_layout
19	अन्ध्रया(मङ्गा ? मंशा) निरू	main via surya_layout
20	सङ्गतिन्यासपर्यन्तमंशानुक्रमतो व्रजेत् ॥२१॥	main via surya_layout
21	षाडवं षड्जलोपेन मध्यमादिश्च मूर्छना ।	main via surya_layout
22	१८४ दिस्तु	annotation_inline parent ligne 21 via heuristic_short
23	पूर्वावत् तु कलातालविनियोगाः प्रकीर्तिताः ॥२२॥	main via surya_layout
24	१८५ ॰काल॰	annotation_inline parent ligne 23 via heuristic_markers
25	<sup>१८६</sup>अस्यामान्ध्र्यां गान्धारो न्यास: । अंशा एवापन्यासा: । <sup>१८७</sup>प्रस्तार: -	main via surya_layout
26	॰ मन्ध्र्यां	table via surya_layout
27	(१)	table via surya_layout
28	गारी री री री री री री	table via surya_layout
29	री गारी गारी री री री	table via surya_layout
30	(२)	table via surya_layout
31	(३)	table via surya_layout
32	री री गा गा री री मा मा	table via surya_layout
33	(8)	table via surya_layout
34	री गा सा धनि नीं नीं नीं नीं	table via surya_layout
35	(4)	table via surya_layout
36	नीं रीं नीं रीं धनि धनि पा पा	table via surya_layout
37	(६)	table via surya_layout
38	मा पा मा रिग गा गा गा गा	table via surya_layout
39	(७)	table via surya_layout
40	री री गा सम मा मा पा पा	table via surya_layout
41	(८)	table via surya_layout
42	मा पा मा रिग गा गा गा गा	table via surya_layout
43	(9)	table via surya_layout
44	धा नी गा गा गा गा गा गा	table via surya_layout
45	(१०)	table via surya_layout
46	पा पा मा रिग गा गा गा गा	table via surya_layout
47	The same of the same of the same of the same of the same of the same of the same of the same of the same of the same of	annotation_inline parent ligne 25 via heuristic_height

200 lignes a valider — change uniquement les roles incorrects.

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vol_II_p113 LEFT — 42 lignes

vol_II_p071 RIGHT — 36 lignes

vol_II_p166 RIGHT — 41 lignes

vol_II_p067 RIGHT — 34 lignes

vol_II_p044 LEFT — 47 lignes