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 21549). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p032 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	47	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	The third (letter) of the eighth (group viz. 's') combined with the Hari-bija	main via surya_layout
4	<math>(a)^{71}</math> is the initial svara that the knowledgeable one in svara should draw out	main via surya_layout
5	with all effort.	annotation_inline parent ligne 4 via heuristic_short
6	(63)	main via surya_layout
7	The second (letter) of the seventh (group viz. 'r'), combined with kāmabīja	main via surya_layout
8	(viz. 'a'),72 know (that) as the second svara arising out of the brahmasthāna	main via surya_layout
9	(64)	annotation_inline parent ligne 8 via heuristic_short
10	(brahmagranthi).	main via surya_layout
11	The third (letter) of the second group (viz. 'g') combined with Viṣṇu - bīja,	main via surya_layout
12	(viz. 'a'), one should always draw out (this) svara which is attractive among the	main via surya_layout
13	(65)	annotation_inline parent ligne 12 via heuristic_short
14	various svaras.	main via surya_layout
15	The last (letter) of the sixth group, (viz. 'm') combined with the initial one	main via surya_layout
16	(viz. 'a') know it as madhyama, the indestructible (and)<sup>73</sup> best among svaras.	main via surya_layout
17	(66)	annotation_inline parent ligne 16 via heuristic_short
18	The first one of the same (sixth group, viz. 'p') combined with the first one	main via surya_layout
19	(viz. 'a'), know that as the beautiful svara, associated with the number (five) of	main via surya_layout
20	(67)	annotation_inline parent ligne 19 via heuristic_short
21	vyoma (space)<sup>74</sup> and born of the ostha (lip)<sup>75</sup> sthāna.<sup>76</sup>	main via surya_layout
22	The fourth (letter) of the fifth group (viz. 'dh') combined with the initial	main via surya_layout
23	one (viz. 'a'), one should draw out that excellent svara born of two bows.<sup>77</sup> (68)	main via surya_layout
24	The last (letter) of the fifth group (viz. 'n') differentiated by the end that is	main via surya_layout
25	other than akāra (viz. 'i') arising out of the brahma-sthāna78 (cerebral aperture)	main via surya_layout
26	is combined with 'high' sound.	main via surya_layout
27	(69)	annotation_inline parent ligne 26 via heuristic_short
28	Thus, this much has been shown as the svaroddhāra (analysis of svara-names)	main via surya_layout
29	(70 ab)	annotation_inline parent ligne 28 via heuristic_short
30	contained in agama.79	main via surya_layout
31	[ Assignment of community, colour and the like to svaras ]	section_header via surya_layout
32	Now I shall speak of the assignment of community, colour and the like (to	main via surya_layout
33	<math>(70 \text{ cd})</math>	main via surya_layout
34	svaras).	main via surya_layout
35	(i) Kula-Vamśa.	section_header via surya_layout
36	Şadja, gāndhāra and madhyama are born in the Kula 80 (community) of gods,	main via surya_layout
37	this svara pañcama is born in the lineage (vaṃśa)81 of manes (pitṛvaṃśa).	main via surya_layout
38	(71)	unknown via fallback
39	The two svaras ršabha and dhaivata are born in the lineage of rsis. The niṣāda	main via surya_layout
40	(72)	annotation_inline parent ligne 39 via heuristic_short
41	born in the community of demons, is called 'ni'.	main via surya_layout
42	(ii) Colours.	section_header via surya_layout
43	Ṣadja is of the colour of the lotus-petal, ṛṣabha is of the colour of parrot,	main via surya_layout
44	gāndhāra is goldenhued, madhyama is (white) like kunda (jasminum multi-	main via surya_layout
45	(73)	annotation_inline parent ligne 44 via heuristic_short
46	florum).	main via surya_layout

vol_II_p102 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	187	page_number via heuristic_pagenum
3	Illustration - Gāsānīdhadhānīsā nīsādhādhāmāmādhānīsā	main via surya_layout
4	māgāmā	annotation_inline parent ligne 3 via heuristic_height
5	dhādhāmāgāmānisāsā. Dohyā [v]	editorial_bracket parent ligne 3 via heuristic_brackets
6	Having niṣāda as amśa, ṣadja as the concluding note, being devoid of	main via surya_layout
7	pañcama svara, śārdūlī<sup>4</sup> bhāṣā in ṭakkarāga is weak in ṛṣabha.	main via surya_layout
8	(6)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration-<i>Nīninis</i>ā rīrīmārīrīpānidhāpānisāririmadhāmāridhānirisā.Sārdūlī [vi]	editorial_bracket parent ligne 7 via heuristic_brackets
10	Combined with ṣadja as the initial and concluding note, alaghvī is born of	main via surya_layout
11	a deśa (region), is complete (and) comes into being from takkarāga, which	main via surya_layout
12	is sung in one's own abode.	main via surya_layout
13	(7)	annotation_inline parent ligne 12 via heuristic_short
14	Illustration - Sasasas Dhasasasas เกิดเลือนที่เกิดเลือนที่สายสายสายสายสายสายสายสายสายสายสายสายสายส	main via surya_layout
15	sādhāgā risārisā nidhānisāsā. Alaghvī [vii]	editorial_bracket parent ligne 14 via heuristic_brackets
16	Thus end the <i>bhāṣās</i> in <i>ṭakkarāga</i> in the opinion of Sārdūla.	main via surya_layout
17	[2. Now in hindola]	section_header via surya_layout
18	Bhinnavalitikā, ravicandrā, bhinnapaurālī, drāviḍī, piūjarī (and) pārvatī-	main via surya_layout
19	these are the bhāṣās in hindolaka.	main via surya_layout
20	Having gāndhāra as ainsa, sadja as the concluding note, being hexatonic,	main via surya_layout
21	bereft of dhaivata, bhinnavalitā is sung in hindola by people in lonely places.<sup>6</sup>	main via surya_layout
22	(8)	annotation_inline parent ligne 21 via heuristic_height
23	Illustration - Gāgārī saninipā sanīpāpā panīsāsā . Gāsāni sāsāpānī sāgāmāpā	main via surya_layout
24	pลักโอลิเทลิรสิทิรนิ. Ninininīnī māgāgāsānīnī nīnīsīmāgāsā nisāsī. Bhinnavalitikā [i]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Having niṣāda as amśa ,ṣadja as the concluding note, being hexatonic,	main via surya_layout
26	omitting dhaivata, the bhāṣā ravicandrā is sung in hindola in due order.<sup>7</sup>	main via surya_layout
27	(9)	annotation_inline parent ligne 26 via heuristic_height
28	Illustration - Ninipāsā māgārīsāgārīsā sāsāmāmā gānininisāsāni sāsāni pāpā	main via surya_layout

vol_I_p065 RIGHT — 43 lignes

L#	Texte OCR	Role auto
1	113	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	Sampradana is said here to be in the order of a gap after each svara; 105 (it is)	main via surya_layout
4	like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in	main via surya_layout
5	(158)	annotation_inline parent ligne 4 via heuristic_height
6	due course. 107	annotation_inline parent ligne 4 via heuristic_height
7	Hasita (is known as such as it) is pronounced in a manner similar to	main via surya_layout
8	1	page_number via heuristic_pagenum
9	laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka	main via surya_layout
10	(159)	annotation_inline parent ligne 9 via heuristic_height
11	by the wise, being made up of gapless svaras.	main via surya_layout
12	(That which) ascends in gapless svaras like hasita with three or four svaras	main via surya_layout
13	(in each phrase) in ekakala 109 (form), should be known as one named hunkāra.	main via surya_layout
14	(160)	annotation_inline parent ligne 13 via heuristic_height
15	Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is	main via surya_layout
16	catușkala<sup>111</sup> (with four kalās) (and) comes back in two svaras after ascending	main via surya_layout
17	(161)	annotation_inline parent ligne 16 via heuristic_height
18	another sthana (register).	annotation_inline parent ligne 16 via heuristic_height
19	1	page_number via heuristic_pagenum
20	In the beginning, after having pronounced a pada 112 (syllabic unit) where	main via surya_layout
21	there is a short varna 113 (?) composed of two svaras and (which) ascends in one	main via surya_layout
22	(162)	annotation_inline parent ligne 21 via heuristic_height
23	kalā (phrase) without a gap that is vidhuta.	main via surya_layout
24	In the beginning it is arohin; (like) prastara where there is descent	main via surya_layout
25	according to definite measure (pramāṇa),114 that is said to be udgīta alankāra.	main via surya_layout
26	(163)	annotation_inline parent ligne 25 via heuristic_height
27	One should ascend (in) gapless svaras like hunkāra in the other two kalās	main via surya_layout
28	(phrases) there are two svaras each that are shaking 115 and then there are two	main via surya_layout
29	(164)	annotation_inline parent ligne 28 via heuristic_height
30	lower svaras.	annotation_inline parent ligne 28 via heuristic_height
31	Thus should be known gatravarna in the prescription (vidhi) of varna and	main via surya_layout
32	alankāra. With ākāra 116 and okāra other long syllables should also be combined.	main via surya_layout
33	(165)	annotation_inline parent ligne 32 via heuristic_height
34	ı	annotation_inline parent ligne 32 via heuristic_height
35	Thus has been indicated the prescription about alankarana (ornamentation	main via surya_layout
36	or the act of 'making adequate') pertaining to the alankara of gita (melodic	main via surya_layout
37	rendering). The giti musical rendering should be ornamented with these	main via surya_layout
38	(166)	annotation_inline parent ligne 37 via heuristic_height
39	without conflicting with the varna.117	main via surya_layout
40	One should 'do' (use) an alankāra at the proper place; one should not tie	main via surya_layout
41	the kānci (ornament for the waist) on the bosom. There could be many	main via surya_layout
42	(167)	annotation_inline parent ligne 41 via heuristic_height
43	alankāras, they should not be used without varņa.118	main via surya_layout

vol_II_p049 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	81	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[The opinion of Bharata]	section_header via surya_layout
4	"The first one should be known as māgadhī and the second one as	main via surya_layout
5	ardhamāgadhī, sambhāvitā is the third one and the fourth is known as pṛthulā."	main via surya_layout
6	(NŚ Chau. XXIX. 77)	main via surya_layout
7	[Thus ends the opinion of Bharata]	section_header via surya_layout
8	[The opinion of Yāṣṭika]	section_header via surya_layout
9	Bhāṣā and vibhāṣā and similarly antarabhāṣā are the three gītis spoken of by	main via surya_layout
10	the noble Yāstika.	annotation_inline parent ligne 9 via heuristic_short
11	(272)	main via surya_layout
12	Thus ends the opinion of Yāṣṭika.	section_header via surya_layout
13	[ The opinion of Kasyapa and Śārdūla]	section_header via surya_layout
14	Bhāṣāgīti and vibhāṣā have been spoken of even by Kaśyapa. Similarly,	main via surya_layout
15	bhāṣāgīti alone is accepted in the opinion of Śārdūla.	main via surya_layout
16	(273)	main via surya_layout
17	[ The description of gītis]	section_header via surya_layout
18	Now I shall speak of the proper definition of giti.	main via surya_layout
19	(274)	main via surya_layout
20	[1. Šuddhā gīti]	section_header via surya_layout
21	The cokṣa (suddhā) gīti is spoken of as being complete (pūrṇa) with mandra	main via surya_layout
22	(low), amandra (not low, medium), tāra (high)straight, attractive, equal	main via surya_layout
23	svaras and śrutis.	annotation_inline parent ligne 22 via heuristic_short
24	(275)	main via surya_layout
25	[2. Bhinnāgīti]	section_header via surya_layout
26	Bhinnā gīti is said to be with sūkṣma<sup>14</sup> (short in time), mobile, curved,	main via surya_layout
27	ullāsita (made to shine upwards), prasārita (spread out), attractive, high and	main via surya_layout
28	low (svaras).	annotation_inline parent ligne 27 via heuristic_short
29	(276)	main via surya_layout

vol_II_p071 LEFT — 32 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĨ	page_header via surya_layout
2	124	page_number via heuristic_pagenum
3	[अनु॰ २१०]	section_header via surya_layout
4	अस्यार्थ: - पञ्चमषाडव: १०७षड्जग्रामसम्बन्ध: । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो	main via surya_layout
5	॰( ঘ:)	annotation_inline parent ligne 4 via heuristic_markers
6	न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ	editorial_bracket parent ligne 4 via heuristic_brackets
7	॰(जी?दी)	annotation_inline parent ligne 4 via heuristic_markers
8	(स्र?कृ)॰	annotation_inline parent ligne 4 via heuristic_markers
9	विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला,	main via surya_layout
10	चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
11	[९.रेवगुप्त:]<sup>१०९</sup>	section_header via surya_layout
12	ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा ।	main via surya_layout
13	(₹)	annotation_inline parent ligne 12 via heuristic_height
14	आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित: ॥३४०॥	main via surya_layout
15	[अन्॰ २११]	section_header via surya_layout
16	अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि	main via surya_layout
17	षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव	main via surya_layout
18	च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ विनियोग: ।	main via surya_layout
19	वीरादिरस:।	annotation_inline parent ligne 18 via heuristic_short
20	॰(जी?दी)	annotation_inline parent ligne 18 via heuristic_markers
21	ऋषभादिमूर्छना । आरोही वर्ण: प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला ।	main via surya_layout
22	चच्चत्पुटादिताल:। ११०	main via surya_layout
23	[१०. टक्सैन्धवः]	section_header via surya_layout
24	स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:।	main via surya_layout
25	षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥	main via surya_layout
26	[अनु २१२]	section_header via surya_layout
27	[अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य	editorial_bracket parent ligne 26 via heuristic_brackets
28	ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् ।	main via surya_layout
29	ग्रहोंऽशो न्यासश्च ।	main via surya_layout
30	॰(रेष ? चै)	annotation_inline parent ligne 29 via heuristic_markers
31	(चित्रे ? चात्र)	annotation_inline parent ligne 29 via heuristic_height
32	210	page_number via heuristic_pagenum

178 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p032 RIGHT — 46 lignes

vol_II_p102 RIGHT — 28 lignes

vol_I_p065 RIGHT — 43 lignes

vol_II_p049 RIGHT — 29 lignes

vol_II_p071 LEFT — 32 lignes