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 21597). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p028 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	(vide)	annotation_inline parent ligne 4 via heuristic_height
2	39	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	applied without any svara forming an exception. Out of sixty-three (anisas),	main via surya_layout
5	nine amsas that pertain to the four jātis which are always complete, should	main via surya_layout
6	be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are	main via surya_layout
7	subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of	main via surya_layout
8	six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī	main via surya_layout
9	(and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there	main via surya_layout
10	are forty-seven anisas. That is thus -	main via surya_layout
11	Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī	main via surya_layout
12	(and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki	main via surya_layout
13	(becomes so) with sa - ga - pa.	annotation_inline parent ligne 12 via heuristic_height
14	(257)	annotation_inline parent ligne 12 via heuristic_height
15	[ Anu. 140]	editorial_bracket parent ligne 12 via heuristic_brackets
16	This means .....in the forty-seven anisas, the formation of ṣāḍava should	main via surya_layout
17	be carried out with the said svaras.	annotation_inline parent ligne 16 via heuristic_height
18	Now he (the author) shows the svaras that are not exceptional <math>^{53}</math> in the	main via surya_layout
19	formation of auduvita -	annotation_inline parent ligne 18 via heuristic_height
20	In the same way, those that are free from being exceptional are thirty	main via surya_layout
21	(amśa svaras that form) auduvita.	main via surya_layout
22	(258)	annotation_inline parent ligne 21 via heuristic_height
23	[Anu. 141]	editorial_bracket parent ligne 21 via heuristic_brackets
24	This means - in that way, those devoid of exception should be known to	main via surya_layout
25	be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to	main via surya_layout
26	the four jātis that are always complete (in which omission is not prescribed)	main via surya_layout
27	should be subtracted. After their subtraction, fifty-four amsas remain there.	main via surya_layout
28	There also out of fifty-four, twelve amsas of the four jātis that are always	main via surya_layout
29	complete and ṣāḍava, should be subtracted. After their subtraction, out of	main via surya_layout
30	forty-two (being the remainder), twelve anisas that do not form auduvita in	main via surya_layout
31	five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī,	main via surya_layout
32	should be subtracted. After their subtraction, the formation of auduvita	main via surya_layout
33	takes place with thirty amśa svaras that have been spoken of. Similarly has	main via surya_layout
34	said Bharata-	annotation_inline parent ligne 33 via heuristic_height

vol_II_p104 LEFT — 34 lignes

L#	Texte OCR	Role auto
1	(vide)	annotation_inline parent ligne 5 via heuristic_height
2	後継続(国際)できます。	annotation_inline parent ligne 5 via heuristic_height
3	190	page_number via heuristic_pagenum
4	BRHADDEŠĪ	page_header via surya_layout
5	[३. अथ मालवपञ्चमे]	section_header via surya_layout
6	विभाविनी तु १४पौराली वेगवन्ती तु पञ्चमी ।	main via surya_layout
7	पो पा पा	annotation_inline parent ligne 6 via heuristic_height
8	आन्ध्री गान्धारिका चैव षट् स्युर्मालवपञ्चमे ॥ १४॥	main via surya_layout
9	37	page_number via heuristic_pagenum
10	पञ्चमाद्यन्तसम्पूर्णा स्याद् देशजा विभाविनी ।	main via surya_layout
11	+ देशं भा (?)	annotation_inline parent ligne 10 via heuristic_height
12	गीयते केशरचनाकामिनीमितसङ्गमे १५॥ १५॥	main via surya_layout
13	॰िमति॰(?)	annotation_inline parent ligne 12 via heuristic_markers
14	<sup>१६</sup>[उदाहरणम्] – पनिनिमागारि सानिरिनिसारिगामापापामागारिसानिनिधानीनीधामापापा ।	editorial_bracket parent ligne 12 via heuristic_brackets
15	υo	annotation_inline parent ligne 12 via heuristic_height
16	विभाविनी।[१]	editorial_bracket parent ligne 12 via heuristic_brackets
17	..पौराली । [२]	editorial_bracket parent ligne 12 via heuristic_brackets
18	पञ्चमांशा तु सम्पूर्णा [ज्ञेया वेगवती शुभा] ।	editorial_bracket parent ligne 12 via heuristic_brackets
19	विभाषा १७करुणे दैन्यभूयिष्ठे चैव गीयते १८ ॥ १६॥	main via surya_layout
20	+ भाषाकरणे	annotation_inline parent ligne 19 via heuristic_height
21	चैवमुद्धारे	annotation_inline parent ligne 19 via heuristic_height
22	उदाहरणम् - पापानिधाधानि धागासासासानि धाधानिनिपा धामा । गागाधामा मापापाधा	main via surya_layout
23	नीसासारीगारी । सनिधापापा । वेगवती । [३]	editorial_bracket parent ligne 22 via heuristic_brackets
24	पञ्चमांशान्तसम्पूर्णा मूलभाषा तु पञ्चमी ।	main via surya_layout
25	पञ्चमार्ध तु	annotation_inline parent ligne 24 via heuristic_short
26	प्रगल्भमनसे गीते चैषा मालवपञ्चमे ॥ १७॥	main via surya_layout
27	उदाहरणम् – पापापामासा रिरिगानिनिधाधा धाधारिनिगारिमागरिनीधा पापापाधा पामामापा माधानिरिमा	main via surya_layout
28	गामागारी सासानिसानि धापापा । पञ्चमी । [४]	editorial_bracket parent ligne 27 via heuristic_brackets
29	॰मा	annotation_inline parent ligne 27 via heuristic_markers
30	मध्यमांशा पञ्चमान्ता भाषा स्यादान्ध्रदेशजा ।	main via surya_layout
31	भावनास्था घ्रुवेशजा	annotation_inline parent ligne 30 via heuristic_height
32	आन्ध्री तु विश्रुता लोके <sup>१९</sup>व्याधिदुष्टेषु गीयते ॥ १८॥	main via surya_layout
33	370	page_number via heuristic_pagenum
34	व्याधाः (?)	annotation_inline parent ligne 32 via heuristic_height

vol_I_p094 RIGHT — 45 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	annotation_inline parent ligne 3 via heuristic_height
2	171	page_number via heuristic_pagenum
3	musical training, even today the ākāra sound is given primary importance. (cf. DAI,	main via surya_layout
4	p. 46)	main via surya_layout
5	21, 22. This contention does not seem to fit in the context. The acceptance	list_item via surya_layout
6	of vowels beginning with ākāra out of the fourteen svaras (vowels) of language	list_item via surya_layout
7	does not carry further the argument that vowels and musical tones cannot be	list_item via surya_layout
8	equated. The number of vowels in language is twenty-one according to Pa Si	list_item via surya_layout
9	(4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā	list_item via surya_layout
10	Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra	list_item via surya_layout
11	quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our	list_item via surya_layout
12	author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri	list_item via surya_layout
13	ga ma pa dha ni combine only two vowels viz. a and i with the respective	list_item via surya_layout
14	consonants. Perhaps the author is hinting at the acceptance of these two vowels	list_item via surya_layout
15	out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au.	list_item via surya_layout
16	23. The gradual ascent of seven svaras in pitch seems to be implied.	list_item via surya_layout
17	24. There seems to be a break in the text; this sentence seems to be the	list_item via surya_layout
18	concluding remark of the whole discussion on the question of equating vowels	list_item via surya_layout
19	of language with musical tones both of which bear the same name viz. svara.	list_item via surya_layout
20	25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach	list_item via surya_layout
21	the proper interpretation or application of other rules or resolve the apparent	list_item via surya_layout
22	contradictions among other rules. This word also stands, in general, for	list_item via surya_layout
23	abbreviations or signs used in any discipline; the latter meaning is relevant here	list_item via surya_layout
24	as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra,	list_item via surya_layout
25	madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant .	list_item via surya_layout
26	work that uses solfa-syllables, the above discussion has a historical context.	list_item via surya_layout
27	26-33. The samvādin, anuvādin and vivādin svaras represent the relationship	list_item via surya_layout
28	of samvāda (roughly consonance), anuvāda (assonance) and vivāda	list_item via surya_layout
29	(dissonance) among svaras. A relationship pre-supposes two entities, rather two	list_item via surya_layout
30	ends in this case. The first one of these is the vādin or point of reference and	list_item via surya_layout
31	the second one is samvādin or anuvādin or vivādin according to the interval	list_item via surya_layout
32	concerned. This phenomenon of threefold relationships is associated with	list_item via surya_layout
33	pleasantness, indifference and unpleasantness which has been depicted here	list_item via surya_layout
34	with dual imagery viz. that of a logical discussion and governance. In an	list_item via surya_layout
35	assembly involved in logical discussion one person makes a postulation; the	list_item via surya_layout
36	vādin svara, playing the role of fundamental tone or tonic is like the person	list_item via surya_layout
37	who initiates a discussion. The samvadin is like a person who actively supports	list_item via surya_layout
38	the initial postulation. The anuvadin is like the person who passively supports	list_item via surya_layout
39	the postulation and the vivadin is like the one who opposes the postulation.	list_item via surya_layout
40	This imagery is inherent in the set of four musical terms that are under	list_item via surya_layout
41	reference here and have been handed down by tradition. The second imagery	list_item via surya_layout
42	of monarchial governance is an imposed one and occurs in our text for the first	list_item via surya_layout
43	time in extant texts. It has been mentioned in almost all later texts.	list_item via surya_layout
44	34. Here raga seems to stand for melodic configuration or melody-matrix,	list_item via surya_layout
45	rather than the delightfulness of musical sound in general.	list_item via surya_layout

vol_I_p057 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	97	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or,	main via surya_layout
4	saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus	main via surya_layout
5	(16)	annotation_inline parent ligne 4 via heuristic_height
6	is (ends) prasāda.	annotation_inline parent ligne 4 via heuristic_height
7	(Anu. 86)	annotation_inline parent ligne 4 via heuristic_height
8	(Pairs of) two svaras each moving to and fro in the order of ascent 53 and	main via surya_layout
9	descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari	main via surya_layout
10	riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari,	main via surya_layout
11	(17)	annotation_inline parent ligne 10 via heuristic_height
12	risa. Thus is (ends) udvāhita.	annotation_inline parent ligne 10 via heuristic_height
13	(Anu. 87)	annotation_inline parent ligne 10 via heuristic_height
14	This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being	main via surya_layout
15	repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha,	main via surya_layout
16	dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama,	main via surya_layout
17	(18)	annotation_inline parent ligne 16 via heuristic_height
18	maga maga, gari gari, risa risa. Thus is (ends) upalolaka.	main via surya_layout
19	(Anu. 88)	annotation_inline parent ligne 18 via heuristic_height
20	There, krama is that, where having reached the sthayin55 (steady) svara after	main via surya_layout
21	ascending in the svaras in successive order beginning with one, without any gap,	main via surya_layout
22	svaras are pronounced in the order of prastara, increasing one by one (in	main via surya_layout
23	successive phrases). This is not different from prastara, being identical in form.56	main via surya_layout
24	As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa,	main via surya_layout
25	sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa,	main via surya_layout
26	sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara	main via surya_layout
27	(gandhāra) and in the same order having ascended to the kākali (niṣāda) the	main via surya_layout
28	sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is	main via surya_layout
29	(19)	annotation_inline parent ligne 28 via heuristic_height
30	(ends) krama.	annotation_inline parent ligne 28 via heuristic_height
31	(Anu. 89)	annotation_inline parent ligne 28 via heuristic_height
32	Niṣkūjita is (formed) on having ascended (in the order of) first-third, then	main via surya_layout
33	second-fourth and others also in the same order. In the opinion of Kohala	main via surya_layout
34	niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga	main via surya_layout
35	(20)	annotation_inline parent ligne 34 via heuristic_height
36	rima gapa madha pani dhasa. Thus is (ends) nişküjita.	main via surya_layout

vol_I_p065 LEFT — 40 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	112	page_number via heuristic_pagenum
3	आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः ।	main via surya_layout
4	स्त्रिस्वरः	annotation_inline parent ligne 3 via heuristic_height
5	एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥	main via surya_layout
6	द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम्	main via surya_layout
7	₀हो₀ ₀तततोऽप<b>₀</b>	annotation_inline parent ligne 6 via heuristic_markers
8	समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥	main via surya_layout
9	समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि ।	main via surya_layout
10	₀द्यपरश्चतुःपरो (?) वापि	annotation_inline parent ligne 9 via heuristic_markers
11	आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥	main via surya_layout
12	स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः ।	main via surya_layout
13	₀कद्वयश्च	annotation_inline parent ligne 12 via heuristic_markers
14	क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥	main via surya_layout
15	.मनो.	annotation_inline parent ligne 14 via heuristic_height
16	(?)	main via surya_layout
17	आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः ।	editorial_bracket parent ligne 16 via heuristic_brackets
18	यः	annotation_inline parent ligne 16 via heuristic_height
19	समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥	main via surya_layout
20	•ला	annotation_inline parent ligne 19 via heuristic_height
21	<b>.</b>Ų.	main via surya_layout
22	आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र ।	main via surya_layout
23	बादा++वरोही	annotation_inline parent ligne 22 via heuristic_short
24	प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥	main via surya_layout
25	<b>ब्न्स्याकार</b>ु (२)	main via surya_layout
26	हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः ।	main via surya_layout
27	म्,	annotation_inline parent ligne 26 via heuristic_height
28	द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥	main via surya_layout
29	च ,मती(?)चतस्य	annotation_inline parent ligne 28 via heuristic_short
30	वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् ।	main via surya_layout
31	आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥	main via surya_layout
32	गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः ।	editorial_bracket parent ligne 31 via heuristic_brackets
33	,णां	annotation_inline parent ligne 31 via heuristic_height
34	एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥	main via surya_layout
35	.नीमा,	annotation_inline parent ligne 34 via heuristic_height
36	स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् ।	main via surya_layout
37	द् गाम्युरसि किचित् उदावेध ।।	main via surya_layout
38	₀र	annotation_inline parent ligne 37 via heuristic_markers
39	बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥	editorial_bracket parent ligne 37 via heuristic_brackets
40	,नाः	page_footer via surya_layout

189 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p028 RIGHT — 34 lignes

vol_II_p104 LEFT — 34 lignes

vol_I_p094 RIGHT — 45 lignes

vol_I_p057 RIGHT — 36 lignes

vol_I_p065 LEFT — 40 lignes