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 21647). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

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_p018 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	18	page_number via heuristic_pagenum
2	BRHADDESI	page_header via surya_layout
3	[ श्रुति-स्वर-सम्बन्धमधिकृत्य पञ्च विकल्पाः, तेषां दूषणं च ]	editorial_bracket parent ligne 4 via heuristic_brackets
4	इदानी श्रुतीनां तादात्म्यादिविकल्पः कथ्यते—	main via surya_layout
5	तादातम्यं च विवर्तत्वं कार्यत्वं परिणामिता।	main via surya_layout
6	अभिव्यञ्जकता चापि श्रुतीनां परिकथ्यते ॥२८॥	main via surya_layout
7	57कल्प्यते	annotation_inline parent ligne 6 via heuristic_short
8	इदानीमेतदेव विवृणोति—	main via surya_layout
9	विशेषस्पर्शशून्यत्वाच्छ्रवणेन्द्रियग्राह्ययोः 58।	main via surya_layout
10	<sup>59</sup>गम्य ०ताः	main via surya_layout
11	स्वरश्रुत्योस्तु तादात्म्यं जातिव्यक्त्योरिवानयोः ॥२९॥	main via surya_layout
12	<del>هُ (10</del>	annotation_inline parent ligne 11 via heuristic_height
13	नराणां च मुखं यद्वद्दर्पणे तु विवर्तितम्।	main via surya_layout
14	614	page_number via heuristic_pagenum
15	ुते6≥	annotation_inline parent ligne 13 via heuristic_height
16	प्रतिभाति स्वरस्तद्वच्छुतिष्वेव विवर्तितः॥३०॥	main via surya_layout
17	०न्ति<sup>63</sup> ०रा<sub>०</sub>64	main via surya_layout
18	65 ल :	annotation_inline parent ligne 17 via heuristic_height
19	स्वराणां श्रुतिकार्यत्वमिति केचिद् वदन्ति हि।	main via surya_layout
20	श्रुतीना	annotation_inline parent ligne 19 via heuristic_short
21	मृत्पिण्डदण्डकार्यत्वं घटंस्येह यथा भवेत्।।३१।।	main via surya_layout
22	व67	annotation_inline parent ligne 21 via heuristic_height
23	श्रुतयः स्वररूपेण परिणमन्ति न संशयः ।	main via surya_layout
24	68परिणाम	annotation_inline parent ligne 23 via heuristic_height
25	व्रजन्ति हि	main via surya_layout
26	भजन्ति ५९	annotation_inline parent ligne 25 via heuristic_height
27	परिणमेद्यथा क्षीरं दिधरूपेण सर्वथा।।३२।।	main via surya_layout
28	षड्जादयः स्वराः सप्त व्यज्यन्ते श्रुतिभिः सदा।	main via surya_layout
29	अन्धकारस्थिता यद्वत् प्रदीपेन घटादयः ॥ ३३॥	main via surya_layout
30	इति तावन्मया प्रोक्तं श्रुतीनां च विकल्पनम्।	main via surya_layout
31	इदानी संप्रवक्ष्यामि विकल्पस्य च दूषणम्।।३४।।	main via surya_layout
32	भेदः ७०स्वलक्षणानां सामान्येनान्यवस्तुवत् सिद्धः।।	main via surya_layout
33	स्वर्	annotation_inline parent ligne 32 via heuristic_height
34	तिद्धं विशेषैः शून्यं भवति नभःपुष्पसङ्काशम्॥३५॥	main via surya_layout
35	<sup>71</sup>विशेषस्तु भवति पुनः	main via surya_layout
36	स₀	annotation_inline parent ligne 35 via heuristic_markers

vol_II_p065 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	113	page_number via heuristic_pagenum
3	[5. Boţţa-rāga]	section_header via surya_layout
4	Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī,	main via surya_layout
5	has pañcama as its amsa and madhyama as the concluding note.	main via surya_layout
6	(324)	annotation_inline parent ligne 5 via heuristic_height
7	[Anu. 196]	section_header via surya_layout
8	This means-bottarāga is related to ṣaḍjagrāma on account of being born of	main via surya_layout
9	şadjamadhyamā and pancamī jātis. Although it is born of two jātis arising out	main via surya_layout
10	of the two grāmas, yet it is related to sadjagrāma because of pañcama being	main via surya_layout
11	comprised of four śrutis. Pañcama is the graha and aniśa, madhyama the nyāsa.	main via surya_layout
12	There is sparseness of niṣāda and gāndhāra. Niṣāda is kākalī here and this	main via surya_layout
13	(rāga) is complete in svaras. Its application is prescribed in festivities.	main via surya_layout
14	Śānta<sup>69</sup> and the like is the rasa. The mūrchanā beginning with paūcama	main via surya_layout
15	obtains. Ārohin is the varņa. Prasannānta is the alankāra. The kalā is formed	main via surya_layout
16	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), and the kalā	main via surya_layout
17	prevails in the citra (mārga). A tāla like caccatpuţa obtains in songs comprised	main via surya_layout
18	of svara and pada.	annotation_inline parent ligne 17 via heuristic_height
19	[6. Hindola]	section_header via surya_layout
20	Hindolais combined with ṣaḍja as amśa and nyāsa, is devoid of dhaivata and	main via surya_layout
21	ṛṣabha and is formed with jātis excepting dhaivatī and ārṣabhī, in drama.	main via surya_layout
22	(325)	annotation_inline parent ligne 21 via heuristic_height
23	[Anu. 197]	section_header via surya_layout
24	This means -hindolaka is related to madhyamagrāma. (Contention) Its	main via surya_layout
25	relation with the two grāmas alone is proper on account of its being born of	main via surya_layout
26	all the jātis (of both the grāmas) bearing the names of svaras excluding	main via surya_layout
27	dhaivatī and ārṣabhī and carrying the residue of relationship with ṣaḍjagrāma.	main via surya_layout
28	Why is it said to be based on madhyamagrāma? (Answer) On account of its	main via surya_layout
29	being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone	main via surya_layout
30	is justified because authorities like Bharata and Kohala have treated the	main via surya_layout
31	omission of dhaivata and ṛṣabha in ṣadjagrāma as undesirable.70	main via surya_layout
32	Some hold that it is based in sadjagrāma alone because pañcama comprised	main via surya_layout
33	of four śrutis is obtained here. The inomissibility of dhaivata should be	main via surya_layout
34	viewed only with respect to tāna and does not hold good everywhere. This	main via surya_layout
35	is improper. If this be so, then there would be no distinction between grāma	main via surya_layout
36	and mürchanā<sup>71</sup>	annotation_inline parent ligne 35 via heuristic_height
37	,	annotation_inline parent ligne 35 via heuristic_height

vol_I_p044 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BRHADDESI	page_header via surya_layout
2	70	page_number via heuristic_pagenum
3	अग्निचिद् द्वादशाहश्च उपाशुः सोम एव च।	main via surya_layout
4	<b>43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।।</b>	main via surya_layout
5	•ग्राहोद्वही•	annotation_inline parent ligne 4 via heuristic_short
6	॥ इति ऋषभहीनताननामानि ॥	editorial_bracket parent ligne 4 via heuristic_brackets
7	सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज्ञकः।	main via surya_layout
8	स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।।	main via surya_layout
9	०श्च	annotation_inline parent ligne 8 via heuristic_height
10	॰पा	annotation_inline parent ligne 8 via heuristic_markers
11	ুখৰ	annotation_inline parent ligne 8 via heuristic_height
12	।। इति गान्धारहीनताननामानि ॥	list_item via surya_layout
13	।। इति मध्यमग्राम एकविंशतिः षाडवताननामानि ।।	list_item via surya_layout
14	।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।।	list_item via surya_layout
15	इडा पुरुषमेधश्च श्येनो वज्र•ः इषुस्तथा।	main via surya_layout
16	•इस्यः	annotation_inline parent ligne 15 via heuristic_height
17	यज्ञ	annotation_inline parent ligne 15 via heuristic_height
18	अङ्गिराः ४०कस्क्रुसंज्ञश्च षड्जग्रामेऽपि चौडुवाः ॥१११॥	main via surya_layout
19	क्स.	annotation_inline parent ligne 18 via heuristic_height
20	॥ इति षड्जपञ्चमहीनताननामानि ॥	editorial_bracket parent ligne 18 via heuristic_brackets
21	अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः।	main via surya_layout
22	47ज्योतिः	annotation_inline parent ligne 21 via heuristic_height
23	দূ	annotation_inline parent ligne 21 via heuristic_height
24	अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥	main via surya_layout
25	की लो	annotation_inline parent ligne 24 via heuristic_height
26	॥ इति गान्धारनिषादहीनताननामानि ॥	editorial_bracket parent ligne 24 via heuristic_brackets
27	सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा।	main via surya_layout
28	ुक्ति	annotation_inline parent ligne 27 via heuristic_height
29	भा	annotation_inline parent ligne 27 via heuristic_height
30	काच	annotation_inline parent ligne 27 via heuristic_height
31	वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥	main via surya_layout
32	।। इति पञ्चमर्षभहीनताननामानि ॥	main via surya_layout
33	।। इति षड्जग्राम औडुवितताननामानि एकविंशतिः।।	main via surya_layout

vol_II_p024 LEFT — 33 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	30	page_number via heuristic_pagenum
3	[अनु॰ १३२]	editorial_bracket parent ligne 4 via heuristic_brackets
4	८१ अस्मद्गुरुमते ऋषभस्तावदपन्यासो भवति । अनंशत्वात् कैश्चित् पुनः अंशवद्	main via surya_layout
5	ऋषभोऽप्यपन्यासः स्वीकृतः।	main via surya_layout
6	(वृ?म्र)	annotation_inline parent ligne 5 via heuristic_height
7	पञ्चमो बलवानस्यां स्यात्रिषादस्तथैव च ४२	main via surya_layout
8	न स्यात्	annotation_inline parent ligne 7 via heuristic_height
9	अंशवच्च ग्रहा ज्ञेया[:] सर्वासामेव नित्यश: ॥२३८॥	editorial_bracket parent ligne 7 via heuristic_brackets
10	८३∞स्तासां	main via surya_layout
11	[६. जातीनां गणनिर्देश:]	section_header via surya_layout
12	सर्वासामेव जातीनां त्रिजातिस्तु गणः स्मृतः ।	main via surya_layout
13	(षष्टि? जाति)	annotation_inline parent ligne 12 via heuristic_height
14	लक्षणात् स च विज्ञेयो वर्धमानस्वरो बुधै: ॥२३९॥	main via surya_layout
15	<sup>८४</sup>ते च सप्त गणा ज्ञेया	annotation_inline parent ligne 14 via heuristic_height
16	नः गा	annotation_inline parent ligne 14 via heuristic_height
17	एकस्वरो द्विस्वरश्च त्रिस्वरश्च चतुःस्वरः।	main via surya_layout
18	पञ्चस्वरश्चतुर्धा च एकधा सप्तषट्स्वरौ<sup>८६</sup>॥२४०॥	main via surya_layout
19	स्यादेकधा<sup>८५</sup> ·	main via surya_layout
20	न्सः	annotation_inline parent ligne 19 via heuristic_height
21	[अनु॰ १३३]	editorial_bracket parent ligne 19 via heuristic_brackets
22	अस्यार्थ: -त्रिजातिको गण इति संख्यानिदर्शनम्, तत्रैकस्वरांशास्तिस्न: -	main via surya_layout
23	(गु?ग)	annotation_inline parent ligne 22 via heuristic_height
24	ः मध्यमोदीच्यवा, गान्धारपञ्चमी, नन्दयन्ती चेति । प प प ।	main via surya_layout
25	द्विस्वरांशास्तिस्तः - धैवती, गान्धारोदीच्यवा, पञ्चमी चेति । धरि, सम, परि ।	main via surya_layout
26	त्रिस्वरांशास्तिस्न: - आर्षभी, नैषादी, षड्जकैशिकी चेति । धनिरि, गरिनि, सगप ।	main via surya_layout
27	(प:?पा:)	annotation_inline parent ligne 26 via heuristic_height
28	सास	annotation_inline parent ligne 26 via heuristic_height
29	चतुःस्वरांशास्तिस्न: -षड्जोदीच्यवत्यान्ध्री कार्मारवी चेति। समधनि, रिगपनि, ८७परिधनि	main via surya_layout
30	(त्य?त्या)	annotation_inline parent ligne 29 via heuristic_height
31	पञ्चस्वरांशाश्चतस्तः - षाड्जी, गान्धारी, रक्तगान्धारी, मध्यमा चेति । सगमपंध, सगमपनि,	main via surya_layout
32	पड् (ज? जा)	main via surya_layout
33	Sec. 15.	unknown via fallback

184 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p094 RIGHT — 45 lignes

vol_I_p018 LEFT — 36 lignes

vol_II_p065 RIGHT — 37 lignes

vol_I_p044 LEFT — 33 lignes

vol_II_p024 LEFT — 33 lignes