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)	—

vol_II_p168 RIGHT — 42 lignes

L#	Texte OCR	Role auto
1	VIMARŠA	page_header via surya_layout
2	319	page_number via heuristic_pagenum
3	57. Ratigana is fourfold and is composed of two syllables each – SS, IS,	list_item via surya_layout
4	SI, II.	list_item via surya_layout
5	58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure	list_item via surya_layout
6	of a composition respectively.	list_item via surya_layout
7	60. Twice Rudra would mean <math>11 \times 2 = 22</math>.	list_item via surya_layout
8	61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables.	list_item via surya_layout
9	62. Here only the number of syllables is regulated and not their long	list_item via surya_layout
10	and short order.	list_item via surya_layout
11	63. Alaghu - that which is not laghu or short.	list_item via surya_layout
12	64. No regulation of the order of long and short syllables is	list_item via surya_layout
13	prescribed.	list_item via surya_layout
14	65. See notes 46, 52.	list_item via surya_layout
15	66. 'Yati' is a word that stands for splitting or pause in metre. In tāla,	list_item via surya_layout
16	yati means the order or sequence of layas. Here the first meaning seems to	list_item via surya_layout
17	be relevant.	list_item via surya_layout
18	67. This is again a reference to Matanga within the text. See note 3.	list_item via surya_layout
19	68. Samā yati is that where one and the same laya is sustained from	list_item via surya_layout
20	the beginning to the end.	list_item via surya_layout
21	69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī	list_item via surya_layout
22	beginning with 'avinayamapanaya viṣṇo' is well - known.	list_item via surya_layout
23	70. Srotogatā yati is that where there is slow laya in the beginning	list_item via surya_layout
24	followed by fast, like the source of a river that gradually gains speed in its	list_item via surya_layout
25	current. Samā has been explained in note 68.	list_item via surya_layout
26	71. Gopucchā yati is the opposite of srotogatā; it is fast in the	list_item via surya_layout
27	beginning and gradually becomes slow, like the end of the cow's tail which	list_item via surya_layout
28	is first thin and then ends up with a thick bunch of hair.	list_item via surya_layout
29	72. See note 46.	list_item via surya_layout
30	73. 'Varṇadhvani' would literally mean 'the sound of syllables';	list_item via surya_layout
31	perhaps the contrast of a cluster of syllables in song, followed by a text-free	list_item via surya_layout
32	tonal rendering is implied.	list_item via surya_layout
33	74. Mūrchanā is not known as a kind of gamaka. The combination of	list_item via surya_layout
34	'mūrchanā' with gamaka requires further investigation.	list_item via surya_layout
35	75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly	list_item via surya_layout
36	present Karnataka), Gauda (roughly present Bengal), Andhra (roughly	list_item via surya_layout
37	present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the	list_item via surya_layout
38	regions selected for description of types of elā prabandha. Important	list_item via surya_layout
39	omissions are <i>Pāṇcāla, Avantī</i> or <i>Mālavā, Vidarbha</i> etc. SR also mentions only	list_item via surya_layout
40	the above five regions in this context.	list_item via surya_layout
41	80,81. The description of the regional specialities in the use of rhyme	list_item via surya_layout
42	and alliteration is interesting indeed.	list_item via surya_layout

vol_I_p035 LEFT — 29 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚI	page_header via surya_layout
2	52	page_number via heuristic_pagenum
3	एतदुक्तं भवति—	main via surya_layout
4	"द्वौ ग्रामौ विश्रुतौ लोके षड्जमध्यमसंज्ञितौ।"	main via surya_layout
5	•जकी?	annotation_inline parent ligne 4 via heuristic_height
6	[ अनु. ३३ ]	editorial_bracket parent ligne 4 via heuristic_brackets
7	ननु कथं द्वावेव ग्रामौ ? उच्यते— इह हि द्विस्वरप्रयोगमूलप्रयोगवशाद्	main via surya_layout
8	द्वौ ग्रामावुपन्यस्तौ।	main via surya_layout
9	गण्णातिभः श्रुतिभिष्टचैव स्वरा ग्रामत्वमागताः”।	main via surya_layout
10	[ अनु. ३४ ]	editorial_bracket parent ligne 9 via heuristic_brackets
11	तत्र जातिभिः शुद्धाभिर्विकृताभिष्टच श्रुतिभिष्टच। तस्मात् शुद्धासु जातिषु	main via surya_layout
12	<b>ंभिः श्रुतिभिष्टच</b> नातिकाभिः	main via surya_layout
13	विकृतासु च ये स्वराः सन्ति तेषां स्वराणां श्रुतिवैकल्यात् किञ्च-	main via surya_layout
14	怀	annotation_inline parent ligne 13 via heuristic_height
15	स्या	annotation_inline parent ligne 13 via heuristic_height
16	दुत्कर्षापकर्षाभ्यां संकीर्णत्वेन च स्वरा ग्रामत्वमागताः। तत्र शुद्धाभिः।।	main via surya_layout
17	षड्जो विकृताभिर्मध्यम इति द्वाभ्यां च संकीर्णा जाताः ताभ्यो रागसम्भव	main via surya_layout
18	इति। ग्रामान्यत्वाज्जातिरागान्यत्वम्।	main via surya_layout
19	[ इति ग्रामनिरूपणम् ]	editorial_bracket parent ligne 18 via heuristic_brackets
20	[ मूर्छना-निरूपणम् ]	section_header via surya_layout
21	[ अनु. ३५ ]	editorial_bracket parent ligne 20 via heuristic_brackets
22	इदानीमवसरप्राप्ता मूर्छनाः कथ्यन्ते। ननु मूर्छनाशब्दस्य व्युत्पत्ति [ : ]	editorial_bracket parent ligne 20 via heuristic_brackets
23	ंमिव स्वराः	annotation_inline parent ligne 20 via heuristic_height
24	कीदृशी ? लक्षणं च कीदृशं तस्य ? उच्यते — मूर्छनाव्युत्पत्तिः मूर्छ्	main via surya_layout
25	मूर्खा	annotation_inline parent ligne 24 via heuristic_short
26	मोहसमुच्छ्राययोः।12	main via surya_layout
27	मूर्छ्यते येन रागो हि मूर्छनेत्यभिसंज्ञिता।।९०॥	main via surya_layout
28	र्घ (?)	annotation_inline parent ligne 27 via heuristic_height
29	(vide)	unknown via fallback

vol_II_p063 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	. ..... ... ... .......................	annotation_inline parent ligne 5 via heuristic_height
2	r .	annotation_inline parent ligne 5 via heuristic_height
3	TRANSLATION	page_header via surya_layout
4	109	page_number via heuristic_pagenum
5	[D. The rāgas pertaining to rāga-gīti or vesarā-gīti]	section_header via surya_layout
6	[Anu. 190]	editorial_bracket parent ligne 5 via heuristic_brackets
7	(Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On	main via surya_layout
8	account of the statement by the authorities. Similarly has said Kaśyapa -	main via surya_layout
9	"Where the raga that is attractive in all the four varnas, is seen in its totality,	main via surya_layout
10	they are known as rāgas."	main via surya_layout
11	[Anu. 191]	section_header via surya_layout
12	In the opinion of Durgaśakti , 'rāgas' themselves are known as being	main via surya_layout
13	'vesara'. Thus has said Durgaśakti -	main via surya_layout
14	"Vesaras are known to be so because the svaras move with speed."	main via surya_layout
15	In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account	main via surya_layout
16	of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion	main via surya_layout
17	of Kasyapa, on the other hand, takkarāga alone is prominent on account of	main via surya_layout
18	being gratifying to Laksmi.65 That is thus -	main via surya_layout
19	[1. Takkarāga]	section_header via surya_layout
20	Takkarāga is combined with şadja as amśa and nyāsa and is weak in	main via surya_layout
21	pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause.	main via surya_layout
22	(320)	main via surya_layout
23	[Anu. 192]	section_header via surya_layout
24	This means—takkarāga is related to ṣaḍjagrāma on account of being born of	main via surya_layout
25	dhaivatī and ṣadjamadhyamā. Ṣadja is its graha, aniśa and nyāsa. There is the	main via surya_layout
26	sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here	main via surya_layout
27	and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta	main via surya_layout
28	are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa.	main via surya_layout
29	Prasannānta is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā	main via surya_layout
30	obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like	main via surya_layout
31	caccatputa obtains in the songs comprised of svara and pada.	main via surya_layout
32	[2. Sauvīra]	section_header via surya_layout
33	Şadjais the amśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra	main via surya_layout
34	and niṣāda also is weak.	main via surya_layout
35	(321)	main via surya_layout

vol_II_p067 LEFT — 30 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	116	page_number via heuristic_pagenum
3	[अनु॰ २००]	editorial_bracket parent ligne 4 via heuristic_brackets
4	अस्यार्थ: -मालवकैशिको मध्यमग्रामसम्बन्ध: कैशिकीजातेर्जातत्वात् । षड्जो ग्रहोंऽशो	main via surya_layout
5	न्यासश्च । धैवतस्यात्राल्पत्वम् । प्रयोगे निषादोऽत्र काकली । पूर्णस्वरश्चायम् । <sup>८७</sup>विप्रलम्भे शृङ्गारे	main via surya_layout
6	प्रयोगो	annotation_inline parent ligne 5 via heuristic_height
7	काकलि:	annotation_inline parent ligne 5 via heuristic_height
8	चास्य विनियोगः। वीरादिको रसः। षड्जादिमूर्छना । आरोही वर्णः । अलङ्कारः प्रसन्नमध्यमः ।	main via surya_layout
9	दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
10	[वेसराणां ग्रामविभाग:]	section_header via surya_layout
11	इदानीं वेसराणां ग्रामविशेषो दर्श्यते -	main via surya_layout
12	दुश्यते	annotation_inline parent ligne 11 via heuristic_height
13	टक्करागश्च सौवीरस्तथा वै टक्ककेशिक:।	main via surya_layout
14	बोट्टरागश्च षड्जाख्ये भवेद् वेसरषाडव: ॥ ३२९॥	main via surya_layout
15	हिन्दोलकस्तु विज्ञेयो मध्यमग्रामसम्भव:।	main via surya_layout
16	मालवपञ्चमश्चैव मालवकैशिकस्तथा ॥ ३३०॥	main via surya_layout
17	इति वेसरकाः प्रोक्ताः सर्वे निश्चितलक्षणाः।	main via surya_layout
18	स्वराणां दृश्यते वेगस्तेन वेगस्वरा: स्मृता: ॥३३१॥	main via surya_layout
19	[ङ. साधारणरागा:]	section_header via surya_layout
20	शुद्धा भित्राश्च गौडाश्च तथा वेगस्वरा: परे ।	main via surya_layout
21	<sup>८८</sup>कथिता: साम्प्रतं <sup>८९</sup>वक्ष्ये सप्त साधारणांस्तत: ॥३३२॥	main via surya_layout
22	कथिता यत्र तान्	main via surya_layout
23	[अनु॰ २०१]	section_header via surya_layout
24	ननु साधारणानां कथं साधारणत्वम् ? उच्यते । पूर्वोक्तानां सर्वेषां रागाणां या गीतयस्ताभिर्जायमान-	main via surya_layout
25	(র্জী/র্জা)	annotation_inline parent ligne 24 via heuristic_height
26	॰मां	annotation_inline parent ligne 24 via heuristic_markers
27	त्वात् तेषां साधारणत्वम् ,एतत् साधारणगीत्या गीयमानत्वात् । तथा चाह कश्यप: -	main via surya_layout
28	(র্জী?র্জা)	annotation_inline parent ligne 27 via heuristic_height
29	‘‘सप्त साधारणा: प्रोक्ता: <sup>९०</sup>सर्वगीतिसमाश्रया: ।’’	main via surya_layout
30	पञ्च	annotation_inline parent ligne 29 via heuristic_height

vol_II_p091 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	165	page_number via heuristic_pagenum
3	Having ṛṣabha as amśa, pancama as the concluding note, it should be	main via surya_layout
4	known to be weak in sadja. It should always be performed with the kākalī	main via surya_layout
5	form of niṣāda. This vibhāṣā is known to be sādhāraṇakṛtā by the	main via surya_layout
6	knowledgeable ones in music. Āndhālī is well-known among the	main via surya_layout
7	people<sup>42</sup> and is the favourite of <i>Kinnaras</i>.<sup>43</sup>	main via surya_layout
8	<math>(97-98)</math>	main via surya_layout
9	Illustration - Rīmāpāpādhādhādhādhāpā dhādhāsāpāpāpādhāninipā	main via surya_layout
10	päsäpädhäpäpäpämarimaridhädhäpadhapasidhädhäpäpädhadhapadhapädhäpä	main via surya_layout
11	pāmāririsādhāpāpā pāmapadhamamāriridhādhapapāpa, Māmādhapapāpamama-	main via surya_layout
12	ririmapāpādha pāpāpadhapadhasīsīrigaridhapāpāpā, Andhālī [vii]	editorial_bracket parent ligne 11 via heuristic_brackets
13	Having sparse <i>ṛṣabha</i>, <i>madhyama</i> as <i>aṁśa</i> , combined with <i>pañcama</i> as	main via surya_layout
14	nyāsa, there being concert between madhyama-dhaivata, abundance of	main via surya_layout
15	pañcama, being complete, this bhāṣā tānodbhavā comes of pañcama rāga.	main via surya_layout
16	(99)	annotation_inline parent ligne 15 via heuristic_height
17	Illustration-Māmāmagāsāririnisāgari.Sāninigāgāgasānīpāpā pāsānisāsāsāni	main via surya_layout
18	saninidhadhaninisāgarisāsāsāninisādhānipāpā dhānīnīgāga sāsāsāsāgā	main via surya_layout
19	sānīdhāmāpā pā. Tānodbhavā [viii]	editorial_bracket parent ligne 18 via heuristic_brackets
20	Trāvaņī has pañcama as nyāsa, is weak in pañcama and ṛṣabha, there is	main via surya_layout
21	(mutual) movement between the svaras comprised of two śrutis each in their	main via surya_layout
22	original form. There is the abundance of şadja-madhyama and pañcama-	main via surya_layout
23	rṣabha(as an alternative to their sparseness). This trāvaṇī is born of deśa44	main via surya_layout
24	(region) and is sādhāraņakṛtā.	main via surya_layout
25	<math>(100-101)</math>	main via surya_layout
26	Illustration - Sāsāsāpāpāpā dhādhādhādhānīnīnīsā sānidhānidhādhārisāsā	main via surya_layout
27	nīdhānidhāsāmamarimārimāgāgārisāsanipāpāpā nidhānisāsanisanimadha	main via surya_layout
28	dhasanidhāmāgāmādhānīsāsādhānīsāmadhāmāgāmādhānīsāsa, Sasasanisā-	main via surya_layout
29	sānigāsanidhāmāmāmādhārisāsā sadhānīdhāpā. Trāvaņī [ix]	editorial_bracket parent ligne 28 via heuristic_brackets

Legende des roles

vol_II_p168 RIGHT — 42 lignes

vol_I_p035 LEFT — 29 lignes

vol_II_p063 RIGHT — 35 lignes

vol_II_p067 LEFT — 30 lignes

vol_II_p091 RIGHT — 29 lignes