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 21664). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p058 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	99	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Jāti-bhinna]	section_header via surya_layout
4	Now he (the author) has spoken of the description of jāti-bhinna -	main via surya_layout
5	The amśa of jātis should be established and so should be the sparse and the	main via surya_layout
6	abundant. Sparseness and abundance come about on account of sparse and	main via surya_layout
7	abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma	main via surya_layout
8	(short and very short in time) and curved (phrases).<sup>50</sup>	main via surya_layout
9	(308)	annotation_inline parent ligne 8 via heuristic_height
10	[Anu. 178]	section_header via surya_layout
11	This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs.	main via surya_layout
12	Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being	main via surya_layout
13	born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up	main via surya_layout
14	of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short	main via surya_layout
15	in time) phrases, this is the import. Its description is thus -	main via surya_layout
16	[3. Bhinnakaisikamadhyama]	section_header via surya_layout
17	Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣadja as its ainśa,	main via surya_layout
18	<math>madhyama</math> as its <math>ny\bar{a}sa</math> and is (endowed) with <math>mandra</math> (low) <math>gamakas^{52}	main via surya_layout
19	(309)	annotation_inline parent ligne 18 via heuristic_height
20	[Anu. 179]	editorial_bracket parent ligne 18 via heuristic_brackets
21	This means-bhinnakaisikamadhyama is related to şadjagrāma on account	main via surya_layout
22	of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama	main via surya_layout
23	is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga)	main via surya_layout
24	is complete. It is used in the context of dānavīra i.e. heroism in charity. 53	main via surya_layout
25	Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja	main via surya_layout
26	obtains. Sañcārin is the varņa. Prasannādi is the alankāra. The kalā is formed	main via surya_layout
27	in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā	main via surya_layout
28	prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs	main via surya_layout
29	comprised of svara and pada.	main via surya_layout
30	[Śuddhabhinna]	section_header via surya_layout
31	Now he (the author) has spoken of the definition of śuddhabhinna-	main via surya_layout
32	(The rāga) that bedecks itself with its own jāti (from which it is born) and	main via surya_layout
33	kula (family), leaving the other jāti and taking up (the qualities of) its own	main via surya_layout
34	family, is called <i>śuddhabhinna</i>.	main via surya_layout
35	(310)	annotation_inline parent ligne 34 via heuristic_height

vol_I_p043 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	69	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha-	main via surya_layout
4	śloka).37 How is that (the difference)? The group of svaras that is arranged in	main via surya_layout
5	the ascending and descending order is spoken of as murchana, whereas tana is	main via surya_layout
6	with the ascending order, this is the distinction.58	main via surya_layout
7	[The Yajña-names of Tānas]	section_header via surya_layout
8	Now the yajña-names 59 of tanas are being spoken of—	main via surya_layout
9	Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and	main via surya_layout
10	(104)	annotation_inline parent ligne 9 via heuristic_short
11	rājasūya is the seventh one.	main via surya_layout
12	Thus are the names of sadava tanas devoid of sadja.	main via surya_layout
13	Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as	main via surya_layout
14	(105)	annotation_inline parent ligne 13 via heuristic_height
15	ртājāpatya.	annotation_inline parent ligne 13 via heuristic_height
16	Thus end the names of şāḍava tānas devoid of ṛṣabha.	main via surya_layout
17	Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit	main via surya_layout
18	(106)	annotation_inline parent ligne 17 via heuristic_height
19	(and) nāgayajāa.	annotation_inline parent ligne 17 via heuristic_height
20	Thus end the names of şādava tānas devoid of pañcama.	main via surya_layout
21	Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi,	main via surya_layout
22	<math display="block">(107)</math>	annotation_inline parent ligne 21 via heuristic_height
23	citra and the seventh one is udbhidyaga.	main via surya_layout
24	Thus end the names of şādava tānas devoid of niṣāda.	main via surya_layout
25	١	page_number via heuristic_pagenum
26	Thus end the names of twenty-eight şādava tānas in şadjagrāma.	main via surya_layout
27	Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement)	editorial_bracket parent ligne 26 via heuristic_brackets
28	of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana	editorial_bracket parent ligne 26 via heuristic_brackets
29	(108)	main via surya_layout
30	of kaunapas (demons) is the seventh one.	main via surya_layout

vol_II_p163 RIGHT — 40 lignes

L#	Texte OCR	Role auto
1	<b>VIMARŚA</b>	page_header via surya_layout
2	309	page_number via heuristic_pagenum
3	85. The gandhara and that too antara becomes the dhaivata of	list_item via surya_layout
4	madhyamagrāma. Perhaps this phenomenon is being indicated here.	list_item via surya_layout
5	86,87. Adbhuta and hasya on the one hand and karuna on the other	list_item via surya_layout
6	are incompatible.	list_item via surya_layout
7	88. The freedom of the performer is being indicated here.	list_item via surya_layout
8	89,90,91. The situations mentioned under viniyoga and the rasa vīra	list_item via surya_layout
9	are perfectly compatible.	list_item via surya_layout
10	92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.	list_item via surya_layout
11	93. The indication of murchana finds place in the description of jatis	list_item via surya_layout
12	for the first time. No rule is prescribed for assigning a particular mūrchanā to	list_item via surya_layout
13	a given jāti. Here it is said that the mūrchanā of jāti is known from the	list_item via surya_layout
14	'statements of authorities', which implies that there is no prescribed rule.	list_item via surya_layout
15	94. The import seems to be that the amsa that is predominant among	list_item via surya_layout
16	amsas (in the case of jātis with more than one amsa) determines the mūrchanā	list_item via surya_layout
17	of a <i>jāti</i>.	list_item via surya_layout
18	95. The four components of gita have been enumerated as svara, pada,	list_item via surya_layout
19	tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).	list_item via surya_layout
20	96. Dhruvāis a metrical text that is performed in pūrvaranga, where the	list_item via surya_layout
21	compositions in Sanskrit or in prescribed non-lexical syllables are used. The	list_item via surya_layout
22	dhruvā performed within the drama is invariably in Prākṛta and provides a	list_item via surya_layout
23	figurative and poetic commentary on the happenings in the drama. NS	list_item via surya_layout
24	XXXII gives numerous illustrations of <i>dhruvā</i> texts.	list_item via surya_layout
25	97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,	list_item via surya_layout
26	prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.	list_item via surya_layout
27	98. Prastāvanā(lit.introduction) is twofold, one occurring in the end	list_item via surya_layout
28	of the Pūrvaranga and the other in the beginning of the play immediately after	list_item via surya_layout
29	nāndī i.e. one is composed by the sūtradhāra known as director and the other	list_item via surya_layout
30	by the poet called playwright to-day.	list_item via surya_layout
31	99. Mukha and pratimukha are the first two among the five sandhis or	list_item via surya_layout
32	junctures of drama.	list_item via surya_layout
33	100,101. Garbha is the third sandhi and avamarsa (another name for	list_item via surya_layout
34	vimarsa) is the fourth one.	list_item via surya_layout
35	Chapter IV	section_header via surya_layout
36	(The description of bhāṣās)	section_header via surya_layout
37	[ A. Bhāṣās according to Yāṣṭika ]	section_header via surya_layout
38	1. This whole portion on bhāṣās according to Yāṣṭika seems to form	main via surya_layout
39	part of an independent text. We have retained it in our reconstructed text	main via surya_layout
40	as it embodies very valuable material, but we have numbered its verses	main via surya_layout

vol_II_p134 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	251	page_number via heuristic_pagenum
2	PĂŢHAVIMARŚA	page_header via surya_layout
3	88. ८ि. जात्यंशगतानि यानि दशकरूपाणि ताञ्चशणान्युकानि तत्सङ्कीर्णतया यन् मिश्रम् । गेयं ग्रामरागादिलक्षणम् । तद्यदि	main via surya_layout
4	कस्योपि जात्यंशकस्य सम्बन्ध्यंशोऽन्यस्य न्यासोऽन्यदीयोऽपन्यास इत्यादि बहुतरवैचित्र्यम् । तदेवम्भूतं यन्मिश्रगेयं तदस्या	main via surya_layout
5	जातेरर्थितमिति यत्रियम्यते मतङ्गनन्दिकश्यपयाष्टिकादिभिस्तद्धिकेन रूपबाहुल्येन । तथा(विहि)तं पानकमिदमिति न तु	main via surya_layout
6	क्रममिश्रितम्।	annotation_inline parent ligne 5 via heuristic_short
7	Abhi Bhā on NŚ XXVIII. 141, p. 63.	main via surya_layout
8	89. cf. इति त्रिपष्टिरंशा: स्युस्तेपामेकैकशोंऽशता ।	main via surya_layout
9	C.r. in Sudhā on SR I. 7.59-63.	main via surya_layout
10	Verses 251-256 of our text tally with Datti 90b-95.	main via surya_layout
11	90. P.t. adds here a confused reading after 'madhye' -	list_item via surya_layout
12	ये अनंशास्तेषामनंशानां	list_item via surya_layout
13	91. The order of ṛṣabha-dhaivata has been changed by us to dhaivata-	list_item via surya_layout
14	rṣabha in order to correct the respective order of kaiśikī and pañcamī.	list_item via surya_layout
15	92. C.r. in Sudhā on SR I.7.24-28, p.180.	list_item via surya_layout
16	P.t. reads the following after kriyamaņe in the first line of Anu. 139, which	main via surya_layout
17	is redundant-	annotation_inline parent ligne 16 via heuristic_short
18	सप्तधिकश्चैवं चत्वारिशच्च पाडवे अस्यार्थविधौ क्रियमाणे ।	main via surya_layout
19	93. C. r. in Sudhā on SR 1.7.24-28, p.180, reads -	list_item via surya_layout
20	सप्तचत्वारिंशदंशा भवन्ति । कथम् ? चतसृणां etc.	list_item via surya_layout
21	94. C. r. in ibid.	list_item via surya_layout
22	95.cf. c.r. in ibid -	list_item via surya_layout
23	पड्जमध्यमा पाड्जी पड्जोदोच्यवा कैशिकी रक्तगान्धारीत्यासां सप्तांशा अपवादभूता: पातनीया: ।	main via surya_layout
24	P.t. adds the following portion after verse 257, which is out of place and has,	main via surya_layout
25	therefore, been omitted by us-	main via surya_layout
26	सगमपर्धः स्मृता +++++++ ।	main via surya_layout
27	नन्दयन्ती भवेत् पागा गान्धारोदीच्यवासमा ॥	main via surya_layout
28	96. C.r. in Sudhā on SR I. 7.24-28, p.180.	list_item via surya_layout
29	97. Reading in NS Chau. XXVIII. 93.	list_item via surya_layout
30	98. Reading in NS XXVIII. 58.	list_item via surya_layout
31	99. Ibid.	list_item via surya_layout
32	100. Reading in NS Chau. XXVIII.63.	list_item via surya_layout
33	101. P.t. reads - 'tadvaddhaivatahīnatā'. Reconstruction based on NŠ	list_item via surya_layout
34	XXVIII. 59.	list_item via surya_layout
35	102. Reading in NS Chau. XXVIII. 63.	list_item via surya_layout
36	103. Reading in NS XXVIII. 59 and NS Chau. XXVIII. 64. Recon-	list_item via surya_layout
37	struction of 'pañcamaḥ'as 'pañcamam 'based on NŚ Chau. XXVIII. 64.	list_item via surya_layout
38	104, 105.Reading in NS XXVIII. 60.	list_item via surya_layout
39	106, 107. Reading in NS Chau. XXVIII .64.	list_item via surya_layout
40	108. Reading in NŚ XXVIII. 61.	list_item via surya_layout
41	109. Added on the basis of NS XXVIII. 61.	list_item via surya_layout

vol_II_p114 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	211	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[3. <i>Gadya</i>]	section_header via surya_layout
4	That in which <math>t\bar{a}la</math> comes at the end along with the name of the object of	main via surya_layout
5	description 10 (divine or human) and is sung as such, is said here to be gadya,	main via surya_layout
6	by the proficient ones in music.	main via surya_layout
7	(385)	annotation_inline parent ligne 6 via heuristic_height
8	[4. Daṇḍaka]	section_header via surya_layout
9	Combined with <math>t\bar{a}la</math>, endowed with svara, bedecked with <math>p\bar{a}ta^{11}</math> in the	main via surya_layout
10	middle (and) again combined with pada, that song is known as daṇḍaka.	main via surya_layout
11	(386)	main via surya_layout
12	[5. Varņa]	section_header via surya_layout
13	Bedecked with birudas12 (eulogistic phrases) related to plenty,	main via surya_layout
14	renunciation, well-being or prosperity and combined also with <math>t\bar{a}la</math>, is varya (composed) in the <math>	main via surya_layout
15	(387)	annotation_inline parent ligne 14 via heuristic_short
16	*******	annotation_inline parent ligne 14 via heuristic_height
17	[6. Paddhaḍi]	section_header via surya_layout
18	Combined with svara (and) pāṭa and endowed with tāla, composed in any	main via surya_layout
19	language and combined with birudas is that paddhaḍī.	main via surya_layout
20	(388)	main via surya_layout
21	[7. Adilā]	section_header via surya_layout
22	Where there is the brilliant arrangement of svaras at the end of every foot,	main via surya_layout
23	combined with <math>t\bar{a}la</math>, that is <math>a\dot{q}il\bar{a}^{14}</math> by name.	main via surya_layout
24	(389)	annotation_inline parent ligne 23 via heuristic_height
25	[8. Catușpadi]	section_header via surya_layout
26	Where the song is endowed with meaning in every unit of text (pada)	main via surya_layout
27	(and) is combined with <math>t\bar{a}la</math>, having svara and <math>tenaka</math>, that is <math>catuspadik\bar{a}</m	main via surya_layout

173 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p058 RIGHT — 35 lignes

vol_I_p043 RIGHT — 30 lignes

vol_II_p163 RIGHT — 40 lignes

vol_II_p134 RIGHT — 41 lignes

vol_II_p114 RIGHT — 27 lignes