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 21681). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p012 RIGHT — 35 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	7	page_number via heuristic_pagenum
3	"The jātis are born as śuddhā and vikṛtā through samavāya (commingling	main via surya_layout
4	of the svaras assuming the functions of graha, amśa, nyāsa etc.). Further	main via surya_layout
5	there are other eleven (jātis) that have been made 'impure', i.e. have only	main via surya_layout
6	a vikṛtā state."7	annotation_inline parent ligne 5 via heuristic_short
7	(NŚ XXVIII.46)	main via surya_layout
8	Out of these (jātis) I shall describe briefly here in sequence the jātis that	main via surya_layout
9	are formulated or accomplished through ainsa svaras, omission (of one or	main via surya_layout
10	two notes) and the like.	main via surya_layout
11	(192)	annotation_inline parent ligne 10 via heuristic_short
12	Ṣadja-madhyamā (is born) on account of the blending of ṣadjā and	main via surya_layout
13	madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes	main via surya_layout
14	into being from the above two (ṣaḍjā and gāndhārī) with the addition of	main via surya_layout
15	dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī	main via surya_layout
16	and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of	main via surya_layout
17	the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī	main via surya_layout
18	arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the	main via surya_layout
19	fourth one; <i>āndhrī</i> is born of the blending of <i>ārṣabhī</i> and <i>gāndhārī</i> alone;	main via surya_layout
20	nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition	main via surya_layout
21	of pañcami; these (three) go to make kārmāravī, with the omission of	main via surya_layout
22	gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī	main via surya_layout
23	and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī	main via surya_layout
24	and dhaivati, thus are the blendings or mixtures.	main via surya_layout
25	<math>(193-198)</math>	main via surya_layout
26	Now they (honorific for the author) have spoken of the classification (of	main via surya_layout
27	jātis) –	annotation_inline parent ligne 26 via heuristic_short
28	Four jātis should be known by the wise to be always composed of seven	main via surya_layout
29	svaras, four are composed of six svaras and the other ten are known as being	main via surya_layout
30	composed of five svaras each.	main via surya_layout
31	(199)	annotation_inline parent ligne 30 via heuristic_short
32	This itself becomes clear -	main via surya_layout
33	Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly	main via surya_layout
34	gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them.	main via surya_layout
35	(200)	main via surya_layout

vol_II_p030 LEFT — 40 lignes

L#	Texte OCR	Role auto
1	(vide)	unknown via fallback
2	BŖHADDEŚĪ	page_header via surya_layout
3	42	page_number via heuristic_pagenum
4	सर्वस्वराणां प्रवरो ह्यनाशी मध्यमस्वर: ।	main via surya_layout
5	व्य अनाशी <sup>१२६</sup>मध्यम: स्मृत:	main via surya_layout
6	<sup>१२७</sup>हाधिनाशी तु मध्यम:	main via surya_layout
7	गान्धर्वकल्पे <sup>१२८</sup> विहित: सामस्विप च मध्यम: ॥''	main via surya_layout
8	१२९०ल्येऽ	main via surya_layout
9	सामगैश	unknown via fallback
10	महर्षिभि:	main via surya_layout
11	भिमत:	annotation_inline parent ligne 10 via heuristic_short
12	[ना॰ शा॰ २८.५८-६५]	editorial_bracket parent ligne 10 via heuristic_brackets
13	[अनु॰ १४२]	editorial_bracket parent ligne 10 via heuristic_brackets
14	इदानीं षाडवौडुवितविधिरुत्सर्गापवादविधिश्च विकृतास्वेव जातिषु बोद्धव्य:, न तु	main via surya_layout
15	<b>॰</b>विधस्तु उत्सर्गाफ	annotation_inline parent ligne 14 via heuristic_markers
16	॰स्तु	annotation_inline parent ligne 14 via heuristic_markers
17	शुद्धासु जातिषु, तासां शुद्धानामन्यजात्युत्पत्तौ मूलत्वात् । एता एव शुद्धा विकृता भवन्ति ।	main via surya_layout
18	٩	page_number via heuristic_pagenum
19	कथम् -	main via surya_layout
20	[९. पुन: शुद्धाजातिलक्षणम् ]	section_header via surya_layout
21	तद्ग्रहा तदपन्यासा तदंशा च यदा भवेत्।	main via surya_layout
22	मन्द्रन्यासा च पूर्णा च शुद्धा जातिस्तदोच्यते ॥२५९॥	main via surya_layout
23	१३००धी	annotation_inline parent ligne 22 via heuristic_short
24	इति शुद्धालक्षणमुक्तम्।	main via surya_layout
25	<b>4</b> °	annotation_inline parent ligne 24 via heuristic_markers
26	[१०. शुद्धाजातीनां पुनर्विकृतत्वम्]	section_header via surya_layout
27	[अनु॰ १४३]	editorial_bracket parent ligne 26 via heuristic_brackets
28	एतेन लक्षणेनैकेन द्वाभ्यां [बहुभि]वां विकृता भवन्ति । पुनर्न्यासवर्जमिति, न्यासेन: विकृत	editorial_bracket parent ligne 26 via heuristic_brackets
29	•ज्य	annotation_inline parent ligne 26 via heuristic_height
30	न्त	annotation_inline parent ligne 26 via heuristic_height
31	धा	annotation_inline parent ligne 26 via heuristic_height
32	[त्वं] च नास्ति न्यासवर्जमिति वचनात् ।	editorial_bracket parent ligne 26 via heuristic_brackets
33	न्दर्भ	annotation_inline parent ligne 26 via heuristic_height
34	[तत्र षाङ्ज्या उदाहरणम्]	editorial_bracket parent ligne 26 via heuristic_brackets
35	[अनु॰ १४४]	editorial_bracket parent ligne 26 via heuristic_brackets
36	विकृता षाङ्जी द्विविधा-नित्यसम्पूर्ण पाडवा चेति।	main via surya_layout
37	नामांशेन षाङ्जी शुद्ध [1] । विकृता	editorial_bracket parent ligne 36 via heuristic_brackets
38	(ক্টি)	main via surya_layout
39	(vide)	annotation_inline parent ligne 38 via heuristic_height
40	78 LE	annotation_inline parent ligne 38 via heuristic_height

vol_I_p052 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	87	page_number via heuristic_pagenum
2	<b>TRANSLATION</b>	page_header via surya_layout
3	When in the gita (melodic rendering) the svaras move (to and fro) in	main via surya_layout
4	mutual7 (directions) along with the last one8 (of the preceding phrase forming	main via surya_layout
5	the beginning of the succeeding phrase), or two by two, that is known as the	main via surya_layout
6	(119)	annotation_inline parent ligne 5 via heuristic_height
7	sañcārin9 (circulatory) varņa.	annotation_inline parent ligne 5 via heuristic_height
8	(Anu. 65)	section_header via surya_layout
9	Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in	main via surya_layout
10	various (phrases) like this, on account of mutual movement (the sañcārin varņa	main via surya_layout
11	is formed).	annotation_inline parent ligne 10 via heuristic_height
12	(Anu. 66)	section_header via surya_layout
13	Where the svaras of the gita ascend one by one or with intervening gaps,	main via surya_layout
14	that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa,	main via surya_layout
15	dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri	main via surya_layout
16	mama dhani nini pāri mama dhani pādhani riripā — thus on account of	main via surya_layout
17	'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin	main via surya_layout
18	(ascending) varņa (comes into being).	main via surya_layout
19	Where the svaras descend in one order alone, that is called avarohin with	main via surya_layout
20	(120)	annotation_inline parent ligne 19 via heuristic_height
21	'equal' (gapless) svaras (or) with gaps.	annotation_inline parent ligne 19 via heuristic_height
22	pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama	main via surya_layout
23	nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on	main via surya_layout
24	account of 'mutual' (gapless) descent or with a gap of one or two svaras.	main via surya_layout
25	Hence it has been said -	annotation_inline parent ligne 24 via heuristic_height
26	"These varnas ought to be known for the sake of the structuring" of	main via surya_layout
27	alankāras and the like, as being born of svaras produced by the human body 12	main via surya_layout
28	(and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17)	main via surya_layout
29	(Anu. 67)	section_header via surya_layout
30	How is varna brought about? It is being answered. When the svaras stretch	main via surya_layout
31	the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their)	main via surya_layout
32	steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of	main via surya_layout
33	melodic movement) is effected.	annotation_inline parent ligne 32 via heuristic_height
34	Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16.	main via surya_layout
35	Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha	main via surya_layout
36	padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī	main via surya_layout
37	— 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā	main via surya_layout
38	pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in	main via surya_layout
39	nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā	main via surya_layout
40	pā pā pā pā pā pā, dhā nī mā pā gā gā gā.	main via surya_layout
41	These varņas obtain also in the wooden20 (viņā), just as they are	main via surya_layout

vol_II_p036 RIGHT — 36 lignes

L#	Texte OCR	Role auto
1	55	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[8. Gändhārī]	section_header via surya_layout
4	Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas,	main via surya_layout
5	the same are amsas of gandhari. The tara extends upto five svaras. The mandra	main via surya_layout
6	, extends upto the nyāsa or upto the svara next to it. The sādava state is devoid	main via surya_layout
7	of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete	main via surya_layout
8	state there is sparseness of rṣabha-dhaivata, and abundance of the remaining	main via surya_layout
9	ones. On account of being a svara-jāti<sup>72</sup>i.e. a jāti bearing the name of svara,	main via surya_layout
10	gāndhāra is the nyāsa. Ṣadja, pañcama are the two apanyāsas and there is	main via surya_layout
11	sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That	main via surya_layout
12	is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}<	main via surya_layout
13	prayoga (performance).	main via surya_layout
14	Thus is the performance. When it is sung with the omission of rṣabha then	main via surya_layout
15	while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch)	main via surya_layout
16	mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic	main via surya_layout
17	form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the	main via surya_layout
18	performance. Mā-pa-ri-dhā is never to be performed.	main via surya_layout
19	[Anu. 161]	editorial_bracket parent ligne 18 via heuristic_brackets
20	This is eleven-fold. There are eleven ainsas - there is one in the suddhā	main via surya_layout
21	state, five in the vikṛtā complete state, four are hexatonic (and) one is	main via surya_layout
22	pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța	main via surya_layout
23	is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala	main via surya_layout
24	vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there	main via surya_layout
25	is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā	main via surya_layout
26	in the third act of a drama.	annotation_inline parent ligne 25 via heuristic_height
27	[9. Raktagāndhāri]	section_header via surya_layout
28	[Anu. 162]	editorial_bracket parent ligne 27 via heuristic_brackets
29	Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas	main via surya_layout
30	of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra	main via surya_layout
31	extends up to the nyāsa or the svara next to it. The hexatonic form is devoid	main via surya_layout
32	of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the	main via surya_layout
33	paucity of rṣabha and dhaivata in the complete form. The remaining (svaras)	main via surya_layout
34	have abundance. On account of niṣāda being the amśa, its abundance is	main via surya_layout
35	indicated. Its non-abundance comes about on account of the stated	main via surya_layout
36	prescription. Dhaivata being non-aniśa, its sparseness is indicated, its	main via surya_layout

vol_II_p092 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	167	page_number via heuristic_pagenum
3	Kaiśikī has pañcama as nyāsa, madhyama as amśa, is weak in ni(niṣāda),	main via surya_layout
4	there is (mutual) movement between madhyama-dhaivata and abundance of	main via surya_layout
5	pancama. This bhāṣā is born of pancama (rāga) and is always sankīrṇā	main via surya_layout
6	(mixed).	annotation_inline parent ligne 5 via heuristic_short
7	(102)	main via surya_layout
8	Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั-	main via surya_layout
9	sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x]	editorial_bracket parent ligne 8 via heuristic_brackets
10	These are the ten <i>bhāṣās</i> in <i>pancama</i> (<i>rāga</i>) described by Yāṣṭika.	main via surya_layout
11	(103)	main via surya_layout
12	[6. Bhāṣāsin bhinnaṣaḍja]	section_header via surya_layout
13	After this, I shall speak of the <i>bhāṣās</i> in <i>bhinnaṣaḍja</i>.	main via surya_layout
14	(104)	annotation_inline parent ligne 13 via heuristic_short
15	Having dhaivata as amsa and the same as concluding note, being devoid	main via surya_layout
16	of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja-	main via surya_layout
17	gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist	main via surya_layout
18	in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46	main via surya_layout
19	(105)	annotation_inline parent ligne 18 via heuristic_short
20	lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg	main via surya_layout
21	ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี	main via surya_layout
22	gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā	main via surya_layout
23	dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā	main via surya_layout
24	Suddhā [i]	editorial_bracket parent ligne 23 via heuristic_brackets
25	Having dhaivata as amsa, dhaivata as the concluding note, the concert	main via surya_layout
26	between sadja-dhaivata, there being (mutual) movement between sadja-	main via surya_layout
27	dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa	main via surya_layout
28	(region)<sup>47</sup> and is born of (bhinna) şadja.	main via surya_layout
29	(106)	main via surya_layout

181 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p012 RIGHT — 35 lignes

vol_II_p030 LEFT — 40 lignes

vol_I_p052 RIGHT — 41 lignes

vol_II_p036 RIGHT — 36 lignes

vol_II_p092 RIGHT — 29 lignes