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 21690). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p161 RIGHT — 46 lignes

L#	Texte OCR	Role auto
1	٠	page_number via heuristic_pagenum
2	<b>VIMARŚA</b>	page_header via surya_layout
3	305	page_number via heuristic_pagenum
4	central part of present Madhya Pradesh. The special preference for Mālavā	main via surya_layout
5	requires further investigation.	annotation_inline parent ligne 4 via heuristic_height
6	29. The word gamaka is used here in the sense of vocal embellishments	list_item via surya_layout
7	including shakes; it is not restricted to shake.	list_item via surya_layout
8	30. See note 22.	list_item via surya_layout
9	31. Each grāmarāga is said to be born of one or more jātis.	list_item via surya_layout
10	32. Pūrvaranga has been described in NS IV and V; it embodies	list_item via surya_layout
11	instrumental rendering, song, dance, dialogue etc. presented as a preliminary	list_item via surya_layout
12	to drama. It has both ritualistic and psychological value as it ensures the	list_item via surya_layout
13	success of drama by propitiating the gods and prepares the audience for	list_item via surya_layout
14	being receptive to drama.	list_item via surya_layout
15	33. Kākalī and antara are always prescribed to be sparse, but here only	list_item via surya_layout
16	the sparseness of gandhara is prescribed, although both antara and kakali are	list_item via surya_layout
17	present. It could be construed that gandhara stands for the original	list_item via surya_layout
18	gāndhāra and not antara. See note 91.	list_item via surya_layout
19	•	annotation_inline parent ligne 18 via heuristic_height
20	34,35. The prescription of a specific varņa and alankāra in a rāga is	list_item via surya_layout
21	not easy to comprehend. It could only be surmised that the peculiar form	list_item via surya_layout
22	of a raga in some cases becomes manifest in ascent, in other cases in descent	list_item via surya_layout
23	and similarly a specific alankāra could be assigned to a rāga on account of	list_item via surya_layout
24	having a special role in establishing the same.	list_item via surya_layout
25	36. Mārga literally means path; it stands for the span of a tāla. NŠ	list_item via surya_layout
26	describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti	list_item via surya_layout
27	being its double and dakṣiṇa again being its double. Our text describes two	list_item via surya_layout
28	additional mārgas viz. dhruva being half of the length of citra and śūnya	list_item via surya_layout
29	being half of dhruva. (See Vol.I. Anu.113)	list_item via surya_layout
30	37. Kalā has many meanings; the main ones are-firstly, the time-unit	list_item via surya_layout
31	that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in	list_item via surya_layout
32	tāla, sounded or unsounded and thirdly, the unsounded action. Here the	list_item via surya_layout
33	first meaning is relevant because the length of kalā depends on the mārga in	list_item via surya_layout
34	use at a given time.	list_item via surya_layout
35	38. Caccatpuța is the first among the five tālas described in NŠ XXXI.	list_item via surya_layout
36	This is the only caturasra (lit. square) tala, being composed of four kalas or	list_item via surya_layout
37	eight mātrās.	list_item via surya_layout
38	39. Garbha-sandhi is the third among the five sandhis or junctures in	list_item via surya_layout
39	drama described in NŚ XIX; the first two being mukha and pratimukha and	list_item via surya_layout
40	the last two being vimarsa and nirvahana. Garbha literally means 'womb',	list_item via surya_layout
41	the inside or interior of something. In drama garbha-sandhi stands for that	list_item via surya_layout
42	juncture where the 'sprouting' of the 'seed' has taken place, but the fruit	list_item via surya_layout
43	is still enshrouded in the 'garbha'.	list_item via surya_layout
44	40. Our text does not uphold the relationship of any raga to both the	list_item via surya_layout
45	grāmas; the decision always rests with the interval of pañcama, if it is	list_item via surya_layout
46	composed of four śrutis, then relationship with ṣadjagrāma is confirmed and	list_item via surya_layout

vol_II_p059 RIGHT — 37 lignes

L#	Texte OCR	Role auto
1	101	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[Anu. 180]	editorial_bracket parent ligne 4 via heuristic_brackets
4	This means-leaving the other jāti and taking up its own root i.e. bedecked	main via surya_layout
5	with its own jāti and kula (is formed the śuddhabhinna).54	main via surya_layout
6	[4. Bhinnakaisika]	section_header via surya_layout
7	[Anu. 181]	editorial_bracket parent ligne 6 via heuristic_brackets
8	The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika.	main via surya_layout
9	What is then the difference? The difference is formed by gīti. Śuddhakaiśika	main via surya_layout
10	is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung	main via surya_layout
11	This is being said -	annotation_inline parent ligne 10 via heuristic_height
12	The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in	main via surya_layout
13	śuddhakaiśika, the rāga is not elaborated with the same svasthāna in	main via surya_layout
14	bhinnakaisika. And its description is thus -	main via surya_layout
15	Bhinnakaiśika is known by the knowledgeable ones in svara to have a form	main via surya_layout
16	similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa	main via surya_layout
17	(and) is complete with the seven svaras.	main via surya_layout
18	(311)	annotation_inline parent ligne 17 via heuristic_height
19	[Anu. 182]	editorial_bracket parent ligne 17 via heuristic_brackets
20	This means - bhinnakaiśika is related to madhyamagrāma on account of being	main via surya_layout
21	born of kaiśikī and kārmāravī jātis. Şadja is the graha and amśa. Pañcama is the	main via surya_layout
22	nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like	main via surya_layout
23	śuddhakaiśika, yet there is a difference. This has abundance of mandra (low	main via surya_layout
24	notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in	main via surya_layout
25	śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that	main via surya_layout
26	svasthāna<sup>57</sup> In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and	main via surya_layout
27	thus it becomes distinct on account of difference in form. Its application is	main via surya_layout
28	prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas.	main via surya_layout
29	The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is	main via surya_layout
30	the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the	main via surya_layout
31	vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains	main via surya_layout
32	in the songs comprised of svara and pada.	main via surya_layout
33	(Śruti-bhinna)	section_header via surya_layout
34	Now he (the author) has spoken of the definition of śruti-bhinna -	main via surya_layout
35	Where the svara comprised of four śrutis is modified by the one comprised of two	main via surya_layout
36	śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.	main via surya_layout
37	(312)	annotation_inline parent ligne 36 via heuristic_height

vol_II_p038 RIGHT — 51 lignes

L#	Texte OCR	Role auto
1	1	page_number via heuristic_pagenum
2	59	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	(3)	table via surya_layout
5	mā gā rī gā mā mā sā sā	table via surya_layout
6	<b>(4)</b>	table via surya_layout
7	[mā magama mā mā nidha padha pama gamama]	table via surya_layout
8	(5)	table via surya_layout
9	dhā padha pari riga maga riga sadhasa sā	table via surya_layout
10	(6)	table via surya_layout
11	nidha sā rī magama mā mā mā mā	table via surya_layout
12	(7)	table via surya_layout
13	mā mā magama madha dhapa padha pama gamaga	table via surya_layout
14	(8)	table via surya_layout
15	dhā padha pari riga maga riga sadhasa sā	table via surya_layout
16	(9)	table via surya_layout
17	mā mā dhani dhasa dhapa mapa pā pā	table via surya_layout
18	(10)	table via surya_layout
19	mā magama mā nidha padha pamaga gā mā	table via surya_layout
20	(11)	table via surya_layout
21	dhā padha pari riga maga riga sadhasa sā	table via surya_layout
22	(12)	table via surya_layout
23	nidha sā rī magama mā mā mā mā	table via surya_layout
24	Thus ends <i>şadjamadhyamā</i>.	section_header via surya_layout
25	[2. Gāndhārodīcyavā]	section_header via surya_layout
26	In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic	main via surya_layout
27	is known to be with the omission of rşabha. In the state of completeness there	main via surya_layout
28	is the sparseness of svaras other than those that are anisas.	main via surya_layout
29	(4)	annotation_inline parent ligne 28 via heuristic_short
30	In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to	main via surya_layout
31	be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known	main via surya_layout
32	and the mūrchanā beginning with dhaivata obtains.	main via surya_layout
33	(5)	annotation_inline parent ligne 32 via heuristic_short
34	The tāla should be known as caccatpuța. Sixteen kalās (time units) are said	main via surya_layout
35	to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā	main via surya_layout
36	in the fourth act.	annotation_inline parent ligne 35 via heuristic_short
37	(6)	main via surya_layout
38	Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The	main via surya_layout
39	prastāra is thus -	main via surya_layout
40	(1)	table via surya_layout
41	sā sā pā mā pā dhapa pā mā	table via surya_layout
42	(2)	table via surya_layout
43	dhā pā mā mā sā sā sā sā	table via surya_layout
44	(3)	table via surya_layout
45	dhã nĩ sã sã mã mã pã pã	table via surya_layout
46	(4)	table via surya_layout
47	ករី ករី ករី ករី ករី ករី ករី ករី	table via surya_layout
48	(5)	table via surya_layout
49	mã mã dhã nisa nĩ nĩ nĩ	table via surya_layout
50	(6)	table via surya_layout
51	mā pā mā pari gā gā sā sā	table via surya_layout

vol_II_p107 RIGHT — 29 lignes

L#	Texte OCR	Role auto
1	197	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā.	main via surya_layout
4	Ninidhādhā. Lalitā [ix]	editorial_bracket parent ligne 3 via heuristic_brackets
5	Niṣādavatikā<sup>25</sup> is said to be adorned with dhaivata as the initial and	main via surya_layout
6	concluding note, is a complete antara-bhāṣā and by others it is sung as being	main via surya_layout
7	devoid of ri (ṛṣabha).	main via surya_layout
8	(29)	annotation_inline parent ligne 7 via heuristic_height
9	Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā.	main via surya_layout
10	Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari	main via surya_layout
11	sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x]	editorial_bracket parent ligne 10 via heuristic_brackets
12	Tumburu<sup>26</sup> is combined with dhaivata as the initial and concluding note,	main via surya_layout
13	is known to be hexatonic, is devoid of rşabha (and) is sung by the expounders	main via surya_layout
14	of Veda<sup>27</sup>	main via surya_layout
15	(30)	annotation_inline parent ligne 14 via heuristic_height
16	Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi]	editorial_bracket parent ligne 14 via heuristic_brackets
17	Gāndhāralalitā is complete, has madhyama as amśa and dhaivata as the	main via surya_layout
18	concluding note, is sung in the rituals associated with manes<sup>28</sup> (and) has	main via surya_layout
19	concert between şadja-dhaivata.	main via surya_layout
20	(31)	annotation_inline parent ligne 19 via heuristic_height
21	Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā	main via surya_layout
22	gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii]	editorial_bracket parent ligne 21 via heuristic_brackets
23	.....................	annotation_inline parent ligne 21 via heuristic_height
24	Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā	main via surya_layout
25	rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii]	editorial_bracket parent ligne 24 via heuristic_brackets
26	The <i>bhāṣā</i> having <i>dhaivata</i> as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math>	main via surya_layout
27	dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{3	main via surya_layout
28	others in bhinnaṣadja (rāga).	main via surya_layout
29	(32)	annotation_inline parent ligne 28 via heuristic_height

vol_II_p048 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	BRHADDEŠĪ	page_header via surya_layout
2	78	page_number via heuristic_pagenum
3	१९रञ्जनाज्जायते रागो व्युत्पत्तिः समुदाहता ।	main via surya_layout
4	इत्येवं रागशब्दस्य व्युत्पत्तिरभिधीयते ॥२६६॥	main via surya_layout
5	अश्वकर्णादिवद्रुढो यौगिको <sup>१२</sup>मण्डपादिवत् ।	main via surya_layout
6	यापि वाचकः	annotation_inline parent ligne 5 via heuristic_height
7	मन्थवत्	annotation_inline parent ligne 5 via heuristic_height
8	योगरूढोऽथवा रागो ज्ञेय: पङ्कजशब्दवत् ॥२६७॥	main via surya_layout
9	१३ ०रूदश्च वा	annotation_inline parent ligne 8 via heuristic_height
10	[गीति-भेदाः]	section_header via surya_layout
11	[तत्र मतङ्गमतम् ]	section_header via surya_layout
12	इदानीं सम्प्रवक्ष्यामि सप्तगीतीर्मनोहरा: ।	main via surya_layout
13	(त ? ती)	annotation_inline parent ligne 12 via heuristic_height
14	प्रथमा शुद्धगीति: स्याद् द्वितीया भिन्नका भवेत् ॥२६८॥	main via surya_layout
15	(त ? ति:)	annotation_inline parent ligne 14 via heuristic_height
16	तृतीयां गौडिका चैव रागगीतिश्चतुर्थिका ।	main via surya_layout
17	साधारणी तु विज्ञेया गीतज्ञै: पञ्चमी तथा ॥२६९॥	main via surya_layout
18	(त ?ति)	annotation_inline parent ligne 17 via heuristic_height
19	भाषागीतिस्तु षष्ठी स्याद् विभाषा चैव सप्तमी ।	main via surya_layout
20	१४गीतय: सप्त हि प्रोक्ता इदानीं भेद उच्यते ॥२७०॥	main via surya_layout
21	सप्तगीत्यो मया	annotation_inline parent ligne 20 via heuristic_height
22	[॥ इति मतङ्गमतम्॥]	editorial_bracket parent ligne 20 via heuristic_brackets
23	[दुर्गशक्तिमतम्]	section_header via surya_layout
24	गीतय: पञ्च विज्ञेया: शुद्धा भिन्नाऽथ वेसरा ।	main via surya_layout
25	ं गौडी साधारिता प्रोक्ता <sup>१५</sup>दुर्गामतिमदं मतम् ॥२७१॥	main via surya_layout
26	याष्ट्रिकेन महात्मना	annotation_inline parent ligne 25 via heuristic_height
27	॥ <sup>१६</sup>इति दुर्गशक्तिमतम् ॥	main via surya_layout

190 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p161 RIGHT — 46 lignes

vol_II_p059 RIGHT — 37 lignes

vol_II_p038 RIGHT — 51 lignes

vol_II_p107 RIGHT — 29 lignes

vol_II_p048 LEFT — 27 lignes