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 21719). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p137 LEFT — 43 lignes

L#	Texte OCR	Role auto
1	1, 1	unknown via fallback
2	<b>(4) 90 公司的第三人</b>	annotation_inline parent ligne 5 via heuristic_height
3	256	page_number via heuristic_pagenum
4	BRHADDEŚĨ	page_header via surya_layout
5	Note: Şadjamadhyamā and raktagāndhārī have been repeated in the interpo-	main via surya_layout
6	lated portion.	main via surya_layout
7	Chapter III (Rāgalakṣana)	section_header via surya_layout
8	कश्यपप्रमुखैरत्र यथास्वमति वर्णितम् ।	main via surya_layout
9	l.cf.	annotation_inline parent ligne 8 via heuristic_height
10	स्वरूपं रागशब्दस्य यथावत्तदिहोच्यते ॥	main via surya_layout
11	स्वरवर्णविशिष्टेन ध्वनिभेदेन यत्परम् ।	main via surya_layout
12	रज्यते येन सततं (सच्चित्तं) स राग: सम्मत: सताम् ॥	main via surya_layout
13	योऽसौ ध्वनिविशेषस्तु स्वरवर्णविभूषित:।	main via surya_layout
14	रञ्जको जनचित्तानां स राग: कथितो बुधै: ॥	main via surya_layout
15	S Rāj II. 2.I.10-12.	main via surya_layout
16	2. Reading in Sam Sa Sā, I. 58 and c.r. in Kalā. on SR. II.1.1, p.2.	list_item via surya_layout
17	3. Reconstruction based on ibid. (Kalā)	list_item via surya_layout
18	4. Reading in BhaKo p. 921.	list_item via surya_layout
19	5. C.r. in Kalā on SR. II .1.1, p. 2, Sudhā on the same, p. 3 and Rā Vi,	list_item via surya_layout
20	p. 101.	list_item via surya_layout
21	6. Reading in Sam Sa Sā, IV.76.	list_item via surya_layout
22	7. P.t.; neuter gender has been preferred by us in deference to the	list_item via surya_layout
23	gender of the noun being qualified, viz. lakṣaṇam.	list_item via surya_layout
24	8, 9,10. Reading in Sam Sa Sā, IV. 76.	list_item via surya_layout
25	11. The two lines of this verse are transposed in p.t.	list_item via surya_layout
26	12. Reconstruction based on c.r. in Sudhā on SR.II.I.I., p. 3; c.r. in	list_item via surya_layout
27	Kalā on ibid, p.2 reads 'vāpi manthavat' and so does c.r. in Rā Vi, p. 101.	list_item via surya_layout
28	13. C.r. in Rā Vi, p.101.	list_item via surya_layout
29	14. Reconstruction based on consideration of grammar and metre.	list_item via surya_layout
30	15. Reconstruction based on c.r. in Sudhā on SR.II.I.2-5, p.5 and	list_item via surya_layout
31	S.Rāj II.2.1.28d, 29c.	list_item via surya_layout
32	16. P.t. adds- 'teşam lakşanamucyate'- after 'iti', which is redundant.	list_item via surya_layout
33	17. Actually the gîtis spoken of by Bharata are 'modes' of textual	list_item via surya_layout
34	rendering, i.e., are related to pada, but they have been cited here in the	list_item via surya_layout
35	context of rāga.	list_item via surya_layout
36	One minor reading variant in this verse is -NS reads 'tu' in the place of 'ca' in	main via surya_layout
37	the third foot.	annotation_inline parent ligne 36 via heuristic_height
38	18. 'Matanga' of p.t. has been replaced with 'Kasyapa' because -	list_item via surya_layout
39	(i) the opinion of Matanga has been given in verses 268-270,	list_item via surya_layout
40	(ii) S.Rāj II.2.1.30 d, 31b ascribes these two gītis to Kasyapa, and	list_item via surya_layout
41	(iii) citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do	list_item via surya_layout
42	the same.	list_item via surya_layout
43	and the second second	annotation_inline parent ligne 42 via heuristic_height

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_I_p041 LEFT — 36 lignes

L#	Texte OCR	Role auto
1	<b>BRHADDESI</b>	page_header via surya_layout
2	64	page_number via heuristic_pagenum
3	सरि 🗶 म प ध 🗶	main via surya_layout
4	[ ४ सरि ४ म प ध ]	editorial_bracket parent ligne 3 via heuristic_brackets
5	ध 🗶 स रि 🗶 म प	main via surya_layout
6	पध X स रि X म	annotation_inline parent ligne 5 via heuristic_short
7	मपध X स रि X	main via surya_layout
8	[ хमपध	editorial_bracket parent ligne 7 via heuristic_brackets
9	निगहीनाः।	main via surya_layout
10	रि 🗶 म प ध 🗶 स	unknown via fallback
11	स 🗙 गम 🗶 ध नि	main via surya_layout
12	निस X ग म X ध	annotation_inline parent ligne 11 via heuristic_short
13	धनिस X गम X	main via surya_layout
14	[хधनसхगम].	editorial_bracket parent ligne 13 via heuristic_brackets
15	म 🗶 ध नि स 🗶 ग	main via surya_layout
16	गम 🗶 ध नि स 🗶	annotation_inline parent ligne 15 via heuristic_short
17	परिहीनाः। इत्यौडुवाः। योगाः।	main via surya_layout
18	[ 🗶 गम 🗶 ध निस ]	editorial_bracket parent ligne 17 via heuristic_brackets
19	[ अथ ] मध्यमग्रामे--	editorial_bracket parent ligne 17 via heuristic_brackets
20	٠	page_number via heuristic_pagenum
21	मपधनि X रिग	main via surya_layout
22	गमपधनि 🗙 रि	annotation_inline parent ligne 21 via heuristic_short
23	रिगमपधनि X	main via surya_layout
24	[ x रिगमपधनि ]	editorial_bracket parent ligne 23 via heuristic_brackets
25	नि X रिगमपध	main via surya_layout
26	ध नि x रिगम प	annotation_inline parent ligne 25 via heuristic_short
27	षड्जहीनाः।	main via surya_layout
28	प ध नि X रि ग म	unknown via fallback
29	म प ध नि स X ग	main via surya_layout
30	गमपधनिस X	annotation_inline parent ligne 29 via heuristic_short
31	[ Xगमपधनिस]	editorial_bracket parent ligne 29 via heuristic_brackets
32	स X गमप ध नि	main via surya_layout
33	निस X गम प ध	annotation_inline parent ligne 32 via heuristic_short
34	ध निस X गमप	main via surya_layout
35	ारहानाः।	annotation_inline parent ligne 34 via heuristic_short
36	प ध नि स 🗶 ग म	main via surya_layout

vol_I_p026 RIGHT — 24 lignes

L#	Texte OCR	Role auto
1	35	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	sa	annotation_inline parent ligne 12 via heuristic_height
4	n	annotation_inline parent ligne 12 via heuristic_height
5	ni	annotation_inline parent ligne 12 via heuristic_height
6	ga	annotation_inline parent ligne 12 via heuristic_height
7	dha	annotation_inline parent ligne 12 via heuristic_height
8	ma	annotation_inline parent ligne 12 via heuristic_height
9	pa	annotation_inline parent ligne 12 via heuristic_height
10	Thus ends the Samvādi-mandala.	caption via surya_layout
11	(Anu. 22)	annotation_inline parent ligne 12 via heuristic_height
12	The use of samvadin is thus-	main via surya_layout
13	The sadja that is accepted as amsa (fundamental note) in a gita (melodic	main via surya_layout
14	structure), in the place of that (if) madhyama (is used) it does not destroy the	main via surya_layout
15	rāga (melodic matrix). The location on which madhyama is used in accordance	main via surya_layout
16	with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy	main via surya_layout
17	the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used,	main via surya_layout
18	they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the	main via surya_layout
19	place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly	main via surya_layout
20	niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a	main via surya_layout
21	loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with	main via surya_layout
22	ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha	main via surya_layout
23	as amía, these two (dhaivata and rṣabha) when used as being mutually related,	main via surya_layout
24	do not become the destroyers of jāti or rāga.	main via surya_layout

vol_II_p119 RIGHT — 27 lignes

L#	Texte OCR	Role auto
1	TRANSLATION	page_header via surya_layout
2	221	page_number via heuristic_pagenum
3	[33. Dvipadī]	section_header via surya_layout
4	That which is (performed) with karaṇa tāla and composed in the dvipadī	main via surya_layout
5	metre, that is said to be dvipadī by those adept in vastu.<sup>29</sup>	main via surya_layout
6	(414)	main via surya_layout
7	[34. Vartanī]	section_header via surya_layout
8	Where graha and nyāsa are used only according to ańiśa, where the name	main via surya_layout
9	of the object of (glorified) description (divine or human) and that of the	main via surya_layout
10	singer (composer) is put in (and) that which is sung with svaras in a tāla	main via surya_layout
11	other than kankāla, pratitāla, druta (fast) maņțha, (and) kudukkaka, is held	main via surya_layout
12	to be vartani.	annotation_inline parent ligne 11 via heuristic_short
13	(415-416)	main via surya_layout
14	[35. <i>Elā</i>]	section_header via surya_layout
15	Where the first two feet are 'coloured' (embellished) with anuprāsa	main via surya_layout
16	(alliteration), there is anuprāsa 30 in the third or fourth foot or there is no	main via surya_layout
17	anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four	main via surya_layout
18	gītis find place in each foot, (and) after having sung one-half of its foot,	main via surya_layout
19	anuprāsa is arranged; where there is the description of renunciation, well-	main via surya_layout
20	being or prosperity, beauty, valour, steadfastness etc., that is called <i>clā</i> by the	main via surya_layout
21	experts in music.	annotation_inline parent ligne 20 via heuristic_short
22	<math>(417-419)</math>	main via surya_layout
23	It is always to be sung within the <i>gīta-vastus</i>, in combination with <i>tālas</i> like	main via surya_layout
24	maṇṭha, dvitīya, kaṅkāla and similarly elā should be combined with pratitāla	main via surya_layout
25	by the wise. That (clā) is marked with the name of the object of description	main via surya_layout
26	and the singer (composer).	main via surya_layout
27	<math>(420-421)</math>	main via surya_layout

167 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_II_p137 LEFT — 43 lignes

vol_II_p059 RIGHT — 37 lignes

vol_I_p041 LEFT — 36 lignes

vol_I_p026 RIGHT — 24 lignes

vol_II_p119 RIGHT — 27 lignes