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 21734). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p077 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	137	page_number via heuristic_pagenum
2	PĂŢHA VIMARŚA	page_header via surya_layout
3	पञ्चमस्य च श्रृङ्गारो बीभत्सो धैवतस्य च ।	main via surya_layout
4	करुणा च निषादस्य सप्तस्थानरसा नव ॥	annotation_inline parent ligne 3 via heuristic_height
5	(Sam Mak II.1.47, 48)	main via surya_layout
6	It is notable that Santa rasa has been included here and bhayanaka has	main via surya_layout
7	been omitted; thus the number of rasas enumerated is only eight and not nine,	main via surya_layout
8	as stated in the last foot.	main via surya_layout
9	46. MS B reading as recorded by the ed.	main via surya_layout
10	Section V ( Grāma-mūrchanā )	section_header via surya_layout
11	ग्रामो नाम विशिष्टश्रुतिकस्वरसमूहो मूर्छनात्मा	main via surya_layout
12	1. cf.	annotation_inline parent ligne 11 via heuristic_height
13	पूर्णापूर्णस्वभावस्वरगतग्रहाशादिविशेषसमूहरूपजातिसमूहश्च ।	main via surya_layout
14	(Abhi Bhā on NŚ XXVIII, p. 42)	main via surya_layout
15	2. C.r. in S R I Sudhā, p. 102.	main via surya_layout
16	3. C.r. in S R I Sudhā, p. 101 has been accepted because 'vyavasthitaḥ' is an	list_item via surya_layout
17	adjectival form which is not matched by a noun that could be qualified by it, but	list_item via surya_layout
18	'vyavasthitih' is an abstract noun that fits the sentence.	list_item via surya_layout
19	4,5. C.r. in S R I Sudhā, p. 103.	main via surya_layout
20	6. This verse is not found in the text of Nā Ši.	list_item via surya_layout
21	7. C.r. in S R I Sudhä, p. 101.	main via surya_layout
22	8. P.t., modified according to C.r. in ibid.	main via surya_layout
23	9. C.r. in S R I Kalā, p. 99 in the name of Muni (Bharata), but this line is	list_item via surya_layout
24	not found in the text of NS. In P.t. this line has not been treated as a citation,	list_item via surya_layout
25	but as a part of the text, because quotation marks are not given.	list_item via surya_layout
26	10. This line forms part of the text of NS (XVIII, 5 ab). Hence it is treated	main via surya_layout
27	by us as a citation.	main via surya_layout
28	11. P.t. includes ' sadbhih' after 'suddhābhih', but that has no relevance to the	list_item via surya_layout
29	context and has, therefore, been omitted by us.	list_item via surya_layout
30	12. C.r. in S R I Sudhā, p. 105 adds the following half-verse, paraphrasing	list_item via surya_layout
31	the prose-portion regarding the etymology of mūrchanā -	list_item via surya_layout
32	मूर्खनामब्दनिष्यतिर्मुखं मोहे समुच्छये ।	main via surya_layout
33	13, 14. C.r. in S R I Sudhā, p. 114.	main via surya_layout
34	15. P.t. adds 'tiryak' after 'svarāḥ', but that is redundant.	list_item via surya_layout
35	16. P.t. adds 'ürdhvā' after 'mā'.	main via surya_layout
36	17. P.t. मध्यमे तिर्यगूर्ध्वगा अपि स्वराः ।	main via surya_layout
37	18. Hariņāśvā is the name found in NŚ, S R etc. 'Hariņāhvayā' is the form of	main via surya_layout
38	'hariṇāhvā' in the instrumental case; but this case is not relevant to the context.	main via surya_layout
39	The P.t. is utterly confused, mutilated and in disorder after this line upto the	main via surya_layout
40	end of Anu. 41; it has been reconstructed according to the context, mainly by	main via surya_layout
41	re-arranging the order.	main via surya_layout

vol_I_p009 RIGHT — 4 lignes

L#	Texte OCR	Role auto
1	श्रीमतङ्गमुनिप्रणीता<br>बृहद्देशी<br>BRHADDEŚĪ	main via surya_layout
2	<b>OF</b>	annotation_inline parent ligne 1 via heuristic_height
3	ŚRĪ MATANGA MUNI	main via surya_layout
4	(Volume I)	main via surya_layout

vol_II_p122 RIGHT — 28 lignes

L#	Texte OCR	Role auto
1	227	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	[General Prescription]	section_header via surya_layout
4	The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bind	main via surya_layout
5	should be made sthita<sup>53</sup> (slow?); this is the prescription in respect of elās.	main via surya_layout
6	(439)	annotation_inline parent ligne 5 via heuristic_short
7	Then one should properly put in the name of the one being described. It	main via surya_layout
8	(elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer)	main via surya_layout
9	comes after this.	annotation_inline parent ligne 8 via heuristic_short
10	(440)	main via surya_layout
11	Thus ends the fourfold ganaila.	main via surya_layout
12	[5. Saṅkarailā]	section_header via surya_layout
13	If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā	main via surya_layout
14	spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is	main via surya_layout
15	said to be named sankara.	main via surya_layout
16	(441)	annotation_inline parent ligne 15 via heuristic_short
17	[Thus ends gaņailā.]	editorial_bracket parent ligne 15 via heuristic_brackets
18	[B. The varieties of Mātrailā]	section_header via surya_layout
19	Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties	main via surya_layout
20	of) mātrailā spoken of by Vallabha.54	main via surya_layout
21	(442)	main via surya_layout
22	[1. Raulekhā]	section_header via surya_layout
23	Where there are rudra 55 numbered (eleven) mātrās in (each of the first)	main via surya_layout
24	two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa	main via surya_layout
25	named rati<sup>57</sup> (and) endowed with dhātu<sup>58</sup> (tonal-cum-rhymthic structure)	main via surya_layout
26	(and) mātu<sup>59</sup> (text), on account of this (ratigaņa) (this elā) is given the name	main via surya_layout
27	ratilekhā by the experts in the science of music (gītaśāstra).	main via surya_layout
28	<math>(443-444)</math>	main via surya_layout

vol_I_p095 RIGHT — 48 lignes

L#	Texte OCR	Role auto
1	<b>VIMARSA</b>	page_header via surya_layout
2	173	page_number via heuristic_pagenum
3	Madhyama	table via surya_layout
4	Pañcama	table via surya_layout
5	Niṣāda-gāndhāra	table via surya_layout
6	Dhaivata	table via surya_layout
7	Gändhära	table via surya_layout
8	Nişāda	table via surya_layout
9	Şadja-rşabha	table via surya_layout
10	Şadja	table via surya_layout
11	Gāndhāra	table via surya_layout
12	This list does not seem to follow the general statement that all those which	main via surya_layout
13	are neither samvādins nor vivādins are anuvādins, because all such intervals are	main via surya_layout
14	not included here, as are neither samvadins nor vivadins. The passage listing the	main via surya_layout
15	anuvādins has not been commented upon by Abhinavagupta; perhaps it is an	main via surya_layout
16	interpolation. It has been put within square brackets by the editor.	main via surya_layout
17	Our author's statement that nişāda and gāndhāra are established as	main via surya_layout
18	anuvadins as they are less by one sruti obviously with reference to the svaras	main via surya_layout
19	having an interval of three srutis each viz. rşabha-dhaivata cannot hold good	main via surya_layout
20	because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata	main via surya_layout
21	respectively and are hence vivadins.	main via surya_layout
22	44. Here again, the application of the concept of vivada in melodic structuring	main via surya_layout
23	is being illustrated. ( see glossary )	main via surya_layout
24	45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs	main via surya_layout
25	one svara; gāthika pertains to gāthā ( that stanza which neither belongs to	main via surya_layout
26	Rgveda nor to Sāmaveda, nor to Yajurveda, but to the epic poetry of Akhyānas or	main via surya_layout
27	narratives) which is associated with the use of two svaras; sāmika pertains to	main via surya_layout
28	sāman implying that the music of Sāmaveda employs three svaras; svarāntara	main via surya_layout
29	literally means the interval of a svara, the implication seems to be that a group	main via surya_layout
30	of four svaras is the first step towards the formation of a heptad from a triad;	main via surya_layout
31	auduva stands for a group of five svaras ( the etymology of this word is given in	main via surya_layout
32	Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa,	main via surya_layout
33	literally meaning complete, stands for a group of all the seven svaras.	main via surya_layout
34	Really speaking, it is not possible to limit the recitation of Rgveda to one	main via surya_layout
35	svara, because in current practice, generally three tones are employed in	main via surya_layout
36	reciting the pk. The practice of the recitation of gatha is not generally known	main via surya_layout
37	today. But for sāman, it is not possible to limit its musical range to three tones. It	main via surya_layout
38	is, however, notable that the number three is associated with sāman in NS in	main via surya_layout
39	another context and that is the trisama spoken of in the beginning of	main via surya_layout
40	pūrvaranga, the preliminaries of dramatic performance. The semi-musical	main via surya_layout
41	rendering of three sāmans is prescribed there. These sāmans are composed of	main via surya_layout
42	non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221).	main via surya_layout
43	52. Gita stands for a tonal structure that may be rendered by the voice or on	main via surya_layout
44	instruments, it is not just 'song'.	main via surya_layout
45	53. Şadja as the progenitor of six svaras can be understood as the one who regulates	main via surya_layout
46	or determines the pitch of all the six subsequent svaras. In this context şadja will have to	main via surya_layout
47	be construed as the standard tonic. Although in the grāma-mūrchanā system each one of	main via surya_layout
48	the seven svaras could assume the role of tonic, yet şadja is the initial tonic in	main via surya_layout

vol_II_p022 RIGHT — 26 lignes

L#	Texte OCR	Role auto
1	E.	annotation_inline parent ligne 4 via heuristic_height
2	27	page_number via heuristic_pagenum
3	TRANSLATION	page_header via surya_layout
4	In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are	main via surya_layout
5	always to be omitted respectively (for making ṣāḍava and auḍava forms).	main via surya_layout
6	Şadja and pañcama are to be known as the two apanyāsas. One should move	main via surya_layout
7	from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this	main via surya_layout
8	(gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be	main via surya_layout
9	accorded abundant usage. Sañcāra (to and fro movement) is to be rendered	main via surya_layout
10	in this (jāti) between ṣaḍja and gāndhāra by the performers.	main via surya_layout
11	<math>(222-224)</math>	annotation_inline parent ligne 10 via heuristic_height
12	Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama	main via surya_layout
13	are the two amsas and the auduvita (pentatonic) form is not desirable in it.	main via surya_layout
14	(225)	annotation_inline parent ligne 13 via heuristic_height
15	In madhyamā there are five amśas, excepting the two svaras composed of	main via surya_layout
16	two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming	main via surya_layout
17	the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by	main via surya_layout
18	omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and	main via surya_layout
19	madhyama are abundant.	main via surya_layout
20	(226)	annotation_inline parent ligne 19 via heuristic_short
21	Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras;	main via surya_layout
22	pañcama is amsa in it.	main via surya_layout
23	(227)	annotation_inline parent ligne 22 via heuristic_height
24	In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas.	main via surya_layout
25	These two alongwith niṣāda are apanyāsa and there is the sangati (concert)	main via surya_layout
26	between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse.	main via surya_layout

147 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p077 RIGHT — 41 lignes

vol_I_p009 RIGHT — 4 lignes

vol_II_p122 RIGHT — 28 lignes

vol_I_p095 RIGHT — 48 lignes

vol_II_p022 RIGHT — 26 lignes