| a1 | kt(·) [t]s[e] [sā] [rri] [ne] (·)wr(·) ·k· – – – – – : – – – s[a] [mu] – – – – mc[e]¯ ¯k ya nmo y[ä] o ro cc[e] 1 || tu m(·) y(·) [p]s(·) [p]l(·) ktū ka [ñ]ñ(·) (–) s[a] su pr(·) y(·)(·) mp |
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| a2 | – ka ṣṣe lai tke su pri yeṃ¯ ¯ś e ṅ[ku] [śl]e yä rke lā [nt]e su knā ma ne su pri y[eṃ] śa w[e] s̝s̝aṃ || a rya hā rne || la ntu ññe ṣ[ṣu] [kā] [t]· ·[ñ]· – – [ṣ]tra lai tke ci mpa se |
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| a3 | laṃ ṣkñe sa : ptā rka rai twe ○ skwa ṣṣe ceṃ ñī w(·) we ño¯ ¯ṣ re ki [n]e [p]kā la pa lsko : ta¯ ¯ñä mai yya ne ka [l] (– –) a kā lka ntaṃ¯ ¯ts ta rne ne [spa] |
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| a4 | n[t]ai śa mtsi : a ñma ññe ○ ma (–) sa swe[ṃ] m(·) – – [y]mpa [ṣ](·) wa kī sso¯ ¯r skwa so¯ ¯cä tā ka¯ ¯m• 1 lko y[e]¯ ¯m [wno] lmeṃ [wä] ·s· [cc](·) au – – |
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| a5 | śle ku tko s̝aṃ spa nto¯ ¯s̝ rū psa : a ṅkā – – – plā nta¯ ¯m ka tkau ñai sa a ra ñce po ṅke plye wä¯ ¯ñä : sa kwa (·)tu ste wa ki [ts]e la reṃ la kaṃ [ka] |
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| a6 | – c(·)o s̝a s[pa](·) (·)o¯ ¯s̝ sk(·)a so¯ ¯nt (–) [k]ī – [n]· – – – – – [ma] r[k]ā ñ[ñ]e – ·o – – ·e – kaṃ 2 || (–) [n]e /// |
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| b1 | tsa ṅka ṣa(·) [s](·) [e] ṅsa te n(·) ys(·) p(·) lyā [m](·) (– – – – –) ·[s̝](·)(·) || h(·) [tu] [ph]·· n· /// |
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| b2 | no lmi e kṣa lyai nmo¯ ¯s̝ skwa ṣṣai cai ma (– – –) [k]r[e]¯ ¯nt śau mo ṣṣe nau mye mpa e ṣe śa mtsi ka lpā wa pa lka[¯] [¯]s sa kñī : plu ṣa ñ[ä] (–) plā ntau ta ñ[ä] |
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| b3 | rne nte mai yya ne sa¯ ¯k śau¯ ¯l ○ śā yau 1 || ta (– –) lo (–) pri yeṃ o ntso yä cce pi lko sa lkā ske ma ne we s̝s̝aṃ n[e]¯ ¯śä || mai tta rne || [s] |
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| b4 | ntai po¯ ¯ñä twe ta ṅwaṃ ñu m· ○ p· pru kṣta [r]ñ[i] [s]s[a] nta : la reṃ pā (–) rśa soṃ śke ra ṣā rtai po su spa nte ta¯ ¯r [:] [y](·)(·) ṣai¯ ¯t klyo mai kā tsa ne [o] – |
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| b5 | ka kā ma¯ ¯r kā mmai ci : sa sū [w](·) rṣṣe ī me ṣe ka sū ñī ci ne spo [r](·) (·)[o] ta¯ ¯r• kreṃ¯ ¯t ceṃ mai mtsa pe pa rko¯ ¯s̝ mā ceṃ kl[ā] [wi] – rpā tai : prā ṅka sta pa |
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| b6 | – – tai ñī so ya ·e – – [ñ]e : mā ñī pa l[s](·)o wā (– –) [cī] ne me ṅki [t](·) pkā rsa : kuse yā to ta¯ ¯ñä pa ls(·)o n(·) (·)e (– –) ¯[y] – rw· – [p]o y[k](·)e sa |
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The eighth one in the assembly if ... for sure he would reach the great one. |
| a1 |
1. Thereupon the [female] door warden together with Supriya entered, [and] having seized [in her hands] the (gar)land liana for Supriya, presenting [it] with the veneration due to a king, she says to Supriya: |
| a2 |
In [the tune] Aryahāra: |
| a2+ |
"Oh you, characerized by royal dignity [and] (profoundness?), this liana is comparable to you by [its] softness. [1a] |
| a3 |
Emit this lucky combination [like the flower garland is bound together] in the words spoken by me [and] guide my thinking. [1b] In your power (I have) managed to come confidently to the top of the wishes. [1c] |
| a4 |
I hope for excellency from the lord, together with [the whole] (coun)try, so that we will be happy! [1d] |
| a4+ |
May we see the beings provided with (pros)perity [lit. with broadness], with true comp(anions), with a trusting face. [2a] |
| a5 |
We will rejoice about the all(iance), [and] out of joy my heart will float completely indeed; [2b] or, this [is] supreme happiness, if one sees the dear one rejoicing, trusting, and happy. [2c] |
| a6 |
In the shame ... [2d] Then ... |
| b1 |
N.N. rose [from his/her seat], (s)he took him by the hand [and] made [him] sit close [to him/her] ..., [and] he says: in [the tune] Hetuphala: ... |
| b1+ |
“... the beings having reached the feast [of the appereance of a Buddha], these ones are happy; |
| b2 |
I have managed to come together with the jewel of a good person. See my happiness! My (mind) has floated, being overjoyed, in the power of you, the glorious one, |
| b3 |
I will live a life of happiness.” 1. Th(en the ki)ng, looking at (Su)priya with an insatiable gaze says to him: in [the tune] Maittär: |
| b3+ |
“In confidence speak, o you loveable one! |
| b4 |
You are in no way neglected by me. Like the son for his dear father, [so] everyone has confidence in [your] encouragement. Oh noble one, you have entered into the belly, |
| b4+ |
then as a burden I have taken you [as my son]. |
| b5 |
The memory of the son-being always exists in you from me. [1c] You did not (en)joy this fame, which is asked for according to this good estimate, |
| b5+ |
you have cast aw(ay) (this support), (the nourishment) of a son by me. [2b] |
| b6 |
(You have) not guid(ed) my thinking, know this [as] a deficit [that falls] on you. Who [would be more] appropriate to your thinking, [and] (obtain) de(light) by all means [than your father]? [2d] |
|
It is impossible to assume a restoration other than walo even though the large lacuna does not allow to indentify the name of the speaker. However, the following discourse makes it clear that the speaker is Supriya's father, who complains about having been abandoned by his son. We here have the usual theme of a Bodhisattva having renounced his status of royal prince. |
| n1 |
We are at the end of a stanza with a metre of 15 syllables ([7/8] or [8/7]). |
| n2 |
– käṣṣe is the end of an adjective being an epithet of laitke 'liana'; if the form has three syllables, we would expect in principle – kaṣṣe. However, since it has to refer to a special kind of garland used as token of welcome, it may be a loan from Sanskrit that did not conform to the usual orthographic rules. A more likely alternative is to assume another syllable and to read and restore (pässa)käṣṣe 'consisting of a garland'. |
| n3 |
It is possible that the lacuna contained another vocative form in -ññu or -ṣṣu. One may think of kat(kär)ñe(ṣṣu) as an adjective derived from an abstract being equivalent to Skt. gambhīratā- or Skt. gambhīratva- 'profoundness, sagacity'. |
| n4 |
The metre has 4x18 (7/7/4) syllables. |
| n5 |
märkāññe may also be read mär(t)kāññe 'shaving', which is found in the phrase āśc märtkāññe "shaving the head" for the notion of entering the monastic state. |
| n6 |
A lacuna of 14 akṣaras at the end of this line. |
| n7 |
The person greeting Supriya here belongs to the royal court (and is hence not the door warden any more), but it must be a person other than the king who speaks later and also expresses different feelings. Due to the long lacuna, it is uncertain whether this person is male or female. The discourse itself gives no clue to that. |
| n8 |
A lacuna of 23 akṣaras at the end of this line. |
| n9 |
The metre has 4x18 (7/7/4) syllables. |
| n10 |
The mansucript has skwaṣṣai, which has to be a mistake for the masc. nom.pl. skwaṣṣi due to anticipation of the next word cai. |
| n11 |
The first colon of pāda 1d has two syllables too few. Apparently, the scribe forgot a disyllabic word. Probably palsko. |
| n12 |
The metre has 4x14 (7/7) syllables. |
| n13 |
Pāda 1c seems to allude to a burdenful birth and difficult circumstances of the rearing of the young prince. It is possible that the mother may have even died and the prince being born nevertheless by magic was nourished by the father alone. Note the wordplay concerning 'burden', because a child is a burden to the mother while being in her belly, but here the son became a burden to the father after birth. |
| n14 |
The verb in pāda is an optative and it ought to mean 'to obtain', but the traces on the paper do not allow a restitution (kallo)y, so that the most likely alternative would be (yanmo)y. |
Peyrot, Michaël. 2013c. The Tocharian subjunctive. A study in syntax and verbal stem formation. Vol. 8. Brill’s Studies in Indo-European Languages & Linguistics. Leiden/Boston: Brill.
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