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Work in progress
PK AS 17E
| Known as: | PK AS 17E; Pelliot Koutchéen Ancienne Série 17E; PK NS 80.1; PK NS 78.3 |
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| Cite this page as: | Georges-Jean Pinault; Melanie Malzahn. "PK AS 17E". In A Comprehensive Edition of Tocharian Manuscripts (CEToM). Created and maintained by Melanie Malzahn, Martin Braun, Hannes A. Fellner, and Bernhard Koller. https://cetom.univie.ac.at/?m-pkas17e (accessed 05 May 2024). |
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Edition |
| Editor: | Georges-Jean Pinault; Melanie Malzahn |
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| Date of online publication: | 2015-05-25 |
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Provenience |
| Main find spot: | Duldur-akur |
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| Expedition code: | M 497.5 (AS 17E); M 496.15 (NS 78.3); DA cour (NS 80.1) |
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| Collection: | Bibliothèque nationale de France, fonds Pelliot Koutchéen (Paris) |
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Language and Script |
| Language: | TB |
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| Linguistic stage: | classical |
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| Script: | classical |
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Text contents |
| Title of the work: | Supriyanāṭaka |
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| Text genre: | Literary |
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| Text subgenre: | Drama |
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| Verse/Prose: | prose; verse |
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| Meter: | M12; M18 |
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Object |
| Manuscript: | Supriyanāṭaka PK AS 17 |
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| Leaf number: | /// |
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| Material: |
ink
on paper |
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| Form: | Poṭhī |
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| Size (h × w): | 12+10.5+11.8 × 14.2+10.7+33 cm |
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| Number of lines: | 6 |
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| Interline spacing: | between 2.0 and 2.2 cm |
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Images
Transliteration
| a1 | ntra : [w]ro (–) [w](·) nta rw(·) yā – ṣṣe ce sn[au] kī c[ai] [:] /// /// [tk](·) ṣṣ(·) n(·) w(·) nts(·) • [p]k(·) [l](·) ś(·) (–) (·)[ke] (– – – –) [ñ](·) (–) [k](·) (– –) – /// |
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| a2 | klyau ṣo rmeṃ su pri ye nmeṃ wa ṣa mo ñä po spe lk(·) sa [t]s(·)(·) nts(·) /// /// (·)(·)[ṃ] ñe ī ke po ye tweṃ tsa ya ta ssi [ṣ]e· ·[i]· ·o – ·[u] [p]pr(·) yeṃ n[e] la r[au] wñe [s](·) /// |
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| a3 | kuse a mo ka cci kuse no ○ ksa ti kṣne – (–) (·)[ā] mna p[o] – /// /// n[t](·) ce wī ke lkā ske ma ne wai ptā [r]a [cä] ñca rñ· nta s· ti kṣnau ñe sa ṣe – /// |
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| a4 | tse pyau tke ne ce¯ ¯u te ○ lki maṃ ñe (– –) ·ā ·e ··[au] t·a /// /// [s](·) ya ta ssi vi śva ka rmi ñä kteṃ tse [r]a [ne] rm[i] [t](·)ā m(·) sū ī ke o lya [po] |
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| a5 | tstse ta ṅwaṃ ñe pa lka ā kti ke ra¯ ¯mt [l](·)(·)(·) /// /// [kā] tka ṣṣi ś[ā] /// /// ¯ts pa lsko nta lkā lñe sa || tu meṃ su pri ye ṣa¯ ¯ñä te lki ṣṣe ī ke [me] [yne] ma ne lye lya /// |
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| a6 | (–) (·)[ä] k(·)[e] (–) [ī] ke cä [ñ](·)(·) r·e sa sa l·(·) /// /// r(·) m(·)(·) [ā] [ktī] ke ta tā kau wa [ṣ]a [m]oṃ nmeṃ śu ke cce pa lsko sa we [s̝]s̝aṃ || [ra] [ti] [k]· [m]n[e] || [a] [ṣāṃ] ·ai (·)[e] /// |
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| b1 | (·)[ra] (– –) [ra] (·)w(·) lñ[e] ye [sne] kuse yā(·) ka¯ ¯ñä /// /// e(·) [t](·) : – – [r](·) (·)e ··[e] ·[n](·) ś(·) la au spa wä ntre la r(·) [ṣṣ]e [e] [tt]e pkwa lñe : a kā lka ṣṣe [ñ]ī ś[au] l[ne] e [k](·) /// |
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| b2 | cci ta kā so¯ ¯ñä po sa śpā lme(·) [:] [yä] l(·) s(·) nma sa /// /// [n]m(·) [po] [ṣ](·) [ṣṣī] rku se śau¯ ¯l ñī ka lpau ye smeṃ • 1 || te ke klyau ṣo rmeṃ su [p]r[i] yeṃ tse wa ṣa |
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| b3 | mo¯ ¯ñä o lya po tse ○ ka kā (– – – –) (·)s(·) /// /// [lsko] ci tsa rwo ṣṣe re ki sa pa plā nta¯ ¯s̝ śu ke cce [t](·)(·) [t](·)(·) rwa¯ ¯s̝ pa l(·) ko sa s[pa] |
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| b4 | nto¯ ¯s̝ e re sa yo śi ○ ye nte /// /// su pri yeṃ tse sa rwa nā ṣṣai pa du¯ ¯m o ntso yä [c]·e pi lko sa sū p[pr]i (–) |
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| b5 | lkā ske ma ne śle y[ä] rke we skeṃ || me ña meṃ ne || (·)ā (·)e l(·)a /// /// cī sa swe ṣṣe n(·) my(·) me[ṃ] mā wä tko [m]tra : a lā la cc[e] pa lsko sa spa kt[ā]ṃ /// |
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| b6 | – – (–) ·aiṃ ·e ·e – (–) [ta] [ā] rwe¯ ¯r• po [kr](·) – – – – [ṣe] ñca¯ ¯ñä ṣe¯ ¯k tā koṃ¯ ¯m ta¯ ¯ñä we¯ (–) pa lsko [:] se ya ma l(·)e [w](·)a r(·)e /// |
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Transcription
Translation
| a1 |
... These ones ... this great concern in making objects ... He decides to tell him: Bring the boy here! ... |
| a2 |
Having heard (that) from Supriya, the friends ... out of love for Supriya [who] has surpassed [even] the [roy]al place with all [its] decorations to decorate ... |
| a3 |
... which artisans whoever (are) skilled men, all (these) ... looking at this place (were) surpassed by the skillfullness of the lovely [things] one by one. |
| a4 |
In the production of ... they (fashioned [and] built) this hall of sacrifice in order to be ornated with (objects). It has been fashioned by the god Viśvakarman as it were. This place [being] extremely |
| a5 |
pleasant to look at, stand(ing) [there] like a miracle kept gladdening the people because of seeing the thoughts of ... Then Supriya coming from the place of his own sacifice after having seen |
| a6 |
the ... place [that is] in a ... manner, because of the pleasantness ... having been amazed by the sweet thinking [coming] from [his] friends says in the [tune] ratikāma [lit. loving pleasure]: O worthy wor(ld), (fir)e |
| b1 |
[and] (wate)r, who has ordered me to [have] trust in you down (on earth)? In (this Saṃsāra) the life here (is) the trust [which is] a thing pertaining to love. [1b] In the life [that I] wish |
| b2 |
you (pl.) should be present in the future [being] better than anything. [1c] This life of mine having surpassed all the lives by thousands has been obtained from you (pl.). [1d] After having heard this the friends of Supriya |
| b3 |
having been rejoiced, (having become firm-)minded, having been gladdened by [his] speech of solace, [and] having been comforted by [his] sweet thinking, |
| b4 |
(having been ...) by [his] figure having a yośi wind, ... looking at Supriya with an unsatiable look to Supriyas lotus-like face ... |
| b5 |
with respect they say: May we not be separated from the jewel of your mastery. [1a] With an indefatigable spirit (we wish to be of) service (to you) |
| b6 |
... the wrong bodies. [1b] Or we should be always ready in (following ?) your speech [and] thinking. [1c] This great deed ... |
Commentary
Remarks
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Complemented to the left by PK NS 80.1 (= left most part with the string hole) and the small and much damaged PK NS 78.3 (middle part). All three are included in this entry. AS PK 17E is the largest fragment. There is a direct joint between PK NS 80.1 and PK NS 78.3 in lines a2, a3, a4, b2, b3, b5 and b6. Line a6 of PK NS 78.3 is completely lost. |
Philological commentary
| n1 |
The meter seems to have 12 syllables with the rhythm 5/7. About 10 akṣaras are missing in total in this line; accordingly, the metrical part ends after cai : In the following, we seems to have a comparison of Supriya with objects made by artisans such as the royal palace. |
| n2 |
About 6 akṣaras are missing in total in this line. |
| n3 |
About 3-4 akṣaras are missing in total in this line. |
| n4 |
About 7 akṣaras are missing in total in this line. Border of fragment PK NS 78.3 after maṃñe. |
| n6 |
The tune name ratik(ā)m* seems to be a loan from a Skt. form rati-kāma- 'loving pleasantness'. It has 4 x 18 (7/7/4) syllables. |
| n8 |
The lacuna has about 5 akṣaras, nothing is missing at the end. At the end of the line a little piece from a different fragment has been wrongly glued to this paper. |
| n9 |
yośi-yente should be a compound, perhaps transposing a Skt. compound with a word for 'wind' as second member. |
| n10 |
The first lacuna has about 9 akṣaras; there is a lacuna of about 12 akṣaras between the text and the restored double daṇḍa. |
| n11 |
The tune has 4 x 18 (7/7/4) syllables. |
Linguistic commentary
| n5 |
täṅwaṃñe-palka is a verbal governing compound transposing Skt. priya-darśa- 'pleasant to look at' in much the same way as TA keṃ-pälk ‘heretic’ is a calque of Skt. mithyā-dṛṣṭika-. |
| n7 |
takāso-ñ is a 2.pl. imperative from tākā - with the larger ending -so and cluster simplification of initial pt°; note that in m-pkas1662 b3 from the same manuscript we find the more regular form ptākas (in verse, pāda end) and in PK AS 17A a5 (in verse). |
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