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PK AS 17K

Known as:	PK AS 17K; Pelliot Koutchéen Ancienne Série 17K; PK NS 77.2
Cite this page as:	Georges-Jean Pinault; Melanie Malzahn. "PK AS 17K". 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-pkas17k (accessed 05 May 2024).
Edition
Editor:	Georges-Jean Pinault; Melanie Malzahn
Date of online publication:	2014-02
Provenience
Main find spot:	Duldur-akur
Expedition code:	M 497.11 (AS 17K) + M 496.12 (NS 77.2)
Collection:	Bibliothèque nationale de France, fonds Pelliot Koutchéen (Paris)
Language and Script
Language:	TB
Linguistic stage:	classical
Script:	classical
Text contents
Title of the work:	Supriyanāṭaka
Text genre:	Literary
Text subgenre:	Drama
Verse/Prose:	prose; verse
Meter:	M14; M12
Object
Manuscript:	Supriyanāṭaka PK AS 17
Leaf number:	100… – –
Material:	ink on paper
Form:	Poṭhī
Size (h × w):	12 × 15.7+37.2 cm
Number of lines:	6
Interline spacing:	between 2.0 and 2.1 cm

Images

Transliteration

a1	y(·)¯ ¯s wr(·) nts(·) : skl[o]¯ ¯[k] [p]r(·) [sk](·) (– –) k(·) mñ[e] pkā te n(·) [k](·) s(·) (– –) [p]o : ma [r]k[a] rtsa na pa lsko nta tā [ka] [s]s[i]ṃ [t]s[e] [pe] lk[i] [ñä] [:] ·[n]· – [ṣṣ](·) c[o]¯ ¯m pa r[n](·) ñk[e]
a2	cä pe ñña nme ma rsko s̝s̝aṃ 1 || (–) meṃ po¯ ¯ñcä kle ṅke nmeṃ ko rpo ntra [p]ai ne sa ka sā rri śya tsi au ntsa nte (– –) [n](·) klyau ṣ[ā] (–) – [n](·) ntse we śe ñña •
a3	bra hma da tte [w](·) [lo] ○ [we] [s̝s̝a]ṃ (–) ke ṣṣe sa swe ṣṣe meṃ ñ[ä] kte ke rci ye ṣṣe ta rka meṃ laṃ tsi pa k[n]ā s[t]ra [•] [m]ā ka k[e] ru nta wra kaiṃ [k](·)e
a4	raṃ¯ ¯ts plo ri yaṃ¯ ¯ts ○ [ne] we kly(·) ṣtra cai [m]ra no brā hma ññe ṣṣi de va rṣi nta a śī¯ ¯s̝ ma ṅkā lṣa na r[e] kau (–) w[e] skeṃ ña ke pre
a5	ke ste sa swe ntse ke rccī ye nmeṃ kā(·) pa (·)[i] (–) [k](·) ñcāṃ ysā ṣṣe k[w]ra kā rne ra ṅka ṣṣe ye¯ ¯s ta ṅwaṃ tsi ya ka te we ske [m](·) ne klyau ṣā te e ne
a6	nmeṃ we śe [ñ](·)a (–) rsna la¯ ¯cä [•] [tu] [me](·) [b](·) (– –) (·)[t](·) wa lo a(·) [w](·) r(·) k[e] rci ye nne yo psa e ṅkau ca¯ ¯r we s̝s̝aṃ a ṣ[k]ā r[r]ai w(·)o c[c]i lā¯ ¯ñcä ce [m]e[ṃ]
b1	y(·) [n](·) (– – – –) [m](·) [ś]o yā t[o] [y](·) (– –) [yā] m[o]¯ ¯s̝ k(·) ñc(·) n(·) pr(·) bh(·) (·)·u [ṣ]k(·) c(·) (·)tr(·) ññ(·) [p]l(·) [r](·) y(·) [s](·) [a] bh(·) n(·) [y](·) m(·) (·)k(·) m(·) n(·) [sā] [r]r(·) [n](·) (–)
b2	psa • tu ma kte n[ä] kci ya a ptsa ra mai y[y]ā (– –) [k](·) wa [s]a lkā [l]ñ(·) ṣṣ(·) t[ā]¯ ¯yä we rtsi yaṃ tse || tu meṃ su pri ye ca kra vā rtti wa lo śu ke cce [p]i
b3	lko ka ñca na pra bhai ○ (·)cu ṣkai sa ś(·) śśa m(·) ṣa ña ñ[ma] mpa ka we s̝s̝aṃ || su mā li ne || pa lskwa yā tai ccu – e rsnā ṣṣai
b4	pe ñyai sa : kā (·)(·)e t[r]i ○ [ke] (–) [r]a [k](·) śta ttā lñe sa ne sa ñcä mā : ma sta snai ypa rwe ceṃ twe trai [k]eṃ o mpo staṃ (–) ra skr(·) ta kā sta (·)s(·)
b5	tse rñu ste e mpa rkre 1 i – ce kwa [r]ñ[ai] kwr(·) ka lpā sta ko srā tsa : pā lka to¯ ¯mp ña ke ma kte ynā [ñ](·)[o] tā ka ñc[ä] (–) ta [ry]ā ka ṣka¯ ¯s toṃ a ka
b6	ppi ṣṣi krau pi cai : kau (·)e (–) mo¯ ¯s̝ ñke ykāṃ s̝aṃ l(·)e(·) (·)[ai] po śmo ñai • 2 sā ste ke ktse ñe la kle [ṣṣa] na [p]e lai kneṃ¯ ¯[ts] • tsa [k]o i so mo [ci]

Transcription

1a	a1n1 y(e)s wr(a)nts(ai) :
1b	sklok pr(o)sk(aiṣṣe) (or)k(a)mñe ; pkāte n(a)k(t)s(i) (olya)po :
1c	märkartsana pälskonta ; tākässiṃtse pelkiñä :
1d	(y)n(eś) (śai)ṣṣ(e) com= parn(a) ñke a2n1n2n3n4 ; c{ä/eṃ} peññan-me {m/p}ärskoṣṣäṃ 1 ॥

	(tu)meṃ poñc kleṅkenmeṃ korponträ painesa ka sārriś yatsi auntsante (•) (ta)n(e) klyauṣā(te) (ers)n(a)ntse weśeñña •
a3	n5 brahmadatte w(a)lo weṣṣäṃ (pre)keṣṣe säsweṣṣe meṃñäkte kerciyeṣṣe tärkameṃ laṃtsi päknāsträ • māka kerunta wrakaiṃ k(n)e-
a4	-raṃts ploriyaṃts newe kly(au)ṣträ caim rano brāhmaññeṣṣi devarṣinta aśīṣ maṅkālṣana rekau(na) weskeṃ ñake pre-
a5	-ke ste säswentse kerccīyenmeṃ kā(r)pa(ts)i (no) k(a)ñcāṃ-ysāṣṣe kwrakārne raṅkaṣṣe yes täṅwaṃtsi yaka te weskem(a)ne klyauṣāte ene-
a6	-nmeṃn5 weśeñ(ñ)a (e)rsna lac • tume(ṃ) b(rahmadat)t(e) walo a(r)w(ā)r(e) kerciyenne yopsa eṅkaucar weṣṣäṃ aṣkār rai w(r)occi lāñc cemeṃ
b1	y(es) n· – – – – m·śo yātoy(em) · – yāmoṣ k(a)ñc(a)n(a)pr(a)bh(a) (mñc)uṣk(a) c(an)tr(a)ññ(a) pl(o)r(i)y(ai)s(a) abh(i)n(ai) y(a)m(as)k(e)m(a)n(e) sārr(i)n(e) (yo)-
b2	-psan6 • tu mäkte näkciya aptsaramaiyyā(cce) (śu)k(e) wasa lkālñ(e)ṣṣ(e) tāy wertsiyaṃtse ॥ tumeṃ supriye cakravārtti walo śukecce pi-
b3	-lko kañcanaprabhai (mñ)cuṣkaisa ś(e)śśam(u) ṣañ-añmämpa ka weṣṣäṃ ॥ sumāline ॥

1a	palskw ayātaiccu ; (yśe) ersnāṣṣai b4n7 peñyaisa :
1b	kā (tw)e trike(ta)r«†ä» ; k(e)ś tättālñesa nesañ-c«†ä» mā :
1c	masta snai yparwe ; ceṃ twe traikeṃ ompostäṃ (:)
1d	räskr(e) takāsta ; (t)s(e)b5tserñu ste emparkre 1
2a	i(me) ce-k warñai ; kwr(i) kälpāsta kos rā tsa :
2b	pālka tomp ñake ; mäkte ynāñ(m)o tākañ-cä (:)
2c	täryāka ṣkas toṃ ; akab6ppiṣṣi kraupi cai :
2d	kau(nn)e (yā)moṣ ñke ; ykāṃṣäṃl(ñ)e(ṣṣ)ai po śmoñai • 2
3a	sā ste kektseñe ; läkleṣṣana pelaikneṃts •
3b	tsako= isomo ; ci

Translation

a1	... against you. He intended to defini(tely) destroy the (dark)ness of fe(ar) [and] hesitation for the sake of making disappear the troubled thoughts.
a1+	Out of this pre(sent wo)rld now he will pull these frightened ones.
a2	[1d]. Thereupon all descend from the vehicle [and] just on foot began to go to the assembly. Here was heard the voice of the bea(uty) [= princess Kañcanaprabhā] (?).
a3	King Brahmadatta says: “(Time)ly the lord [who is like] the moon[god] intends to go out from the cloud palace".
a3+	The sound of many drums, shells, lutes (?) [and] flutes is heard.
a4	These Brahmanic Devarṣis also say words of greeting [and] blessing:
a4+	“Now it is time for the lord to (de)scend from the palace (and) to show love to you [pl.] [who] ascend to the all golden top of the houses [in order to greet you].”
a5	This having been said, the voice was still heard
a5+	[and] the beauty went out.
a6	Then king Brahmadatta readily entered the palace and says out loud:
a6+	"[Turn] back from him now, oh you great kings!
b1	May we be (able) ... having done!"
b1+	The princess Kañcanaprabhā, the daughter of (Candra) with flute playing [and] making a pantomime entered into the assembly.
b2	In that manner the divine one [fem.] gave the nec(tar) of vision full of Apsaras power to this company.
b2+	Thereupon the cakravartin king Supriya setting [his] gaze full of nectar on the princess Kañcanaprabhā just to himself says:
b3	In [the tune] sumāli:
b3+	“(Alas,) oh [you my] mind that is not tamed by the splendor of beauty!
b4	Why do (you) err since there is nothing [worth] to be considered by you? Have you gone after these unprecedented delusions?
b4+	[Although] it has been trickery for long, you remained harsh.
b5	1. If you have obtained a (thou)ght beginning with this one whatsoever, look at that one there [fem.] now! How much of your esteem she will be [worth]?
b5+	These thirty-six bulks of impurity have made a whole basis of disgust under the s(un).
b6	2. This is the body of the conditions [Skt. dharma] of suffering. May it pierce you completely!

Other

a6	Then king Brahmadatta, [who had become] ready, entered the palace and says out loud: «[Go] back from there!, [you] great kings!» (Georges-Jean Pinault, p.c.) (Peyrot 2013b: 369)
b5	… including this—even if you have obtained as much as that, look at that now, so that it will be worthy to you! (Georges-Jean Pinault, p.c.) (Peyrot 2013b: 380)

Commentary

Linguistic commentary

	The text has many misspellings that seem to be due to unattentive copying.

Remarks

	PK NS 77.2 (left) and PK AS 17K make a perfect joint in lines 3, 4 and 5 and with only one or two missing akṣara in lines 1, 2 and 6 giving an almost complete leaf. On the left margin of the little fragment one sees the top of the number 100. Note that NS 77.1 and NS 77.2 are fragments of two different leaves.

Philological commentary

n1	The metre seems to consist of 14-syllable pādas.
n2	The reading cä seems certain, but this has to be due to a copying error for ceṃ. The reading märskoṣṣäṃ is also certain, but so far there is no root märsk- with a PPt märskau. Therefore one may consider that it is a misspelling for pärskoṣṣäṃ, which was triggered by previous märkartsana.
n3	The reading tärkameṃ is safe (for tärkarmeṃ).
n4	Usually, ersna ‘form, beauty' is a plurale tantum, but singular reference is in this text actually confirmed by ersna lac in a6. The singular is no doubt due to the princess being viewed as personification of beauty. There is probably an allegorical component, as in other Buddhist (and Jaina) dramas.
n5	In this list of musical instruments we expect a string instrument beside drum, conch, and flute. The form k(n)er* would be an old borrowing of Skt. kiṃnarī which designates a kind of lute found in Kuchean wall paintings; see Sachs 1923: 91, 116.
n6	Metre = 4 x 12 (5/7 = 5 + 4+3).
n7	Pāda 1b has one syllable too much, which can be fixed by counted tättālñesa as a three-syllable word with syncope of ä.

Bibliography

Peyrot 2013b

Peyrot, Michaël. 2013b. The Tocharian subjunctive. A study in syntax and verbal stem formation. Vol. 8. Brill’s Studies in Indo-European Languages & Linguistics. Leiden/Boston: Brill.

Sachs 1923

Sachs, Curt. 1923. Die Musikinstrumente Indiens und Indonesiens. Berlin/Leipzig: de Gruyter.