| a1 | /// t·e • || tu m[e](·) br· hm· ṇe ka· w[ā] ṣṣ[e] o st(·) tk[e]· ·sa śa ma (– –) sa ñ[sp]· k· ṣk· ne śe śc· [n]·· [m]· e [n]· pr· – mcu ṣke – – /// |
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| a2 | /// [la] kle sa we kya ma ske ma ne mcu ṣkeṃ ka wä na ma ne wä rt(·)o [m]· ·lyu ttsa te me • tai kne sa ta ll[ā] ñco mcu ṣke sai wi śka [n]· lye [l]·· /// |
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| a3 | /// ○ ra ple tka rne • la kle ñylā re ka klau tkau yk[ā] ka a śra ma ntse twe re ne e tkeṃ [lya] ma : [ta] ne we s̝s̝a[ṃ] || ha ri [dā] sa ·e /// |
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| a4 | /// ○ rso lypo śai ṣṣe ne : se kra la kle tsre lle ṣṣe po la kle nta s̝a rka stra : ka ls̝a mñe sa [s]ā kre ññä¯ ¯ś [c]u¯ ¯rṇ pa l[sk]o /// |
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| a5 | /// ○ pu wa rmā tre tsa ks̝a ñtā [1] || a kā śmeṃ we skeṃ || haṃ sa va ṅne || krui yā to ywe sa¯ ¯ñä ā rtsa śai ṣṣe pe¯ ¯s[t] ñä k·i – /// |
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| a6 | /// ka tsi ye tse ke ktse ñ[m]eṃ tsa ṅtsi e pe no ta ñpe lki¯ ¯ñä mā ṅke s̝a (– – –) – ta ṅwä lñe ntse yä rke ta ñ(·)e /// |
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| a7 | /// [y]ya cce la kle [k]e – ṣ·ā l·· me[ṃ] – (– – –) ·i – na – (– – – – –) [y]· ś[l]e [ā] ñma la ṣk[ai] k[l]aiṃ – /// |
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| b1 | /// ·mä ·ma re • wro cc· (–) [ya] [k]ṣi ka [tke] [w]ñ[ai] (– – – –) – (–) [n]tra – (– – – – –) – wcä ṣṣi ñä kti na [no] – /// |
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| b2 | /// – ññe ka kā cco¯ ¯s̝ ta ṅw[s]ā [kä] l[l]o nta rne • [ta] ne po ñcwe skeṃ || ta ru [ṇ]· – (– – –) [ṣu] tto twro cce wä ntre ceṃ ñke rw· [k]· /// |
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| b3 | /// ○ laṃ ṣki sai wi śka ne ri ntsā tai snai e ṅka lñä ktā : kyā na t(·) [s]· lm(·) pa rā mi twä ce a yo rṣṣe ceṃ a [s]tr[ai] – – /// |
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| b4 | /// ○ la ntsi [1] krui no kñī ta rccā kā lko yä nmo y[t]ī ke po yśi ññe lyu śi [ta] rśai ṣṣe pe lai kne ṣṣe yo¯ ¯k snai a r[tt]e [mpr]e /// |
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| b5 | /// ○ wpre ke we sno e pya cka lo ytā¯ ¯r o śka kā ma¯ ¯s̝ kle śa nma¯ ¯nts ra k[c]ā y[i] tme o nwā ññe ṣṣe ne mce [kñi] ñä ktā 2 || m[c]u /// |
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| b6 | /// – lye lyä ko ṣñä kti • nā gi te sa ka kā cco¯ ¯s̝ yä – ll(·) ṣṣe ñä śo [p]o yśi ññe c·e¯ ¯[l•] mā s̝pa [ka] nte sta¯ ¯rñä ś – ·[k]· ne /// |
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| b7 | /// – [pr]e ke we sa¯ ¯ñä ñä [k]e [e] nte wä rtto ne kā r[p]a tsi [•] (–) l(·) pi m[c]· ṣkeṃ || na nda vi lā [pn]· || ñ[ma] ntai ra mta(·) su me· ·[l]e /// |
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| a1 | Thereupon the brahmin after having set up a house of reeds on the earth for us two little boys close to his hut, before these prince(s) ... |
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| a2 | ...he expelled us, the princes, from (?) the forest, while desiring (us) [and while] we were crying (lit. making shout) because of the suffering. In that way after having seen the two miserable prince younglings ... |
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| a3 | ... they somehow develop ... for him. Having definitely become feeble because of the suffering he sat down to earth at the door of the hermitage. Then he says, in (the tune) haridāsañe: ... |
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| a3+ | ... by very ... in the world. |
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| a4 | Precisely this suffering of the separation surpasses all sufferings. Through endurance the blissful ones ... me (from?) dust-thinking ... |
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| a5 | ... the fire burns this (scil. heart) of me sharply. From the sky one says (lit. they say), in (the tune) haṃsavaṅk: If it will be possible for us ... each divine world utterly ... to ... or to flay the skin from the body for the sake of him, not at all ... the homage to the loving (made?) to/by you ... |
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| a6+ | ... the powerful suffering ... with the sympathetic woman ... they compare ... . |
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| b1 | The big yakṣas ... by joy ... they were ... the gods belonging to ... again ... |
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| b2 | ... may they obtain the quality because of joyful love. Here all say, in (the tune) taruṇadivākar: |
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| b2+ | O bull, having produced such big thing now ... you have abandoned the two little boys without selfishness, o lord. |
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| b3 | You have created for yourself fully the second perfection, this pure cauldron consisting of a/the gift ... in order to leave ... |
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| b4 | But if the wish were to come true for you, if you would reach the place of the omniscient the world would shine. |
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| b4+ | The color of the Law characterized by the truths without negligence ... |
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| b5 | ... but may you remind us in that time, [us] who have been lead astray by the passions as it were. May you give us the riches consisting of eternity for sure, o lord! 2 (In the guise of) princes |
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| b6 | ... [now] the gods are seen. The nāgas have been joyful [saying]: I [am] bound to taking care of, [my] birth [is] for omniscience, hundred (scil. riches) does not count for me anymore ... |
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| b7 | ... It is time for us now to go down to the forest. Let us bring the princes. In (the tune) nandavilāpa: O you, bender of the Sumeru mountain as it were ... |
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| * | For na the sign ma is written, i.e. the text has been copied from a manuscript in archaic ductus. |
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| * | At the end of the line is the beginning of a metrical passage. The name of the meter is haridāsañe. This meter consists of 4x14 syllables with a rhythm 7/7. |
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| n3 | The reading 〈ykāka〉 allows to connect the adverb that means 'surely' which is base on yaka. The alternative reading 〈ykeka〉 would force to assume a form of the noun īke 'place' which can not be constructed in this context. |
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| n4 | The first akṣara of the word curṇ is written with double marking of the vowel 〈u〉, possibly by self correction of the scribe. |
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| n5 | In the middle of the line is the beginning of a metrical passage. The name of the meter is haṃsavaṅk. It also occurs in Tocharian A, cf. A 299 b2. It seems to follow the pattern 4x13 syllables with a rhythm of 7/6 plus a pāda with 21 syllables with a rhythm of 8/8/5. |
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| n6 | The remnants on the manuscript allow the reading 〈(r)mare〉 which would be the 3. pl. active preterite of the root räm- 'to compare'. |
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| n7 | It is very likely that the taru is the beginning of the meter name taruṇadivākar. This meter consists of 19|19|10|19 syllables with the rhythm 7/7/5 in pāda a, b, d, and 5/5 in pāda c. |
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| n8 | The first colon of the pāda 2d has one syllable too much. It is possible that the particle ra has been wrongly added by a later copyist since it does not contribute significantly to the meaning. An alternative proposal would be an allegro pronunciation of the genitive plural of kleśa with syncope of the middle syllable. |
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| n10 | At the end of the line is the beginning of a metrical passage. The name of the meter is nandavilāp. This meter consists of 4x15 syllables with a rhythm 7/8. |
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Couvreur, Walter. 1964. “Nieuwe Koetsjische fragmenten van het Araṇemijātaka.” Orientalia Gandensia 1: 237–249 + I.
