CEToM | THT 365
Known as: | THT 365; B 365 |
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Cite this page as: | "THT 365". 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-tht365&outputformat=print (accessed 06 Oct. 2024). |
Provenience | |
Main find spot: | Kizil Ming-öy |
Expedition code: | T III MQ 69, T III MQR 97, T III MQ 49 |
Collection: | Berlin Turfan Collection |
Language and Script | |
Language: | TB |
Linguistic stage: | archaic |
Script: | classical |
Text contents | |
Title of the work: | Sumati-Avadāna |
Passage: | Sumati and the Buddha Dīpaṅkara |
Text genre: | Literary |
Text subgenre: | Jātaka/Avadāna |
Verse/Prose: | prose; verse |
Meter: | 554443 (4x); 444 (4x) |
Object | |
Material: | ink on paper |
Form: | Poṭhī |
Number of lines: | 7 |
Images from idp.bbaw.de
by courtesy of the International Dunhuang Project Berlin, the Berlin-Brandenburgische Akademie der Wissenschaften, and the Staatsbibliothek zu Berlin – Orientabteilung.
a1 | yy[ā] cce ṣṣai kne sa – [p]· ceṃ tsñä śce¯ ¯u – – – ntpa lsko meṃ yä rpo śa mnā – [ts]· o ko ma ske trä [80] 9 klye¯ ¯u ṣtrā pa /// |
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a2 | ne¯ ¯u ṣṭ[e] (–) ṅka rsa [p]ū dñä kte sa ṣū ktu [ppā] – – – ta ṅwsā su ma ti t[o] nn(·) u ppā lnta kṣā ttre mtā ṣtsā pū (·)ä kte – /// |
a3 | re po nta – ṅka rā mta ○ a kā śne tu sa k(·) (–) (·)cu [p]ly(·)¯ ¯u [sa] su ke¯ ¯u cä ñe ñmu ke ktse¯ ¯ñ yä pre rne o¯ ¯t ś·a – (–) – /// |
a4 | nā ṣṣa ka rpa no ○ k[eṃ] ntsa s̝a ñ[m](·) [t]s(·) re ksa p[ū] dñä kte ntse tā ṣṣa tsi sa ka tke mā ne su ma /// |
a5 | lyka [ta] [ṅwsa] no ke¯ ¯u cä ○ ka tke ma ne pū(·) ñ(·) kte meṃ [ṣa] mā ññe o trī tā te ā śc·· rtkā ·e ·ā ·e /// |
a6 | rne ka lpo ṣṣe pi ta ṅwsā yä rke yā mṣā re ś[ā] k[k]ya mu ni śle kpu dñä kte /// |
a7 | [s̝aṃ] ly[u] kā me śtwā ra ka ce nmeṃ lya ka tsä l[p]e lye [n]ma kte ce ymā – /// |
b1 | rsa so ·ä ntnai pta nma meṃ yä rpo s̝a ñke ktse ñmeṃ ce yä rpo sa pa rlle s[t]e /// |
b2 | ktse ñe [ma] nta kya rke a lā la tte yā mi śau mo p(·) nma ne kuse tu ka rtse /// |
b3 | khwa śv· lmeṃ ni rvvāṃ ○ ṣṣeṃ s̝a rmtsā śa rī rnta¯ ¯ts po tu ka llā lle ci nta ma n(·) wm· m· – /// |
b4 | wi nā s[k]e(·) ta ñcā ○ kka¯ ¯r ṣo tri (·)e r(·)e ñcpai yn(·) • ta ñkre nte wna e pya cklyo rmeṃ wa kī tsa na • ra mta /// |
b5 | ce kwä rñai – a knā tsa ññe kwī pe sa no ·i – – ma¯ ¯r yo nwā ñä śa ce śā mñe cä me lta ññe s̝a rmts· /// |
b6 | ke ktse ñy[ā] twa i ndri nta sa : a knā tsa ñ[ñ]e (–) – ·ts· ṅke krui mā skā yau e nte nta kca ¯s̝p ñä ske ma rta¯ ¯ñä e (–) [l]k[ā] ts(·) /// |
b7 | ma kte ke s̝pa ñä k[t]e[ṃ] [s][ña] kta te mä ntw[ñ]ā – (–) – ktau ra śa ktā llye kw(·)i – ·ṣ· ṣe ne • ne m[c]e ktu meṃ wro tse o ko pa /// |
1a | wināske(u) täñ ; cākkär ṣotri ; (p)er(n)eñc paiyn(e) • |
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1b | täñ krentewna ; epyac klyormeṃ ; wakītsana • |
1c | rämtä(r) /// 6σ ; b5 ce-k wärñai (kca) |
1d | aknātsaññe ; kwīpesa no ; (w)i(naske)mar |
2a | yonwā ñäś{†ä} ce ; śāmñe cämel ; taññe ṣärmts(a/ā) |
2b | /// 4σ ; b6 kektseñ yātwa ; indrintasa : |
2c | aknātsaññe ; 3σ – – ·ts· ṅke ; krui mā skāyau |
2d | ente nta kca ; ṣp ñäskemar tañ ; e(rsna) lkāts(i) (2) |
3a | b7 mäkte ke ṣpä ; ñäkteṃs ñakta ; te mänt wñā – 1σ |
3b | – – 2σ ktau ra ; śäktāllye kw(r)i ; 2σ – ·ṣ· ṣene • |
3c | nemcek tumeṃ ; wrotse oko ; pä(rlle) /// 2σ |
a1 | Then, the ten-powered one said: Through this duty, I gave it to them all; Merit from good thought is great fruit for human beings. It is heard in the Avadāna: |
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a2 | Earlier, Sumati out of love through seven lotus(-flowers) toward Dīpaṅkara, toward the Buddha. |
a2+ | The lotus(-flowers) all reimained at the head of the Buddha like a parasol, like the summit of a mountain in the sky. |
a3 | Glad because of this, he leapt up, bending his body in the sky. |
a3+ | Then, he worshipped the ten-powered one. |
a4 | He descended onto the ground. Happy, Sumati extended his own hair (over the ground) for the Buddha to tread on. |
a4+ | He looked up with love, happy. |
a5 | He then sought monkhood from the Buddha. He shaved his head. |
a5+ | There, all the beings, having become astonished, out of love honored him who has obtained glory. |
a6+ | In addition, Śākyamuni, the Buddha, the all knowing one... enlightened them. |
a7 | From the four directions, he saw (beings) to be liberated, as they... |
a7+ | Know thus: |
b1 | The merit from the stūpas is to be brought by the beings through this merit from their own bodies. |
b1+ | ... body... |
b2 | Just so a man, tireless, should do worship in the Stūpas. |
b2+ | Whoever (does) good... (will enjoy) the excellent pleasure of Nirvāṇa. |
b3 | Because of the remains, it all is obtainable... like from the Cintāmaṇi-jewel... |
b4 | I worship your glorious feet with the wheel-mark. Having remembered your outstanding virtues, ... a little bit... I worship (you) with ignorance and shame. |
b5 | I achieved this human birth because of you. |
b5+ | ... I tamed the body with the senses. |
b6 | If I do not try to... ignorance..., when I ask to see your form - (?) |
b7 | And you yourself said so: ... if... the sown seed... Truly, then a great fruit is to be borne... |
a1+ | Man hört (in) einem Ava(dāna): "Einstmals (warf) Sumati sieben Lotusblüte(n) aus Liebe auf den Buddha Dīpaṅkara. Diese Lotusblüten aber (standen) wie ein Schirm sämtlich auf dem Haupte (des) Buddha ... (Schmidt 1974: 220) |
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a5 | Mit Liebe sah er [scil. Sumati] aber auf, erfreut, [und] erstrebte alsdann das Mönchtum vom Buddha. (Schmidt 1974: 151) |
a5 | Erfreut begehrte er [scil. Sumati] alsdann vom Buddha das Mönchtum [und] schor [sich] den Kopf. (Schmidt 1974: 324) |
b5 | Ich verehre deine beiden radgekennzeichneten glänzenden Füße. (Schmidt 1974: 415) |
b6 | ...den Körper hielt ich durch die Sinnesorgane im Zaum. (Schmidt 1974: 26 n.3) |
Divy. XVIII, p. 228-262. esp. 251ff. |
According to Sieg and Siegling 1953: 239, the script type is ‘‘old”; but in fact the only archaic-shaped sign is the rare 〈śa〉, otherwise we only find standard-shaped ones; to be sure, some signs have an italic-type look, i.e., slightly archaic appearance; cf. Malzahn 2007a: 265. |
Sieg and Siegling 1953: 239-241
Adams 2012a: a7 (25); Carling 2000: a2 a3 (71), a3 (140); Couvreur 1954c: a1 a2 a3 a4 a5 a6 a7 b1 b2 b3 b4 b5 b6 b7 (108); Hackstein 1995: a3 (68, 92), a4 (117); Krause 1952: a4 (138); Peyrot 2013b: b1 (355), b6 (699); Schmidt 1974: a1 a2 a3 (220), a5 (151), a5 (324), b4 (415), b5 (415), b6 (26 n.3); Sieg and Siegling 1983: b4 (169); Thomas 1952: b1 (16), b3 (29); Thomas 1954: a4 (756), b6 (719); Thomas 1957: a2 a3 a4 a5 a6 (95); Thomas 1968: a2 a3 (202); Thomas 1969: a2 (236); Thomas 1979a: a4 (243); Thomas 1983: a4 (29); Thomas 1997: a2 a3 (90), b3 (71)
Adams, Douglas Q. 2012a. “Shedding light on *leuk- in Tocharian and Hittite and the wider implications of reconstructing its Indo-European morphology.” Tocharian and Indo-European Studies 13: 21–55.
Carling, Gerd. 2000. Die Funktion der lokalen Kasus im Tocharischen. Berlin/New York: de Gruyter.
Couvreur, Walter. 1954c. “Koetsjische literaire fragmenten uit de Berlijnse verzameling (naar aanleiding van Sieg & Siegling’s Tocharische Sprachreste).” Handelingen VIII der Zuidnederlandse Maatschappij voor Taal- en Letterkunde en Geschiedenis, 97–117.
Hackstein, Olav. 1995. Untersuchungen zu den sigmatischen Präsensstammbildungen des Tocharischen. HS Erg.-Heft 38. Göttingen: Vandenhoeck & Ruprecht.
“The International Dunhuang Project: The Silk Road Online.” n.d. http://idp.bl.uk.
Krause, Wolfgang. 1952. Westtocharische Grammatik, Band I. Das Verbum. Heidelberg: Winter.
Malzahn, Melanie. 2007a. “The most archaic manuscripts of Tocharian B and the varieties of the Tocharian B language.” In Instrumenta Tocharica, edited by Melanie Malzahn, 255–97. Heidelberg: Winter.
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.
Schmidt, Klaus T. 1974. “Die Gebrauchsweisen des Mediums im Tocharischen.” PhD, Universität Göttingen.
Sieg, Emil, and Wilhelm Siegling. 1953. Tocharische Sprachreste. Sprache B, Heft 2. Fragmente Nr. 71-633. Edited by Werner Thomas. Göttingen: Vandenhoeck & Ruprecht.
Sieg, Emil, and Wilhelm Siegling. 1983. Tocharische Sprachreste. Sprache B. Teil I: Die Texte. Band 1. Fragmente Nr. 1-116 der Berliner Sammlung. Edited by Werner Thomas. Neubearbeitet und mit einem Kommentar nebst Register versehen v. Werner Thomas. Göttingen: Vandenhoeck & Ruprecht.
Thomas, Werner. 1952. Die tocharischen Verbaladjektive auf -l. Deutsche Akad. der Wissenschaften zu Berlin, Institut für Orientforschung 9. Berlin: Akademie-Verlag.
Thomas, Werner. 1954. “Die Infinitive im Tocharischen.” In Asiatica. Festschrift Friedrich Weller. Zum 65. Geburtstag, gewidmet von seinen Freunden, Kollegen und Schülern, edited by Johannes Schubert and Ulrich Schneider, 701–64. Leipzig: Harrassowitz.
Thomas, Werner. 1957. Der Gebrauch der Vergangenheitstempora im Tocharischen. Wiesbaden: Harrassowitz.
Thomas, Werner. 1968. “Zur Verwendung von toch. A oki/B ramt und A mäṃtne/B mäkte in Vergleichen.” Orbis 17: 198–231.
Thomas, Werner. 1969. “Bemerkungen zum Gebrauch von toch. A ptāñkät [B pañäkte, pudñäkte], A koṃ [B kauṃ]: A koṃñkät [B kauṃñäkte] usw.” Orbis 18: 235–68.
Thomas, Werner. 1979a. “Ein neues tocharisches Prātimokṣa-Fragment der Bibliothèque Nationale.” Zeitschrift für Vergleichende Sprachforschung 92: 235–68.
Thomas, Werner. 1983. Der tocharische Obliquus im Sinne eines Akkusativs der Richtung. Abhandlungen d. Geistes- und Sozialwissenschaftlichen Klasse 6. Mainz: Verlag d. Akad. d. Wissenschaften und d. Literatur.
Thomas, Werner. 1997. Interpretationsprobleme im Tocharischen. Unflektiertes A puk, B po “ganz, all, jeder”. Vol. 3. SbWGF, XXXV. Stuttgart: Steiner.
Gippert, Jost, Katharina Kupfer, Christiane Schaefer, and Tatsushi Tamai. n.d. “Thesaurus Indogermanischer Text- und Sprachmaterialien (TITUS): Tocharian Manuscripts from the Berlin Turfan Collection.” http://titus.fkidg1.uni-frankfurt.de/texte/tocharic/thtframe.htm.
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Medieninhaber: Universität Wien, Institut für Sprachwissenschaft | Inhalt: Melanie Malzahn | Programmierung: Martin Braun | Datenkonvertierung: Bernhard Koller | Design: Patricia Katharina Hoda
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