YQ II.3

Known as:	YQ II.3; YQ 1.42
Cite this page as:	"YQ II.3". 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-yqii3 (accessed 27 Jul. 2024).
Provenience
Main find spot:	Qigexing
Collection:	Xinjiang Museum (Ürümchi)
Language and Script
Language:	TA
Script:	classical
Text contents
Title of the work:	Maitreyasamiti-Nāṭaka
Passage:	Act 2.3
Text genre:	Literary
Text subgenre:	Drama
Verse/Prose:	prose; verse
Meter:	M20_22_10_15; M14; M21_21_18_13
Object
Manuscript:	Yanqi
Material:	ink on paper
Form:	Poṭhī
Number of lines:	8

Images

Transliteration

a1	/// [p]pa llo ki kā cke yo : 2 \|\| tma¯ ¯s̝ ā ṣā ni¯ ¯k
a2	/// wnā mā(·) tra ṅka¯ ¯s̝ \|\| su bhā dre naṃ \|\| kā ruṃ ṣiṃ śuka ryo
a3	/// kra va rtti slā¯ ¯nt wa tku rā pu¯ ¯k tkaṃ saṃ vai ne ṣi na skā tkṣa nti
a4	/// [¯ñ] kā kku rā ri ṣa ka śśi lā nta¯ ¯cä ytsi : 1 \|\| ta preṃ we wñu ra¯ ¯s̝ ā
a5	/// – ri brā hmaṃ mo ko ne yo lyu tā rnāṃ tsu ta rmmāṃ ka pśi ñño śla ā ñcā lyi
a6	/// ¯cä yä rṣlu ne ya tra klyo ṣā¯ ¯s ns̝a ṣse wā ññä kte¯ ¯s we ñlu ne • pa lkā cma cce¯ ¯k ptā ññä
a7	/// [ṣṣi] na ckā tse ytsi ce smi nä s̝ta rko rypa¯ ¯m pa lkā¯ ¯cä kra¯ ¯ñśä \|\| pa ñcmaṃ \|\| ñä kta ñta rko ṣñä
a8	/// ·[twä]¯ ¯s̝ kā rne¯ ¯ñcä ku mse¯ ¯ñcä na peṃ sa¯ ¯cä : tsa lpā lu ne ā kā lyo yä rka¯ ¯nt ri twse¯ ¯ñcä ptā
b1	/// [ṇ]i¯ ¯k : 1 ta myo pta rka¯ ¯s ti rthe nā¯ ¯s pla ślu ne ytu sne tspo kā¯ ¯s : pā ṣlu ne ytu wi ccā
b2	/// [n]e kri nä mca¯ ¯m lkā tsi : pa lcä swa s̝ta¯ ¯s̝ ptā ñä kta cke ne kri nä mśa lpa tsi : 2 \|\| tma¯ ¯s̝ ā
b3	/// – ā ṣā ni kāṃ ptā ñka tka ṣṣi na cwa s̝ta s̝la nta ssi ā rwa rma ska ta rta mpa lko ra ṣti ṣyeṃ
b4	/// ·ä ā ṣā ni kāṃ me tra knä¯ ¯s̝ wä tka tsi mā ka rya tsu ma¯ ¯s̝ ā kra a śnu ma¯ ¯s̝ śla
b5	/// – \|\| pa ñca ga ti naṃ \|\| pā ca rmā ca rṣiṃ kā pñu ne pukaṃ ta mpe wā¯ ¯ts wra
b6	/// ṣa s̝a rku ku cpra ks̝a¯ ¯l pā cra¯ ¯s̝ : kā rūṃ pyā mtsā rkā rū ṇi kwa sā
b7	/// [ṅka]¯ ¯s̝ sa nä kñi ya sa ṣpu kpra ṣtaṃ mñe ṣe¯ ¯s̝ pa lkā ckra¯ ¯ñśä
b8	/// – • saṃ sā rṣiṃ nā tki¯ ¯s ke ne kri tā¯ ¯s̝ ā kya tsi

Transcription

a1	/// (o)ppall oki kāckeyo : 2 ॥ tmäṣ āṣānik
a2	n1 (metrak) /// wnāmā(ṃ) träṅkäṣ ॥ subhādrenaṃ ॥

1a	kāruṃṣiṃ ś_ukäryo ; a3n2 15σ
1b	4σ /// ; (ca)kravarttis ; lānt watkurā ; puk tkaṃsaṃ ; vaineṣinäs ; kātkṣant i… a4
1c	10σ
1d	5σ /// ñ kākkurā ; riṣakäśśi ; lāntac ytsi : 1 ॥

	täpreṃ wewñuräṣ ā-
a5	-(ṣānik) (metrak) /// (bādha)ri brāhmaṃ mokoneyo lyutār nāṃtsu tärmmāṃ kapśiñño śla āñcālyi
a6	/// c yärṣlune yaträ klyoṣās nṣäṣ sewāñ ñäktes weñlune • pälkāc mäccek ptāññä-
a7	-(ktañ)n3 /// (kä)ṣṣinac kātse ytsi cesmi näṣ tärkor ypam pälkāc krañś ॥ pañcmaṃ ॥

1a	ñäktañ tärkoṣ ; ñäa8(kteññāñ) ; 7σ
1b	5σ /// (waṣ)twäṣ ; kārneñc kumseñc ; napeṃsac :
1c	tsälpālune ; ākālyo ; yärkant ritwseñc ; ptāb1(ñäktac) (:)
1d	11σ /// ; (kāru)ṇik : 1
2a	tämyo ptärkäs ; tirthenās ; pläśluneytu ; sne tspokās :
2b	pāṣluneytu ; wiccāb2(ṣṣās) ; 7σ
2c	7σ /// ; (k_upre) ne kri n-äm ; cam lkātsi :
2d	pälcäs waṣtäṣ ; ptāñäktac ; ke ne kri n-äm ; śalpatsi : 2 ॥

	tmäṣ ā-
b3	-(ṣānik)n4 (metrak) /// – āṣānikāṃ ptāñkät käṣṣinac waṣtäṣ läntässi ārwar mäskatär täm pälkoräṣ tiṣyeṃ
b4	/// ·ä āṣānikāṃ metraknäṣ wätkatsi mā käryatsumäṣ ākrä aśnumäṣ śla
b5	n5 /// – ॥ pañcagatinaṃ ॥

1a	pācar mācarṣiṃ ; kāpñune ; p_ukaṃ tampewāts ; wrab6(saśśi) ; 6σ

	/// ṣaṣärku kuc prakṣäl pācräṣ : kārūṃ pyāmtsār kārūṇik wasā
b7	n6 /// (trä)ṅkäṣ sanäk ñi yasäṣ puk praṣtaṃ mñe ṣeṣ pälkāc krañś
b8	n7 /// – • saṃsārṣiṃ nātkis ke ne kri tāṣ āk yatsi

Translation

a1	2 \|\|
a1	... like a lotus flower, with joy.
a1+	Thereupon the venerable ... (Metrak) ... placing ... says:
a2	\|\| In the Subhadra [tune] \|\|
a2+	With the sting of mercy ...
a3+	... on the order of the Cakravartin-king, making glad in all lands the followers of the Vinaya, ...
a4	1 \|\|
a4	... at the invitation of ... to go to the king of the sages.
a4+	Having said so much, the venerable (Metrak)
a5+	... Bādhari the Brahmin, with his body trembling excessively because of his advanced age, his palms placed together, ... will pay his respect.
a6	You, my sons, have heard from me the words of the god.
a6+	See yourselves ... the Buddha-god(s)
a7	... I will grant the permission to them to go to the presence of (the Buddha-god) the teacher. See, oh good ones! \|\| In the Pañcama [tune] \|\|
a7+	The gods have been allowed, the goddesses (?)
a8	... from the ... houses they are descending, they are coming to the human beings;
a8+	they are combining their homage to the Buddha-god with their wish to be freed.
b1	1.
b1	... merciful one. Therefore, you, give up the self-torments of heretics, tasteless ones, the observances of magic skills
b2	2. \|\|
b2	... (when) your wish is to see him. Go away from the house to the Buddha-god, (you) whose wish it is to become freed!
b2+	Thereupon, the venerable (Metrak) /// is ready to go away from the house to the venerable Buddha-god the teacher.
b3+	Having seen that, ... (beginning with) Tiṣya, ... not wishing to be separated from the venerable Metrak, with eyes filled with tears, with (the palms of their hands placed together) ...
b5	\|\| In the Pañcagati [tune] \|\|
b5+	The love for father and mother (is) the strongest (sentiment) among the beings...
b6	... surpassed ..., ... what is to be asked of a father? Have mercy on us, oh merciful one!
b7	... says: All the time it has been my expectation to hear just this from you. See, oh good ones!
b8	... Whosoever intends to put an end to Saṃsāra the master,

Other

b2	… whose wish it is to see him. Go away from the house to the Buddha, (you [pl.]) whose wish it is to become freed! (cf 79) (Peyrot 2013b: 267)
b8	Whosoever intends to put an end to the saṃsāra, the master. (cf 79) (Peyrot 2013b: 650)

Commentary

Parallel texts

	A 212; MaitrHami 2, 3-4

Remarks

	This fragment contains part of the second act of the Maitreyasamitināṭaka. Line b8 here is the same as A 212 a1; an Uy. parallel is MaitrHami II, 3 (missing)-4a20; line b3 here correlates with MaitrHami II, 4a1. See also Pinault 1999: 195-6.
	The translation and the following commentary are adapted from Ji et al. 1998: 80.

Philological commentary

n1	subhādrenaṃ: a stanza of 20 (5/5/5/5) + 22 (8/7/7) + 10 (5/5) + 15 (8/7) syllables.
n2	kātkṣant i-: according to Schmidt 1999b: 281 kātkṣanti, nom.sg. of a feminine derivative of an ag.n. kātkṣant.
n3	pañcmaṃ: two stanzas of 4 x 14 (7/7) syllables.
n4	Cf. MaitrHami 2, 4 a1ff (for the Uy. references, see Ji et al. 1998: 18), and the end of this leaf corresponds roughly to MaitrHami 2, 4 a19ff.
n5	pañcagatinaṃ: a stanza of 4 x 21 (8/7/6) + 21 (id.) + 18 (9/9) + 13 (7/6) syllables; this scheme is met with the corresponding name of the tune in TB: pañcagatine, cf. THT 88: a5. For the following speech, compare MaitrHami 2, 4 a6-14.
n6	Maitreya (Metrak) is now speaking, cf. MaitrHami 2, 4 a15ff.
n7	Cf. A 212: a1.

References

Edition

Ji et al. 1998

Translations

Meunier 2013: b8 (167); Peyrot 2013b: b2 (267), b8 (650)

Bibliography

Ji et al. 1998

Ji, Xianlin, Werner Winter, and Georges-Jean Pinault. 1998. Fragments of the Tocharian A Maitreyasamiti-Nāṭaka of the Xinjiang Museum, China. Transliterated, translated and annotated by Ji Xianlin in collaboration with Werner Winter, Georges-Jean Pinault. TLSM 113. Berlin/New York: de Gruyter.

Meunier 2013

Meunier, Fanny. 2013. “Typologie des locutions en yām- du tokharien.” Tocharian and Indo-European Studies 14: 123–85.

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.

Pinault 1999

Pinault, Georges-Jean. 1999. “Restitution du Maitreyasamiti-Nāṭaka en tokharien A: Bilan provisoire et recherches complémentaires sur l’acte XXVI.” Tocharian and Indo-European Studies 8: 189–240.

Schmidt 1999b

Schmidt, Klaus T. 1999b. “Review of: Fragments of the Tocharian A Maitreyasamiti-Nāṭaka of the Xinjiang Museum, China.” Tocharian and Indo-European Studies 8: 277–85.

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