ChiekoYamano Introduction,CriticalEditionandTranslation Kakṡapuṫatantra RevivingtheDeadandKnowingtheTimeofDeath:ChapterNineteenofthe

Reviving the Dead and Knowing the Time of Death:

Chapter Nineteen of the Kaks

̇ aput

̇ atantra Introduction, Critical Edition and Translation

Chieko Yamano

国際仏教学大学院大学研究紀要

第 18 号（平成 26 年)

for Postgraduate Buddhist Studies

Vol. XVIII, 2014

Reviving the Dead and Knowing the Time of Death:

Chapter Nineteen of the Kaks

̇ aput

̇ atantra Introduction, Critical Edition and Translation

Chieko Yamano

The Kaks

̇ aput

̇ atantra is a manual of Tantric magics, possibly compiled around the tenth century. ¹ Though it is based on the Śaiva tradition, its authorship is traditionally ascribed to Nāgārjuna, one of the most famous Buddhist scholars. In mediaeval India, Nāgārjuna was worshipped as a siddha accomplished in various magic arts such as rasa (alchemy) and rasāyana (rejuvenation). We find stories narrating his magical feats in the Buddhist, Hindu and Jain traditions. Furthermore, as rasaśāstras, or treatises on alchemy, had begun to appear and the science of rasa gained popularity around the tenth century, he established his fame as a rasasiddha or master of alchemy. The Kaks

̇ aput

̇ atantra, otherwise known as Siddhanāgārjunatantra, is believed to have been written on the basis of the siddha tradition of worshipping Nāgārjuna as a master of the magic arts. The Kaks

̇ aput

̇ atantra contains various arts that shape the common components of the mediaeval Tantric arts practised among Buddhist, Hindu and Jain siddhas.

The Kaks

̇ aput

̇ atantra is not concerned with supermundane attain- ments. It is a manual exclusively dedicated to sādhanas, or magical pro- cedures, intended to generate worldly benefits. In all it deals with nineteen

1

Kaks

̇ aput

̇ a

̇

Kalāvilāsa

̇

̇

Kaks

̇ aput

̇ atantra, his

Kaks

̇ aput

̇ atantra.

varieties of sādhanas: Vaśya (controlling others), Ākars

̇ an

̇ a (attracting others), Stambha (immobilizing others), Moha (bewildering enemies), Uccāt

̇ a (extirpating enemies), Māran

̇ a (killing others), Vidves

̇ a (provoking enmity), Vyādhikaran

̇ a (causing illness), Paśuśasyārthanāśana (causing loss of cattle, grain and other properties), Kautuka (conjuring tricks), Indrajāla (creating illusions), Yaks

̇ in

̇ īmantrasādhana (invoking yaks

̇ in

̇ īs), Cet ̇ aka (using someone as a slave), Añjana (eye ointment), Adr

̇ śya (becoming invisible), Pādukāgati (magic shoes), Gut

̇ ikā (magic pill), Khecaratva (going to the sky) and Mr

̇ tasam

̇ jīvana (reviving the dead). ² Those sādhanas are sometimes formulated as the so-called s

̇ at

̇ karman, or six types of magic, in the Buddhist, Hindu and Jain Tantras. ³ Although there exist many Tantras dedicated to the s

̇ at

̇ karman-type sādhanas, the Kaks ̇ aput

̇ atantra has one distinctive feature: various kinds of medical substances found in Āyurvedic medicine are often employed. The practitioner grinds and mixes the substances. From the mixture, he makes an añjana (eye ointment), a gut

̇ ikā (pill) or tilaka (mark on the forehead) and then takes or wears the final product. Such magical procedures repeatedly appear in the Kaks

̇ aput

̇ atantra.

Most of the sādhanas in the Kaks

̇ aput

̇ atantra aim to generate worldly benefits or attain supernatural powers, but Chapter 19, on the other hand, deals with a kind of medical treatment. We can see here an integral Tantric art in the siddha tradition.

2 Kaks

̇ aput

̇ atantra

3

s

̇ at

̇ karman

Śānti (pacifying diseases and obstructions),

̇

̇

̇

̇

̇

However, in the Jain Tantra, Māran

̇

̇

̇

̇

Magic Arts Related to Death Chapter 19 of the Kaks

̇ aput

̇ atantra is dedicated to three kinds of magic arts which deal with death: Mr

̇ tasam

̇ jīvinī (reviving the dead), Kālajñāna (knowing the time of death) and Kālavañca (cheating death). ⁴ Several earlier studies showed that these sādhanas are common to both Hindu and Buddhist Tantras. Teun Goudriaan [1983] explains the knowledge of division of time, signs of death, conquering death and the yoga of dying all that appeared in Chapter 23 of the Kubjikāmatatantra, a Hindu Tantra.

Soshin Sakurai [2000] looks at Tārā, a Buddhist deity, and her sādhana that appeared in the Mr

̇ tyuvañcanopadeśa, which describes signs of death and cheating death in detail. Shingo Einoo [2004] introduces various accounts of signs of death, cheating death, conquering death and the yoga of dying, as these concepts broadly appear in Indian literature, and describes a Sufi Tantra, the H

̇ aud

̇ al-H

̇ ayāt ⁵ , in this Indian tradition. Alexis Sanderson [2004] shows how the tradition of yoga of dying is derived from an Upanis

̇ adic antecedent and describes its varieties in both Buddhist and Hindu tradition. Ryugen Tanemura [2004, 2007, 2013a, 2013b] provides an introduction to a funeral ritual that appeared in the Mr

̇ tasugatiniyojana, a Buddhist Tantra, in which the yoga for reviving the dead is mentioned.

Tsunehiko Sugiki [2007] describes signs of death and the yoga of dying that appeared in Buddhist Tantras belonging to the Sam

̇ vara group and relevant texts. Soshin Sakurai [2009] compares accounts of the yoga for reviving the dead, looking particularly at two Buddhist Tantras, the Siddhisam

̇ bhavanidhi and the Mr

̇ tasugatiniyojana. Johannes Schneider

4

̇

̇

5

Amr

̇ takun

̇ d

̇ a. The Sanskrit text has not

[2010] presents comprehensive studies on the Mr

̇ tyuvañcanopadeśa, including its critical text and German translation.

Some of these Tantras mention the yoga of dying known as Utkraman

̇ a or Utkrānti, which is not addressed in the Kaks

̇ aput

̇ atantra.

Later I shall explain why the Kaks

̇ aput

̇ atantra does not mention it. First, however, I shall give a general account of four kinds of magic arts related to death, making reference to these previous studies.

Reviving the Dead (Mr

̇ tasam

̇ jīvana or Mr

̇ tasam

̇ jīvinī) The Siddhisam

̇ bhavanidhi explains a ritual procedure in which a practitioner calls back the vijñāna or consciousness of a dead person, who is in a state of antarābhava or middle existence between death and regeneration. Then, the practitioner consecrates the dead person with amr ̇ ta or immortal water. After that, it is said that the dead will be revived and lives for either seven days, five hundred days, or one thousand days [Sakurai 2009: 200-204]. The Mr

̇ tasugatiniyojana mentions a similar procedure in which a practitioner calls back the jñāna or consciousness of the dead. After consecration by amr

̇ ta or immortal water, however, the practitioner extracts the jñāna from the body again and sends it to a better world ⁶ [Tanemura 2004: 29-30]. It seems that the sādhana does not aim to revive the dead, but it is called Mr

̇ tasam

̇ jīvana (reviving the dead) in the text.

Mr ̇ tasam

̇ jīvinī as mentioned in the Kaks

̇ aput

̇ atantra, on the other hand, is a kind of medical treatment. It does not have any relationship with the yoga by which a practitioner controls jñāna (consciousness) or prān

̇ a (vital breath). Instead, it is a treatment for people who are in a state of suspended animation due to a fatal snakebite or other pathological conditions. It is said

6 Mr

̇ tasugatiniyojana

that, by applying a kind of sternutatory to the corpse, the dead are immediately brought back to life. ⁷ Similar medical treatments also appear in Āyurvedic treatises. For example, the Suśrutasam

̇ hitā explains a prescription named Sam

̇ jīvana that can revive a person who is in a state of suspended animation caused by a fatal snakebite. ⁸

The oil of aṅkola employed for reviving the dead in the Kaks

̇ aput

̇ atan- tra is used as an antidote to animal poisons in Āyurveda ⁹ and also for rasa- rasāyana in Rasaśāstra ¹⁰ . The Kaks

̇ aput

̇ atantra explains another medical treatment as part of the section on reviving the dead. It is a treatment that simply involves taking the root of gud

̇ ūcī. By taking it, a practitioner can avoid unexpected death. ¹¹ The gud

̇ ūcī is known as Amr

̇ ta in Āyurveda, and it is used for various diseases, as well as for rasa-rasāyana in Rasaśāstra ¹² .

Aside from the Kaks

̇ aput

̇ atantra, the Mr

̇ tyuvañcanopadeśa also explains a kind of medical treatment that aims to revive the dead, in the section on cheating death. Various substances including pañcāmr

̇ ta (five kinds of amr

̇ ta) ¹³ , triphala (three Myrobalans), mārkava (Eclipta alba), vyoman (talc) and heman (gold) are employed there. ¹⁴ Those substances are also regarded as effective for rasāyana in both Āyurveda and

7 Kaks

̇ aput

̇ atantra

8 Suśrutasam

̇ hitā, Kalpasthāna 5.73-75.

9 Carakasam

̇ hitā, Sūtrasthāna 27.159; Cikitsāsthāna 23.244.

10 Ānandakanda, An ̇

Rasendracūd

̇ āmani, An ̇

Rasārn

̇ ava

11 Kaks

̇ aput

̇ atantra

12 Rasaratnasamuccaya, Pañcāmr

̇

Trailokyatilakarasa 15.62-76; Lokanātharasa 16.29-3;

Rasendramaṅgala, Pañcāmr

̇

13

pañcāmr

̇ ta

rasaśāstras, the

rasa

̇

14 Mr

̇ tyuvañcanopadeśa

Rasaśāstra.

Knowing the Time of Death (Kālajñāna) or Signs of Death (Mr

̇ tyulaks

̇ a- n ̇ a, Aris

̇ t

̇ a)

Kālajñāna is regarded to be a synonym for Mr

̇ tyulaks

̇ an

̇ ajñāna (signs of death). In the Kaks

̇ aput

̇ atantra, the section on knowing the time of death consists of usual signs of death, along with two kinds of augury, summarized below.

In the first procedure, a practitioner draws a man

̇ d

̇ ala in the shape of a lotus flower and then writes dates, months and years on it. Through a certain ritual procedure, he reads the exact date of death on the man

̇ d

̇ ala. ¹⁵ We can see a similar augury in the Kubjikāmatatantra. However, this one does not tell the exact date, but only the duration of oneʼs lifetime. ¹⁶

In the second one, a practitioner writes a vidyā on a birch bark leaf, and through a certain ritual procedure, reads his fortune on the leaf. ¹⁷ It does not tell the time of death, but only his future in general. The exact procedure can be also found in the Kubjikāmatatantra. ¹⁸ With respect to these two kinds of augury, it must be added that there is a similarity between the Kaks

̇ aput

̇ atantra and the Kubjikāmatatantra.

According to Einoo [2004: 871-875], the description of signs of death is found in many genres of ancient Indian literature, including Āran

̇ yaka, Āyurveda, Epic and Purān

̇ a. The signs are described in various ways and are manifested through physical conditions, omens, augury or oneiromancy.

The Mr

̇ tyuvañcanopadeśa has an exhaustive description of the signs of

15 Kaks

̇ aput

̇ atantra

16 Kubjikāmatatantra

17 Kaks

̇ aput

̇ atantra

18 Kubjikāmatatantra

death, classifying them into two groups, bāhya (external) and abhyantara (internal) ¹⁹ [Schneider 2010: 35-36]. The first one includes the signs based on physical and sensory conditions, or experiential facts. They appear in oneʼs shadow, footprint, body and limbs, sneeze, semen, excreta, natural phenomena and incidents of dreams [Schneider 2010: 46-48]. The second one, on the other hand, describes signs based on oneʼs respiratory condition.

A practitioner observes the flow of breath that moves in the right and left veins in his body. By observing the flow of breath in the two veins, the practitioner can estimate the duration of his remaining life [Schneider 2010:

48-50].

The signs of death based on Tantric physiology concerning respiration also appear in Buddhist Tantras belonging to the Sam

̇ vara group. Sugiki introduces a table−commonly found in the Vajrad

̇ ākatantra, the D

̇ ākārn

̇ a- vatantra, the Sam

̇ varodayatantra and the Vārāhīkalpatantra−that de- scribes respiratory conditions with their corresponding duration of remaining life [Sugiki 2007: 323-326].

The Kaks

̇ aput

̇ atantra explains twelve signs of death. One of them can be classified as abhyantara (internal) and the remainder as bāhya (external). Among them, one unique sign is included. The Kaks

̇ aput

̇ atantra insists that abandoning religious deeds such as bhakti (devotion) and śīla (good conduct) results in oneʼs death. ²⁰ This can be considered an ethical sign of death. Other external signs can be roughly grouped into physical, sensory, environmental and oneiric categories. The physical signs appear as pale lips, dry palate and so on. ²¹ They manifest mainly because of etiological reasons. The sensory signs such as losing a sense of direction and seeing a hole in the sun are caused by sensory abnormality. ²² The

19 Mr

̇ tyuvañcanopadeśa

20 Kaks

̇ aput

̇ atantra

21 Kaks

̇ aput

̇ atantra

22 Kaks

̇ aput

̇ atantra

environmental signs appear as omens, such as a meteor during the day, Saturn in the cloudless sky ²³ and auguries like the reflection of the sun on the water. ²⁴ The oneiric signs such as a tree with no branch, a red cloth, and a town of evil spirits ²⁵ have environmental connections but can be distinguished as a separate group. The oneiric sign has been a topic widely discussed in a variety of Indian literature, and therefore can be understood as an established category.

Cheating Death (Mr

̇ tyuvañcana, Kālavañcana) or Conquering Death (Mr ̇ tyum

̇ jaya)

When a practitioner realizes that his death is approaching through signs of death, he should perform either of two kinds of sādhana. The first one is for avoiding death, and the second one is for preparing for death.

Mr ̇ tyuvañcana (cheating death), Kālavañcana (cheating death) and Mr ̇ tyum

̇ jaya (conquering death) are all classified as part of the first kind.

In the Kaks

̇ aput

̇ atantra, it is said that yoga, abhyāsa (recitation), mantra and rasāyana are effective for cheating death. ²⁶

The Mr

̇ tyuvañcanopadeśa, which explains cheating death in detail, classifies it into two groups, according to the abovementioned two kinds of category of the sign of death, i.e. bāhya (external) and abhyantara (internal). The Mr

̇ tyuvañcanopadeśa, reflecting a Buddhist feature, explains cheating death according to three kinds of activity: physical, verbal and mental. When an external sign appears, a practitioner should be engaged in physical or verbal activities. Various religious deeds and recitations of sūtra or dhāran

̇ ī are recommended here ²⁷ [Schneider 2010: 57-58]. In addition,

23 Kaks

̇ aput

̇ atantra

24 Kaks

̇ aput

̇ atantra

25 Kaks

̇ aput

̇ atantra

26 Kaks

̇ aput

̇ atantra

mantras, aus

̇ adha (medicine), man

̇ i (precious stone) and rasāyana are also defined as effective methods for cheating death ²⁸ [Schneider 2010: 58-62].

When an internal sign appears, on the other hand, a practitioner should be engaged in mental activities, i.e. yogic practises. The Mr

̇ tyuvañcano- padeśa introduces various kinds of yogas for cheating death, including the deity yoga of the five Buddhas, Tārā, five goddesses and Heruka, the meditation of amr

̇ ta, counting breaths, holding oneʼs breath and the meditation on śūnyatā ²⁹ [Schneider 2010: 62-67]. Among them, the meditation of amr

̇ ta is noteworthy. In this meditation, a practitioner visualizes amr

̇ ta pouring down from the moon disk located in the crown of the head and penetrating his body through its pores. ³⁰ Or, alternatively, a practitioner puts his tongue on the palate, and further on the uvula. By means of the yogic technique, it is said that the amr

̇ ta is pouring out. ³¹ The latter yogic practise is known as Khecarīmudrā. The H

̇ aud

̇ al-H

̇ ayāt, a Sufi Tantra, also introduces this meditation of amr

̇ ta for cheating death [Einoo 2004: 875-876].

The Kaks

̇ aput

̇ atantra introduces two kinds of yoga for cheating death.

In the first one, a practitioner visualizes Brahman, Vis

̇ n

̇ u or Rudra on a certain part of his body. ³² Similar yogic practises, in which a practitioner visualizes deities or aks

̇ aras on his body, widely appear in Tantric texts.

The Kubjikāmatatantra and the Sam

̇ varodayatantra also mention such kinds of yogic practise for cheating death. ³³ In the second technique, a practitioner visualizes so-called Māyā, which is like a snake made of light,

27 Mr

̇ tyuvañcanopadeśa

28 Mr

̇ tyuvañcanopadeśa

29 Mr

̇ tyuvañcanopadeśa

30 Mr

̇ tyuvañcanopadeś

31 Mr

̇ tyuvañcanopadeś

32 Kaks

̇ aput

̇ atantra

33 Kubjikāmatatantra

Sam

̇ varodayatantra

flashing upwards from the navel to brahmarandhra, i.e. an aperture in the crown of the head. ³⁴ The yoga is well known as Kun

̇ d

̇ alinīyoga. Thus, we can see that both Khecarīmudrā and Kun

̇ d

̇ alinīyoga are practised for cheating death.

Yoga of Dying (Utkraman

̇ a, Utkrānti)

When a practitioner realizes that his death is approaching through signs of death, the second option that he can take is to prepare for death.

Utkraman

̇ a or Utkrānti is well known in Tantric texts as the yoga for preparing for death. As Sanderson pointed out, this yoga is derived from an Upanis

̇ adic antecedent [Sanderson 2004: 3-7]. In this yoga, a practitioner pulls his prān

̇ a out of his body and attains moks

̇ a or liberation. The practitioner shuts all holes in his body, i.e. anus, genitals, navel, mouth, nose, ears and eyes; then he pulls out his prān

̇ a through brahmarandhra, i.e. the aperture in the crown of the head. This yogic practice presumes a link between the next world, where the person will be reborn, and a hole through which oneʼs prān

̇ a gets away from oneʼs body. Einoo [2004: 877]

shows that the relationship is already mentioned in the Mahābhārata, and Sanderson [2004: 4-5] and Sugiki [2007: 333-334] point out that the epic also explains about the procedure of the yoga of dying.

The Kubjikāmatatantra explains the yoga of dying in detail, mentioning an āsana or sitting posture called Kukkut

̇ āsana ³⁵ , which is effective for shutting all holes in the body. ³⁶ The Sam

̇ varodayatantra also explains the procedure of the yoga of dying and the relationship between the next world where a person will be reborn and the hole through which

34 Kaks

̇ aput

̇ atantra

35

̇ āsanaʼ.

36 Kubjikāmatatantra

oneʼs prān

̇ a gets away from the body. ³⁷ Utkraman

̇ a or Utkrānti is the yoga in which a practitioner controls his own prān

̇ a. However, if a practitioner performs it for a dead person, it becomes a funeral ritual. Sugiki defines it as an application of yoga to a funeral ritual and gives examples from the Kriyāsamuccaya and the Mr ̇ tasugatiniyojana [Sugiki 2007: 335-336].

As I mentioned before, the Kaks

̇ aput

̇ atantra does not deal with the yoga of dying. The Kaks

̇ aput

̇ atantra is exclusively dedicated to sādhanas intended to generate worldly benefits. Therefore, the Kaks

̇ aput

̇ atantra focuses on reviving or prolonging life, having no interest in attaining moks

̇ a at the moment of death. It is a unique feature of the Kaks

̇ aput

̇ atantra that medical treatments for reviving the dead are integrated into the set of arts dealing with death. The Kaks

̇ aput

̇ atantra describes a detailed procedure for extracting aṅkola oil, which is effective for reviving the dead. On the contrary, other Tantras such as the Siddhisam

̇ bhavanidhi explain a ritual procedure to call back the jñāna (consciousness) of the dead through a yogic practice.

The Kaks

̇ aput

̇ atantra has an affinity with rasaśāstras. Among the works cited by the Kaks

̇ aput

̇ atantra, we find the Rasārn

̇ ava, one of the principal rasaśāstras. ³⁸ The Kaks

̇ aput

̇ atantra, in turn, is broadly cited in Nityanāthaʼs Rasaratnākara [Wujastyk 1984:75]. The rasa and rasāyana, which the Rasaśāstra topicalizes, have developed by making use of medical and chemical knowledge. Siddhas developed these arts based on the objective principles similar to that of modern medicine and chemistry because these arts must guarantee effectiveness. Therefore, the arts that appear in Rasaśāstra are sometimes regarded as a preliminary step

37 Sam

̇ varodayatantra

38 Kaks

̇ aput

̇ atantra

towards modern science. However, we are sometimes baffled at the complexity of actions on which the effectiveness of the arts is based. The same can be said about the Kaks

̇ aput

̇ atantra. For example, in the procedure of the aṅkola treatment, we see substances such as aṅkola, which has a medical efficacy, used side by side with semen and mercury, whose efficacy is based not on practical reasons but on symbolic characteristics. The Kaks ̇ aput

̇ atantra makes use of whatever seems to have some effectiveness

−magic, oracle, fortune telling, prayer, medicine and yoga. This is a true

bricolage of siddhas.

Printed Editions and Manuscripts Used for This Edition

Printed Edition

For my critical edition, I used the following three editions. Unfortunately, none of them mentions the textual witness(es) on which they are based. My abbreviations FRQWDLQ¶(·IRUHGLWLRQIROORZHGE\WKHLQLWLDOVRIWKHHGLWRUVLHĂ1ĂŋXERGKD DQG1LW\DERGKD.K.KD˷ʽHODYăODDQG33DxFăQDQD

E

:

,QGUDMăODYLG\ăVD˳JUDKD˕WDWUDLQGUDMăODŋăVWUDPNăPDUDWQDPGDWWăWUH\DWDQ- WUDPVD̝NDUPPDGĦSLNăVLGGKDQăJăUMXQDNDN̓DSX̝DP

(GLWHGE\ŊUĦăŋXERGKD9LG\ăEKŗ̓D˷DDQGŊUĦQLW\DERGKD9LG\ăUDWQD (Calcutta: Vacaspatyayantra, 1915)

Sanskrit text, 20 chapters

E

:

6LGGKDQăJăUMXQDWDQWUDP6LGGKDQăJăUMXQDNDN̓DSX̝DP (GLWHGE\(V(Q.KD˷ʽHODYăOD

9ăUă˷DVĦ&DXNKDPEă6XUDEKăUDWĦ3UDNăŋDQD 6DQVNULWWH[WZLWK+LQGLFRPPHQWDU\FKDSWHUV

E

:

6LGGKDQăJăUMXQD.DN̓DSX̝DPPŗODRDQXEăGDVDPHWD (GLWHGE\3DxFăQDQDŊăVWUĦ

.DOLNăWă1DEDEKăUDWD3ăEDOLŋăUVD

%HQJDOLWH[WZLWK%HQJDOLFRPPHQWDU\FKDSWHUV

Manuscripts

I have used twelve digital copies of manuscripts kindly provided by the Nepal- HVH*HUPDQ0DQXVFULSW&DWDORJXLQJ3URMHFW1*0&3WZRGLJLWDOFRSLHVIURP the Wellcome Library and one digital copy from the University of Tokyo Library.

The following summary provides brief bibliographic information for these manu- scripts. The abbreviations for the manuscripts consist of the initial of the place of storage, that is, K (Kathmandu), L (London) or T (Tokyo), and a number. These QXPEHUVDUHWHQWDWLYHO\DVVLJQHGLQRUGHURIPLFURÀOPQXPEHURUFDWDORJXHQXP- EHU$PRQJWKHVHPDQXVFULSWVWKHWH[WVODEHOOHG.VXEVFULSWQXPEHUV 10, 11 and 12 only), L (subscript number 2 only) and T are available for Chapter 19.

K

1*0&3QR0LFURÀOP$

6FULSWV'HYDQDJDUL0DWHULDOSDSHU 110 leaves, chapters 1–20

K

1*0&3QR0LFURÀOP$

6FULSWV'HYDQDJDUL0DWHULDOSDSHU

<HDU1HSDOD6D˳YDWa&(

OHDYHVFKDSWHUV²

K

1*0&3QR0LFURÀOP$

6FULSWV'HYDQDJDUL0DWHULDOSDSHU 15 leaves, chapters 1–2

K

1*0&3QR0LFURÀOP$

6FULSWV1HZDUL0DWHULDOSDSHU

OHDYHVFKDSWHUV²FKDSWHUV²PLVVLQJ

This text has four additional chapters cited from the 8ʽʽăPDUHŋYDUD after Chap- WHU6HQăVWDPEKDQDDQGWKHFKDSWHURQ8QPDQĦNDUD˷DLVSODFHGDIWHU&KDSWHU 0ăUD˷D

K

1*0&3QR0LFURÀOP$

6FULSWV'HYDQDJDUL0DWHULDOSDSHU OHDYHV

This is a text with commentary, and it has no equivalent in the .DN̓DSX̝DWDQWUD.

K 1*0&3QR0LFURÀOP%

6FULSWV'HYDQDJDUL0DWHULDOSDSHU OHDYHVFKDSWHUV²

K

1*0&3QR0LFURÀOP%

6FULSWV'HYDQDJDUL0DWHULDOSDSHU OHDYHVFKDSWHUV²

K

1*0&3QR0LFURÀOP%

6FULSWV'HYDQDJDUL0DWHULDOSDSHU OHDYHV

7KLVVHHPVWREHDSDUWRIWKH6LGGKDNKD˷ʽDRIWKH5DVDUDWQăNDUD.

K

1*0&3QR0LFURÀOP%

6FULSWV1HZDUL0DWHULDOSDSHU OHDYHVFKDSWHUV²

K

1*0&3QR0LFURÀOP%

6FULSWV1HZDULDQG'HYDQDJDUL0DWHULDOSDSHU 100 leaves, chapters 1–20

K

1*0&3QR0LFURÀOP%

6FULSWV1HZDUL0DWHULDOSDSHU OHDYHVFKDSWHUV²

K

1*0&3QR0LFURÀOP&

6FULSWV'HYDQDJDUL0DWHULDOSDSHU

<HDU9LNUDPD6D˳YDWa&(

OHDYHVFKDSWHUV²

This text has an additional chapter after Chapter 20.

L

:HOOFRPH/LEUDU\QR$OSKD 6FULSWV'HYDQDJDUL0DWHULDOSDSHU 70 leaves, chapters 1–11

L

: Wellcome Library no. Alpha 900 6FULSWV'HYDQDJDUL0DWHULDOSDSHU

OHDYHVFKDSWHUV²FKDSWHUV²PLVVLQJ

77RN\R8QLYHUVLW\QR0LFURÀOP 6FULSWV'HYDQDJDUL0DWHULDOSDSHU

OHDYHVFKDSWHUV²

Sigla and Abbreviations

Critical Edition

[ ] word(s) that the editor thinks should be deleted ( ) uncertain word(s) or syllable(s)

/// illegible part of syllable(s) because of physical damage

× empty space or space sign (×) in a given manuscript ... illegible syllable(s)

ƙ all available manuscripts FRQM. FRQMHFWXUHG

GLWW. dittography in

HP. emended

QH. no equivalent in RP. omitted in

WUDQVS transposed from another line to here in

r recto

v verso

I have adopted corrections if there were deletion signs or marginal additions in a given manuscript without noting this in my edition.

Translation

[ ] word(s) added by the translator

( ) uncertain word(s)

&KDSWHU0̋WDVDxMĦYLQĦNăODMxăQD

E

p.379, E

p.92, E

p.231 K

.102r, K

U. Y. .109v, K

Y.

.93v, K

.119r, K

U/

Y7U DWKDP̋WDVD˳MĦYLQĦYLG\ăPăKD

/

P̋WDVD˳MĦYLQĦ˳

YLG\ă˳

SUDYDN̓\ăPLVDPăVDWD˕ ^K

.119v OL˵JDPD˵NRODY̋N̓ăGKD˕

VWKăSD\LWYă

SUDSŗMD\HW

QDYD˳

JKD̝Dx

FDWDWUDLYDSŗMD\HOOL˵JDVD˳QLGKDX ^T.27v Y̋N̓D˳

OL˵JD˳JKD̝DxFDLYDVŗWUH˷DLNHQD

YH̝̓D\HW ^E

S FDWXUEKL˕VăGKDNDL˕VăUGKD˳

SUDWL\ăPD˳

NUDPH˷DWX

* .ăPDUDWQDWDQWUDDE

P̋WDVDxMĦYDQĦYLG\ă˳SUDYDN̓\ăPLVDPăVDWD˕

OL˵JDPD˵NRODY̋N̓ăGKD˕VWKăSD\LWYăSUDSŗMD\HW QDYD˳JKD̝D˳FDWDWUDLYDSŗMD\HOOL˵JDVD˳QLGKDX Y̋N̓D˳OL˵JD˳JKD̝D˳FDLYDVŗWUHQDLNHQDYH̝̓D\HW FDWXUEKLVVăGKDNDLUQLW\D˳SUD˷LSDW\DNUDPH˷DWX

* 2ab-3cd RP K

,* 3ab WUDQVS. T after 1cd

1 DWKDP̋WDVD˳MĦYLQĦYLG\ăPăKD@ K12

DWKDP̋WDVDxMĦYDQĦYLG\ă(

P̋WDVDxMĦYDQĦYLG\ă(

, atha P̋WDVD˳MĦYLQĦ.

DWKDP̋WDVD˳MĦYDQĦ.

DWKăP̋WDVD˳MĦYLQĦOL̓\DWH/

DWKD7DWKă. , RP K E

2 P̋WDVD˳MĦYLQĦ˳@.

P̋WDVD˳MĦYLQL˳.

P̋WDVDxMĦYDQĦ˳.

T E

E

E

P̋WDVD˳- MĦYLQĦƒ. P̋WDVD˳MĦ/

3 YLG\ă˳@.

L

E

E

E

YLG\ă. T

  D˵NRODY̋N̓ăGKD˕@ (Ă1

E

E

D˳NRODY̋N̓ăGKD˕ . 7 D˳NRODY̋N̓ă\D˕ .

L

, D˳NăODY̋N̓ă\D˕.

DNRODY̋N̓ă\D. , RP. K

5 VWKăSD\LWYă@.

L

T E

E

E

VWKăSD\LWY\ă.

VWKă\LWYă.

WKăSDLWYă.

Y\ăSD\LWYă K

VWKăSDMLWYă/

, RP K

 QDYD˳@.

L

T E

E

E

QDYD. NKD̓Dð7

7 JKD̝Dx@(Ă1

E

E

JKD̝D˳. L

JK̋WD˳. JKD̝D˳VD˳. , × T

 Y̋N̓D˳@.

T E

E

E

Y̋N̓D. GDN̓ă/

9 VŗWUH˷DLNHQD@.2 9 12

T E

E

E

VŗWUH˷HNHQD.

VŗWUDL˷DLNHQD. , sutranaikena K

UDNWDVŗWUH˷D/

E

E

E

VăUGGKD˳/

VăUGGKD7VăGKD. QQLW\D˳.

E

E

E

SUDWWL\ăPD˳.

SUDWL\ăND7SUDWLSăSD˳.

HYD˳GLYăQLŋD˳

NXU\ăGDJKRUH˷DVDPDUFDQDP

//3//

SX̓SăGLSKDODSDNYăQWD˳

VăGKDQD˳NăUD\HW

VXGKĦ˕

SKDOăQLSDNYăQ\ăGă\DSŗUYRNWD˳SŗUD\HGJKD̝DP

^K .110r, K

U WDGJKD̝D˳

SŗMD\HG

GKĦPăQ

JDQGKDSX̓SăN̓DWăGLEKL˕

/ E

p.232 WX̓DYDUMD˳

WDWD˕

N̋WYăEĦMăQă˳

JKDU̓D\HW

mukham

/ K

Y

* .ăPDUDWQDWDQWUDFG

HYD˳GYLGYLGLQD˳NXU\ăGDJKRUH˷DVDPDUFD\HW SX̓SăGLSKDODSăNăQWD˳VăGKDQD˳NăUD\HGEXGKD˕

SKDOăQLSDNYăQ\ăGă\DSŗUYRNWD˳SŗUD\HGJKD̝DP WDGJKD̝D˳SŗMD\HQQLW\D˳JDQGKDSX̓SăN̓DWăGLEKL˕

WX̓DYDUMMD˳WDWD˕NXU\ăGEĦMăQă˳JKD̝̝D\HQPXNKDP

12 GLYăQLŋD˳@.1 9

L

T E

E

E

GLYăQLŋL˳. GLYăQLŋL.

13 

samarcanam] L

E

samarccanam E

E

VDPDUFLWD˳. VDPDQWULWD˳.

VDPD˳WUD˷D˳7 VDPăUSLWD˳.

VDPDQYLWD˳.

VDPD˕VYDPD˳.

VDPD˳ðQD˳.

VDPDðQD˳.

 SX̓SăGLSKDODSDNYăQWD˳@.11

E

SX̓SăGLSKDOăSDNYăQWD˳/

SX̓SăGLSKDODSDNYăQQD˳.

T E

SX̓SăGLSKDODSDNYăQD˳.

SX̓SăGLSKDODSăNăQWD˳(

SX̓˷ăVLSKDODSDNYăQQD˳. , SX̓SDGLSKDODSX̓SăQD˳. , RP. K

15 NăUD\HW@.

L

T E

E

E

NăUD\DV.

  SŗUD\HG JKD̝DP@ .1 2 12

T E

E

E

SŗUD\HGY JKD̝DP .

SŗUD\DG JKD̝KD˳ . , SŗUD\HFFFKDWD˳.

SŗMD\HGJKD̝DP.

SŗMD\HJKD̝DP. SŗUDMHJKD̝DP/

17 WDGJKD̝D˳@.11 12

L

E

E

E

WDJKDWD˳. WDWDJKDWD˳. JKD̝D˳7WDGYD̝D˳.

, WDGYDʽKD˳.

 SŗMD\HG@.

L

T E

E

E

SŗMD\HW.

SŗMD\D. SŗUD\H.

T E

E

E

GKĦPă˳/

YĦPăQ.

20 JDQGKDSX̓SăN̓DWăGLEKL˕@.

JDQGKDSXU̓\DN̓DWăGLGLEKL. JD˳GKDGăSăN̓\DWăGLEKL˕.

, ă˳GKDSX̓SăN̓DWăGLEKL˕.

ă˳GKDSŗ̓SăN̓DWăGLEKL˕.

QXJD˳GKDSX̓SăN̓DWăGLEKL/

, arghya SX̓SăN̓DWăGLEKL˕(

E

E

QDUJK\DSX̓Să˳N̓DWăGLEKL˕7Qă˳JKDSX̓SăN̓DWăGLEKL˕.

ăGKD SX̓SăN̓DWăGLEKL˕.

21 WX̓DYDUMD˳@.1 2 10

WX̓DYDUMMD˳.

L

T E

E

WX̓DYDMD. WX̓DYDUMĦQL(

WX̓DU\\D˳WD˳

K

WX̓DU\\D˳WD.

WXNKDYD˳UMMD.

22 WDWD˕@.

L

T E

E

WD˳WD˳. , ta K

, vai E

23 EĦMăQă˳@.

L

T E

E

EĦMăQă. YĦMăQL(

YăMăQă˳.

 JKDU̓D\HW@.2 11

GKDU̓D\HQ.

7GKDU̓D\HW. G\DU̓D\DW. NDU̓D\DQ.

YŗU̓D\HQ L

YăSD\HQ(

E

E

25 

mukham] K

L

T E

E

PX̓D˳. VXNKD˳. , mukhe E

tanmukhe

̝D˵ND˷D˳

FŗU˷D˳NLxFLWNLxFLWSUDOHSD\HW

//5// ^K

.102v, K

U YLVWĦU˷DPXNKDEKă˷ʽăQWD˕

NXPEKDNăUăJD˷RGGK̋WăP

/ E

p.93, K

U P̋WWLNă˳OHSD\HWWDWUD

WăQLEĦMăQL

ropayet

NX˷ʽDO\ăNăUD\RJHQD

\DWQăGŗUGKYDPXNKăQL

ca/ K

.120r WDFFKX̓ND˳WăPUDSăWUăUGKH

EKă˵ʽD˳

deyam adhomukham

/

* .ăPDUDWQDWDQWUDDE

WDQPXNKD˳E̋KD˷D˳Y̋WWD˳NLxFLWNLxFLWSUDOHSD\HW YLVWĦU˷DPXNKDEKăJăQWD˕NXPEKDNăUDNDURGEKDYăP P̋WWLNă˳OHSD\HWWDWUDWăQLEĦMăQLURSD\HW

NX˳ʽDO\ăNăUD\RJHQD\DWQăGŗUGKYDPXNKăQLYDL

ŋX̓ND˳WD˳WăPUDSăWURUGGKYD˳EKă˷ʽD˳GH\DPDGKRPXNKDP

  tanmukhe] K1 2 9 10 12

T E

E

E

WDQPX̓H. L

WDQPXNKD˳.

, ta athe K

27 ̝D˵ND˷D˳@(Ă1

E

̝D˳ND˷D˳.

L

E

̝D˳NDQD˳.

7WD˳ND˷D˳. ̝DND˷D˳.

, ND˳NDQD˳.

pralepayet] K

L

7SUDOHSD\DW. SUDSŗMD\HW(

SUDSŗUD\HW(

E

, prayet K

29 YLVWĦU˷DPXNKDEKă˷ʽăQWD˕@(Ă1

E

E

YLVWĦU˷DPXNKDEKă˳ʽă˳WD˕.

7YLVWĦU˷DPXNKDEKă˷ʽăQWD K YLVWĦU˷˷DPXNKDEKă˷ʽăWD˕.

YLVWUĦU˷DPXNKDEKă˳ʽă˳WD˕.

YLVWLU˷˷DPX̓DEKă˷ʽăWD˕. YLVWĦU˷˷D- VXNKDEKă˷ʽăQWD.

YLVWĦU˷DPX̓DPă˳ʽD˳WX/

30 NX˳EKDNăUăJD˷RGGK̋WDP@HPNXPEKDNăUDJD˷RGGK̋WăP(Ă1

E

E

NX˳EKDNăUDJD˷RG- GK̋WăP.

NX˳EKDNăUăJD˷RGK̋WDP.

NXPEKDNăUăJD˷HGK̋WDP. NX˳EKDNăUăJD˷RY̋WDP7 NX˳EKDNăUă˷RGGK̋WD˳.

NX˳EKDNăUă˳JD˷RGK̋WDP.

NX˳EKDNăUD˳JD˷RGGK̋WDP.

, NX˳EKDNăUă˳JD˷ăGK̋WăP. NX˳EKDNăUă˳JD˷RGGK̋Wă/

31  lepayet tatra] K

L

T E

E

OHSD\DWWDWUD. OLPSD\D˳VWDWUD(

L

T E

E

E

QLUEĦMăQLFD.

QLEĦMăQL.

7URSD\DW. , lepayet L

K

E

E

E

 NX˷ʽDO\ăNăUD\RJHQD@.9

E

E

E

NX˳ʽDOSăNăUD\RJHQD.

NXʽDOSăNăUD\RJHQD/

, NX˳ʽDOăNăUD\RJHQD7NX˷ʽDO\ăNăOD\RJHQD. NX˷ʽDO\ăNDOD\RJHQD.

35  ŗUGKYDPXNKăQL@ (Kh

ŗUGGKYDPXNKăQL (

E

ŗUGGKDPXNKăQL .

L

7 ŗUGGK- YDPXNKăQYLWD˳.

ŗUGGKDPXNKăQYLWD˳. GGKLPXNKăQL.

 WăPUDSăWUăUGGKH@.

7WăPUDSăWUăUGKH.

WăPUDSăWUăUGKH˕.

Wă˳PUDSăWUăUGGKD˳

K

WăPUDSăWURWWKD˳(

E

E

OăPUăSăWUăUGGKH/

37 EKă˷ʽD˳@.

E

E

E

EKă˳ʽD˳.

7EKă˳ʽD.

EKăʽD˳/

EKă˷ʽD\D. Wă EKă˷ʽD˳. WăEKă˳ʽD˳.

, tad K

  deyam adhomukham] K1 2 9 10 12

L

7GH\DVDGKRPXNKDP. GH\ăGDGKRPXNKDP(

E

,

deyam a(dh...)omukham K

GDG\ăGDGKRPXNKDP(

GDGKRPX̓DP.

ăWDSH

GKăUD\HW

WDLOD˳JUăKD\HWWDxFDUDN̓D\HW ^L

.70r Pă̓ăUGGKDx

FDLYDWDWWDLOD˳Pă̓ăUGGKD˳

tilatailakam/

QDV\D˳

GH\D˳P̋WDV\DLWDW

VDP\DNWDV\D¶VLWHQDWX

WDWN̓D˷ăMMĦYD\HWVDW\D˳JDWR

Yă¶SL\DPăOD\DP

/ 7U URJăGLP̋W\XVDUSăGLP̋WR

MĦYDWL

QLŋFLWDP

//9// K

Y SX˳ŋXNUD˳

SăUDGD˳WXO\D˳WHQD

tailena

mardayet

/

*.ăPDUDWQDWDQWUDFG

ăWDSHGKăUD\HWWDLOD˳JUăKD\HWWD˳FDUDN̓D\HW PăVăUGGKD˳FDLYDWDWWDLOD˳PăVăUGGKD˳WLODWDLODNDP QDV\D˳GH\D˳P̋WDV\DLYDNăODGD̝̓DV\DWDWN̓D˷ăW

* .ăPDUDWQDWDQWUDDEFG

WDWN̋WYăMĦY\DWHVDW\D˳JDWHQăSL\DPăOD\DP URJăSDP̋W\XVDSăGLP̋WRMĦYDWLKLVYD\DP

* .ăPDUDWQDWDQWUDDE

DWKDYăSX˳ŋXNUD˳SăUDGHWXO\D˳WHQDWDLOHQDPDUGD\HW

39 ăWDSH@.

L

T E

E

E

ăWDSR.

 GKăUD\HW@.9

L

E

E

E

GKăUD˷ăW. GKăUD˷ăQ.

GKăUD˷ă. T

 Pă̓ăUGGKDx@(Ă1

E

E

Pă̓ăUGGKD˳. L

Pă̓ăUGGKD. Pă̓ăU̓D˳.

Pă̓ăUGGKH7

 Pă̓ăUGGKD˳@.9 12

L

T E

E

E

Pă̓ăUGGKD. Pă̓ă˳UGGKD.

Pă̓ăGGKH/

, VDPăUGKD.

VăPăUGGKD.

 QDV\D˳@.9 12

L

QDV\D. 7WDQDV\ă˳.

, tasya K

E

E

WDV\ă˳. , rasyam K

 P̋WDV\DLWDW@(Ă1

K L

P̋WDV\DLWD˳(

E

, matat T

 WDV\ă¶VLWHQDWX@(Ă1

WDV\ăVLWHQDWX/

WDV\DVLWHQDWX.

T, , tasya site tan K

, tasya site WDQX˳.

WDV\DVLWDLWX˳. , syasitena tu K

, tallepi tena tu E

E

 JDWR@ƙ(Kh

E

JDWD˳(

 \DPăOD\DP@.

E

E

E

\DPăOD\D7\DPăOH\DP/

 URJăGLP̋W\XVDUSăGLP̋WR@.2

URJăGLP̋W\XVDUSSăGLP̋WR. URJăGLP̋WW\XVDUSSăGLP̋WR K

URJăGLP̋W\XVDUSăGLVXWR7 URJăGLP̋W\XVDSSRGLP̋WR /

URJăGLP̋W\XUSRGLP̋WR .

URJăP̋W\X\DUSSăGLP̋WR.

URJăGLVDUSăGLP̋Wă˕(

E

E

 MĦYDWL@ƙSXQDUMĦYDQWL(Ă1

E

E

50 QLŋFLWD˳@.

L

7QLŋFLWD. QLŋFD\DP(

E

E

QLŋFD\D˕.

51 SX˳ŋXNUD˳@.10 12

L

T E

E

E

SX˳ŋXNOD˳.

SDŋXNOD˳. SDŋXNOD˳. SX˳˷ʽD NUD˳.

SXŋXWWND˳.

SX˳ŋʽDNOD˳.

52 

tena] K

E

E

E

WHQL/

, tela K

, yena K

, tailena T

53  tailena] K

L

E

E

E

WDLOH7

mardayet] E

marddayet K

L

E

E

PDUGD\DW. , payet T

QDV\D˳

GH\D˳P̋WDV\DLYDNăODGD̝̓DV\D

YăN̓D˷ăW

/

MĦYDPă\ăWL

QRFLWUD˳

PDKăGHYHQDEKă̓LWDP ^E

p.233, K

.110v SX̓\DEKăVNDUD\RJHQDJXʽŗFĦPŗODP

ăKDUHW ^E

S NDU̓DPX̓˷RGDNDL˕

SĦWDP

DSDP̋W\XKDUD˳SDUDP

//11//

R˳

DJKRUHEK\R¶WKD

ghorebhyo

JKRUDJKRUDWDUHEK\D˕

sarvasarvebhyo

* .ăPDUDWQDWDQWUDFG

DWKDYăSX˳ŋXNUD˳SăUDGHWXO\D˳WHQDWDLOHQDPDUGD\HW QDV\D˳GH\D˳P̋WDV\DLND˳NăODGD̝̓DV\DYăN̓D˷ăW

* .ăPDUDWQDWDQWUDHI

MĦYDPă\ăWLQRFLWUD˳PDKăGHYHQDEKă̓LWDP SX̓\DEKăVNDUD\RJHQDJXʽŗFĦPŗODPăKDUHW NDU̓DPX̓˷DMDODL˕SĦWRP̋WHP̋W\XKDUREKDYHW

* .ăPDUDWQDWDQWUDDIWHU

R˳DJKRUHEK\RWKDJKRUHEK\RJKRUDJKRUDWDUHEK\D˕VDUYDWD˕VDUYDVDUYHEK\RQDPDVWHUXGUD UŗSHEK\D˕XNWD\RJăQăPD\D˳PDQWUD˕

DIWHUFGYHGDPD˳WUDPăKD.

QH. K L

T E

E

E

55 QDV\D˳@.

QDŋ\D˳7QDV\D. MDV\D˳/

JăWUH(

E

E

 NăODGD̝̓DV\D@.

E

E

NăODGD̝̓UDV\D7NăODG̝̋̓DV\D.

NăODGGD̝̓V\D/

L

T E

E

E

UD˷ăW.

 MĦYDPă\ăWL@.12

E

E

MĦYDă\ăWL(

MĦYDVă\ăWL7MĦYDPăGKăWL.

MĦYDPăGKĦWL/

MĦYDP ăGKăQL. MĦYDQăGKDQL. MĦYDPDGKăQL.

59 FLWUD˳@.

L

T E

E

E

FLWUH.

  JXʽŗFĦPŗODP@ .1 2 9 10 11L2

T E

E

E

JXʽŗFLPŗODP . JXʽŗF\ă˳ PŗODP . , JXOĦFĦPŗODP.

 X̓˷RGDNDL˕@.1 2 10

E

E

E

X̓˷RGDNDL.

X̓˷RGDND˳/

ŗ̓˷RGDNH.

X̓˷HGDNDL. , XN\RGDNDL˕. XN\RGDNDL˕.

X̓˷RUNHNDGH7

 SĦWDP@.

L

T E

E

E

SDWDP. SăWDP.

L

T E

E

E

EKDYHW.

E

E

E

QDPD. , RP. K T

 ¶WKD@.1 2 9 10

L

T E

E

E

\D. , RP. K

  ghorebhyo] K

L

T E

E

E

JKRUDQ\R.

, RP. K

 JKRUDJKRUDWDUHEK\D˕@7JKRUHJKRUDWDUHEK\D˕QDPR¶VWX(Kh

JKRUDJKRUDWDUHEK\D˕QDPR

¶VWX(

JKRUHJKRUDWDUHEK\D˕VDUJKDWD˕/

, RP. K

sarvasarvebhyo] T E

, sarvvasarvvebhyo E

L

RP. K

QDPDVWH¶VWX

UXGUDUŗSHEK\D˕

//

K

Y

XNWD\RJDGYD\DV\ă\DPHYDPDQWUD˕

//

>LWLŋUĦVLGGKDQăJăUMXQDYLUDFLWHNDN̓DSX̝HJX̝LNăVăGKDQD˳P̋WDVDxMĦYDQĦYLG\ă- YDU˷DQD˳QăPDD̝̓ăGDŋD˳SD̝DODP@

DWKDNăODMxăQDP

>ăKD@

// ^E

S(

S(

S.

.120v

URFDQDL˕NX˵NXPDLUOăN̓ăQăPLNă

UDNWDVD˳\XWDL˕

/ ^K

.103r

  GYăGDŋăUD˳OLNKHW

SDGPD˳

WDGEDKLŋFDLYDWDWVDPDP ^K

Y

 QDPDVWHDVWX@7QDPR¶VWX(Kh

QDPR¶VWX(

, namaste L

, RP. K

70 UXGUDUŗSHEK\D˕@.1 2

L

T E

E

E

UXGUDUŗSHEK\D˕.

UXGUDUŗSHEK\R˕. UXGUDUŗ- pebhyo nama K

UŗGUDUŗSHW\D˕.

, RP. K

71 XNWD\RJDGYD\DV\ă\DPHYDPDQWUD˕@.

L

T E

E

XNX\RJDGYD\DV\ă\DPHYDPDQ- WUD˕.

XNWDPRJDGYD\DV\ă\DPHYDPDQWUD˕.

XNWD\R̝ăGYD\DPHYDPDQWUD˕.

, uktayoga- GYD\DV\ăU\\DLUD\DPPDQWUD˕SUDNĦUWWLWD˕(

LWW\ăGLXNWD\RJDV\DPHYDPDQWUD˕.

72  LWL ŋUĦVLGGKDQăJăUMXQDYLUDFLWH NDN̓DSX̝H JX̝LNăVăGKDQD˳ P̋WDVDxMĦYDQĦYLG\ăYDU˷DQD˳

QăPDD̝̓ăGDŋD˳SD̝DODP(

QHƙ(

LWL VLGGKDQăJăUMMXQDYLUDFLWH NDN̓DSX̝H JX̝LNăVăGKDQD˳ P̋WDVDxMĦYDQĦYLG\ăYDU˷DQD˳ QăPD D̝̓ăYL˳ŋD˕SD̝DOD˕(

QHƙ(

73 NăODMxăQD˳@.1 10 11 12

L

7NăODMxăQD˳. NăODMxăQD. NăODYDxFDQDP(

E

E

 ăKD.12

QH. L

T E

E

E

75 OăN̓ăQăPLNă@(Ă1

E

E

OOăN̓ăQăPLNă.

OăN̓ăPDM˷LNă. OORN̓ăPDN̓LND7OăN̓ăQPDOO LNă.

OăN̓ăQPDSQLNă. OăN̓ăQPDSWLNă.

OăN̓ăMPD˷LNă˕/

 UDNWDVD˳\XWDL˕@.1 2 9 10 11

L

E

E

E

UDNWDVD˳\XWDL7ODNXVD˳YXWDL˕. UDNWDVD˳\XWD˳

K

UDNWDVD˳MXWD˳.

77  likhet] K

T E

E

E

OL̓HW. , lile L

T E

E

E

SDVPD.

SUDPD˳/

̓RʽDŋăUD˳WDWR

EăK\H

PŗODEĦMD˳

dale

likhet

//12//

prathamasya

GDOHYDU̓ăPăVăŋ

caiva bahir dale / GLYDVă˕̓RʽDŋăUHWX

VăGK\DQăPD

FDNDU˷LNH

//13//

SŗMD\HFFDNUDYDUWDQ

tu

tadante

WDQQLUĦN̓D\HW

/

\DGGDOHYă¾N̓DUD˳OXSWD˳WDGGLQH

mriyate

GKUXYDP YDU̓DPăVDGLQD˳SDŋ\HW

svasya

QăPQD˕

SDUDV\DYă FGDRP. K

, × K

FGFGRP. T

79 ̓RʽDŋăUD˳WDWR@/2

E

E

E

̓RʽDŋăUDNDOR. ̓RʽDŋăUDNDUR. ̓RʽDŋăUDNDGDOR7

̓RʽDŋăUD\XWR.

 EăK\H@.2 9 10

L

T E

E

EăK\D.

YăK\H(

YăG\H.

YăM\D. ̓ăK\DL.

 PŗODEĦMD˳@ƙPŗOD˳EĦMD˳(Ă1

E

E

 GDOH@ƙWDWR(Ă1

E

E

  likhet] K

T E

E

E

OL̓HW/

, dale K

prathamasya] K

T E

E

E

SUDWKDPD/

 YDU̓ăPăVăŋ@.12

7YDU̓DPă̓ăŋ.

YDU̓DPă̓ă.

YDU̓DPD̓ă. YDU̓D˳PăVă˳ŋ(

E

E

YDU̓HPăVă. YDU̓HVH̓ă.

YDU̓DPăVăULYXSDN̓R/

  GLYDVă˕ ̓RʽDŋăUH WX@ (Kh

K

GLYDVă̓RʽDŋăUH WX . E

GLYDŋă̓RʽDŋăUH WX .

, di- YDVă̓RʽDVăUHWX.

L

GLYDVă˕ăʽDŋăOHWX.

GLYDVăQX̓RʽDŋăUHWX7GLYDEKă̓RGDŋăUHWX. ,

̓RʽDŋăUăNDU˷LNă\ă˳(

 VăGK\DQăPD@.11

E

E

E

VăGK\DQă˳PD/

VăGK\ăQăPD. L

VăGK\DQăPDŋ.

, VăGK\DQăPD˳7VSDWK\DQăPD.

 FDNDU˷LNH@.1 2 10 12

L

T E

E

FDNDU˷˷LNH.

FDNDU˷LNă. FDNDU˷˷LNă.

FDU˷˷LNH. , GLQăQLFD(

  cakravartan] HP. cakravarttan K

FDNUDYDUWWD˳. L

7FDNUDYDUWPDQ(

FDNUDYDWWD˳

K

FDNUDYDWWă˳V(

E

, cakramadhye K

90  tu] K

T E

E

E

FD/

91 

tadante] E

E

WDGDQWHQD.

WDGD˳WHQD.

, tad etena K

, dattate K

, ttadate K

, tada(try)e L

VD\DWQD˳(

, RP. T

92 WDQQLUĦN̓D\HW@/2

T E

E

E

WD˳QQLULN̓D\HW.

WD˳ULULN̓D\DW. WLQLUĦN̓D\HW/

, × K

11

, om. K

T

93 Yă¶N̓DUD˳@(Kh

E

YăN̓DUD˳(

FăN̓DUD˳. L

YăFKDUD˳.

taddine] K

E

E

E

WDGLQH.

taddale L

95 YDU̓DPăVDGLQD˳SDŋ\HW@HPYDU̓DPăVăGLQD˳SDŋ\DW.12

YDU̓DPăVD˳GLQHSDŋ\HW/

, YDU̓DPăVăGLSDŋ\DQWH. YDU̓DPăVDGLQDV\DLWDW(

YDU̓DPăVD˳GLQDV\DLWDW(

E

  svasya] K12

VYDVYă/

, svastha K , tasya E

E

E

E

E

QăPQă. Mă˳PQă/

\DGăYDU˷D˳

na

99

OXSWD˳V\ăW

100

WDGăP̋W\XU

101

na vidyate//15//

YDU̓DGYăGDŋDSDU\DQWD˳NăODMxăQD˳

ŋLYRGLWDP

R˳

(udyati)

NăODSXUX̓RWWDPDVD˳KăUDPŗUWH

NăOăN̓DNă\D

DQWDNăOD˳

SUDGDUŋD\D

SUDGKăQDNăOD˳

GDUŋD\D

VYăKă ^E

p.235, K

U7Y

DPX˳

PDQWUD˳QLW\DPD̝̓RWWDUDVDKDVUD˳MDSWYă

/ K U SDxFRSDFăUDL˕VDSWDGLQDSDU\DQWDPDQHQDLYD

SŗMD\HW

//17//

pratyayo

bhavati// K

.111r

 YDU˷D˳@/2

E

E

E

YHQD. , venna K

99 

na] L

E

E

E

WX. , RP. K

100 OXSWD˳V\ăW@.12

L

E

E

E

OXSWDV\D.

101 P̋W\XUQD@/2

E

E

E

P̋WW\XUQQD.

P̋W\DQD.

102 NăODMxăQD˳@.

L

7NăOD˳MxH\D˳(

E

E

NăODMxăQH.

103 R˳@.

L

E

E

RP. T

(u)dyati] K

L

, (u)dya× K

, udya T, a(dya) K

, (a)dya K

, udyame K

XQP\D˳.

dhatta E

E

E

105 VD˳KăUDPŗUWH@HPVD˳KăUDPŗUWWH.9

VHKăUDPŗUWWH7VD˳KăUDPŗUWWD\H.

VD˳KăUDPŗU- MD\H.

VD˳KăUDPŗUWWLU̓L. VD˳KăUDYLŋYDPŗUWWH.

L

VD˵JDULPŗUWWD\D. VD˵JKăYLŋ- YDPŗUWWH(

VD˳JKăYLŋYDPŗUWWH(

E

 NăOăN̓DNă\D@.

L

7NăODN̓D\D˳(

E

E

NăODN̓D\D˳Nă\D. NăOăN̓DNR

\D˳7

107  DQWDNăOD˳@ (Ă1

E

D˳WDNăOD˳ .

DQWD˕ NăOD˳ /

DQWH˕ NăOD˳ .

DQWDNăOD . T, D˳WDNăOD.

DQDQWDNăOD˳(

DWD˕NăOD7D˳WD˕.

DQWDNă. , RP. K

 SUDGDUŋD\D@.1 9 12

L

E

E

E

GDUŋD\D. 7GDUŋDNă\D. D˳GDUŋD\D.

SUDGKăQDNăOD˳@. E

E

E

SUDGKă˳QDNăOD˳/

SUDGKăQDNăOD. T, om. K

109 GDUŋD\D@.

L

T E

E

E

GDŋDU\D. SUDGDUŋD\D.

, RP. K

T E

E

E

DPX. D\D˳/

111 MDSWYă@.

7MDSWYă.

MDSWă. L

MDYă.

MDSWDY\D˳(

E

E

MD˳̝̓ă.

L

T E

E

E

WHQDLYD. RP. L

113 SŗMD\HW@.

7SŗMD\DW. SUDSŗMD\HW(

E

SUDSŗ\HW(

SŗMD\HWYVDSWD- GLQăYDGKL/

pratyayo] K

T E

E

E

SUDW\D\D˳.

L

PăUJDŋĦU̓DV\D

N̋̓˷ă\ă˳

SDxFDP\ă˳QĦUDMD˳

ŋXEKDP ^E

p.129 EKŗUMDSDWWUD˳VDPăQĦ\DOăN̓ăNX˵NXPDURFDQDL˕

/

VYDNĦ\ăQăPLNăUDNWDLUOLNKHGYLG\ă˳

ŋLYRGLWă˳ ^K

Y.

.121r, L

.70v NUDPDSŗMă˳YLGKă\ăGDX

SDŋFăGYLG\ă˳VDPDUFD\HW

/

ŋDUăYD\XJDPDGK\DVWKă˳

MăWĦSX̓SDL˕

VXYH̝̓LWăP

/ ŋXEKHSĦ̝KH

YLGK̋W\ăWKDWă˳

YLG\ă˳SUDMDSHQ

QLŋL SUăWD˕NUDPăUFDQD˳

EKŗ\D˕

N̋WYă

SŗM\ă

NXPăULNă

/

DERP. L

DEHIRP.

115 PăUJDŋĦU̓DV\D@.1 10

PăUJJDŋĦU̓DV\D. PăUJDUŋLU̓DV\D7PăUJDVLU̓DV\D. EKăU- JDŋĦU̓DV\D.

PăUJDŋĦU̓HWX(

E

PăJDŋĦU̓HWX(

 N̋̓˷ă\ă˳@.

E

E

E

SŗU˷ă\ă˳7

117 QĦUDMD˳@.1 9 10 11

T E

E

E

QLUDMD˳. QLUD˳MD˳.

 OăN̓ăNX˵NXPDURFDQDL˕@(Kh

E

OăN̓ăNX˳NXPDURFDQDL˕.

L

OăN̓ăNXNX˳PDURFDQDL˕.

OăN̓ăNX˳NXPDURFDQDL7OăN̓ăNX˳NXPDURFDMDL˕/

OăN̓ăNX˳NXPDORFDQDL˕. OăN̓ăNX˵NX- PDURFDQă˕(

OăN̓ăNXNDPDORFDQĦ.

119 YLG\ă˳@.

L

E

E

E

YLG\ă. GYLG\ă7

120 YLGKă\ăGDX@.

L

T E

E

YLGKă\ăVDX(

K

121 

samarcayet] K

T E

samarccayet K

L

E

E

VDPăFDUHW.

122 ŋDUăYD\XJDPDGK\DVWKă˳@.

L

ŋDUăYD\XJDPDGK\DVWKD˳.

ŋDUăYDSXJDPDGK\DVWKă˳

L

ŋDUăYDSXJDEKDGK\DVWKă˳.

ŋDOăYD\XJDPDGK\DVWKă˳.

ŋDUăYDSX̝DPDGK\DVWKă˳(

E

E

ŋDUăYD\XUăPDGK\DVWKă7VDUăYD˵JDJDPDGK\DVWKă.

123 MăWĦSX̓SDL˕@.

E

E

E

MăWĦSX̓SDLV/

MăWĦSX̓SDL.

MăWLSX̓SDL. MăWDXSX̓SDL7

 VXYH̝̓LWăP@.

E

E

E

VXFH̝̓LWă˳. L

7VXYH̝̓DWăP/

PXFH̝̓LWă˳.

mu- FDL̝̓LWD˳.

125 ŋXEKHSĦ̝KH@.

L

ŋXEKHSĦ̝KH.

ŋXEKHSL̝KH. ŋXEKDSĦ̝KH(

E

E

ŋXE- KDSĦ̝KD7

 YLGK̋W\ăWKDWă˳@.

E

E

YLGK̋WYă¶WKDWă˳/

T E

YLJK̋W\ăSDWă˳.

YLJK̋W\ăSDWă K

JK̋W\ăSDWă˳.

127 SUDMDSHQ@.

7SUDMDSH. SŗMD\HQ/

E

E

E

YLSUDMD\HQ.

 NUDPăUFDQD˳@.2

7NUDPăUFFDQD˳.

L

NUDUPăUFFDQD˳. NUDWăUFDQD˳. N̋WYăU

¶FFDQD˳(

N̋WYăUFDQD˳(

N̋WYăUFFDQD˳(

T E

E

E

EKŗ\ă. , caiva L

L

T E

E

GK\ăWYă(

131 SŗM\ă@.2 11

E

E

E

SŗM\ă˕.

L

SŗMă˕7SŗMă.

132 NXPăULNă@.

E

E

E

NXPăULNă˕. L

T

VăGKDNDVWY

ekacittena

SDŋFăGYLG\ă˳YLORND\HW ^K

.103v YDU˷ăGKLN\H

EKDYHGUăM\D˳

PăWUăGKLN\HFDVDPSDGD˕

/

samatve saukhyam

ăURJ\D˳KăQLU

ELQGXYLORSDQăW

/ ^K

.95r PăWUăKĦQHEKDYHGY\ăGKLUPDUD˷D˳

ELQGXQăŋDQH

//21// T.29r

[R˳]

KUĦ˳KUŗ˳

POH˳

PDKăSDWD\HUDN̓DUDN̓D

P̋WRGEKDYH

POH˳

KUŗ˳

KUĦ˳

) vicce vicce

[VYăKă]

// ^E

S(

S

* 3DUDPHŋYDUĦPDWDWDQWUD&KDSWHUD

KUĦ˳KUŗ˳VYOH˳PDKăSDWD\HUDN̓DUDN̓DPă˳DP̋WRGEKDYH

KUĦ˳KUŗ˳VYOH˳YLFFHVD˳SX̝LWYăMDSHQPDQWUD˳GHY\ă˕N̓REKD˳MDSHQDWX

* Mantra RP. E

K

133 VăGKDNDVWY@.

E

E

E

VăGKDNDVY. VăGKD\DVWY/

VăGKDNDWY.

VăGKDND˕VWY K

VăGKDNDWWY.

VăNDVWY7

  ekacittena] K

L

T E

E

E

HNDFLWWD˳QD.

135 YDU˷ăGKLN\H@.

L

E

YDU˷˷ăGKLN\H.

YDU˷ăGKLN\R(

E

YDU˷ăGKLUN\D.

T, YDU˷˷ăGKLN\D.

YDU˷˷ăGKLN.

 UăM\D˳@.

T E

E

E

UăK\D˳.

UăW\H/

137 VDPSDGD˕@(Ă1

E

E

VD˳SDGD˕. L

VD˳SDGD. VD˳SDGă7

  saukhyam] K

7VDX̓\DP. VYăVWKLP/

, sukham E

E

E

T E

E

E

KăQL. KăQLQL/

 ELQGXYLORSDQăW@.1 10

L

E

E

EELQGXYLORSDQăW.

YLQGXYLORSDQăW(

ELQGXYLOHSDQăW K

EL˳GXYLOHSDQăW.

EL˳GXYLORNDQăW7YYDU˷˷DQYLORSDQăW.

YDU˷DYLORSDQăW.

 Y\ăGKLUPDUD˷D˳@.1 9 10

L

T E

E

E

Y\ăGKL.

 ELQGXQăŋDQH@.

L

E

E

E

EL˳GXQăŋDQH.

ELQGXQăVDQH.

ELGXQăŋDQH/

, bin- GXŋDQH.

ELQăVDQH. EL˳GXQăŋDQD˳7

 R˳(Ă1

QHƙ(

E

 KUĦ˳KUŗ˳@.1 9 10

7KUĦKUŗ/

KUă˳KUŗ˳. KUĦ˳KUĦ˳(

E

KUă˳KX˳.

 POH˳@.2 9 11

L

E

E

POH. VOH˳.

VOH˳. KOD˳7

 UDN̓DUDN̓D@.

E

E

UDN̓D. 7UDN̓DUDPă.

L

WDN̓D.

, raktara K

 P̋WRGEKDYH@/2

P̋WRUGEKDYH. P̋WREKDYH. P̋WRUEKDYH.

PăP̋WRUEKDYH.

L

Pă˳P̋WRUEKDYHW7PăP̋WRUEKDYH.

P̋WăP̋WRGEKDYH(

E

 POH˳@.1 2 9 10 11

L

E

E

POH. PODL˳7VOH.

 KUŗ˳KUĦ˳@.1 2 9 10 11

E

KUŗ˳KUĦ/

KUŗ˳KUă˳. KX˳KUĦ˳. KD˳KUĦ˳7KUĦ˳(

YLFFH7(

E

, vicera L

151 VYăKă(Ă1

E

QHƙ(