Book Title: Dhammapada
Author(s): Max Muller
Publisher: Oxford

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Page 2182
________________ INTRODUCTION. xlvii for Baron Eckstein, apparently from a Telugu original, which contains the first five chapters only, numbered as four. The verses given in VI, 34 (p. 177), beginning with atreme slokâ bhavanti, are placed after IV, 3. In my own MS. these verses are inserted at the beginning of the fifth chapter? Then follows in Baron Eckstein's MS. as IV, 5, what is given in the printed text as V, 1, 2 (pp. 69–76). In my own MS., which likewise comes from the South, the Upanishad does not go beyond VI, 8, which is called the sixth chapter and the end of the Upanishad. We have in fact in our Upanishad the first specimen of that peculiar Indian style, so common in the later fables and stories, which delights in enclosing one story within another. The kernel of our Upanishad is really the dialogue between the Valakhilyas and Pragâpati Kratu. This is called by the commentator (see p. 331, note) a Vyakhyâna, i.e. a fuller explanation of the Sûtra which comes before, and which expresses in the few words, 'He is the Self, this is the immortal, the fearless, this is Brahman,' the gist of the whole Upanishad. This dialogue, or at all events the doctrine which it was meant to illustrate, was communicated by Maitri (or Maitra) to Sâkâyanya, and by Sâkâyanya to King Brihadratha Aikshvaka, also called Marut (II, 1; VI, 30). This dialogue might seem to come to an end in VI, 29, and likewise the dialogue between Sâkâyanya and Brihadratha; but it is carried on again to the end of VI, 30, and followed afterwards by a number of paragraphs which may probably be considered as later additions. But though admitting all this, I cannot bring myself to follow Professor Cowell in considering, as he does, even the earlier portion of the Upanishad as dating from a late period, while the latter portions are called by him comparatively modern, on account of frequent Vaishnava quotations. What imparts to this Upanishad, according to my opinion, an exceptionally genuine and ancient character, is the preservation in it of that peculiar Sandhi which, * See p. 303, note I; P. 305, note 1; P. 313, note 1. Digitized by Google

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