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give an exact reference where to find the twenty-sixth story. The last phrase, . Here follows the story of Açokadatta,' is certainly in its place here, as other stories are introduced in a similar way. Also Bendall's MS. has got it.
P. 7, 1. 10, ff. The same story, without the tales inserted in it, is found in the comments on Avacyaka-niry.,' viii., 162, 13. The man here, instead of trying suicide, simply becomes a Jaina monk, and, on reaching Northern Mathurá, makes his friend do the same,
The two intercalated stories both describe how somebody tried to kill his younger brother for a treasure common to both. A similar incident is found at the beginning of a Daçavaikálika tale (Zeitschrift der D. Morg. Gesellschaft,' xlvi., 603).
P. 11*. Literally, 'I am a cheat,' or some similar expression. Bendall's MS. has aham varámsitah. [So my MSS.C.H. T.]
P. 13 7. This often-quoted çloka is = 'Uttaradhyayana - sútra,' xiii. 16 (see · Wiener Zeitschrift für die Kunde des Morg.,' vol. vi., p. 24).
Pp. 13-18. The story of Prince Yacobhadra is drawn from the coinmentaries on · Avaçyaka-niry.,' xvii. 15-17. The last of the three verses. (xvii. 17) is quoted in the sequel (p. 17, 11. 5-10). In p. 16 * vaditam (in Prákřit váiyam) is, indeed, the correct reading (though vimditam is given by Bendall's MS.).
P. 14, 11, 12-16. This passage, which is very faulty in Bendall's MS., seems to be a verse-at any rate, it is coined after some very old sayings found both in Jain and Buddhist literature, and terminating with the refrain: Jáyam saranato bhayam See Weber's Samyaktvakaumudi' Sitzungsberichte der Berliner Akad.,' 1889, p. 756, note), and Oldenburg's ' Játakas (Journal Royal As. Soc., 1893, p. 349, f.). The 'Kathákoça' passage should be given for the sake of comparison,
It runs thus in C: Rájni vadati; he rájan, amrite visham utpannam súryád andhakáram chandramasah angåravrishtih yato rakshas tato bhayam jalád agnih utthitah yadi sunetro narah unmárgam yati tat drishtivikalasya ko doshah!-O. H. T.]
P. 15*. Gitártha literally denotes one who has sung (i.e., learnt), not only the sútra (i.e., the text), but also the artha. (i.e., the commentary); it is, therefore, a term for a monk fully versed in the necessary texts.
of some Aryá drawn apparently from some Niryukti or Bhashya. Then a new tale is referred to Vinitáyám nagaryám çri Rishabhadeva-priyá 2 Sumangald-Sunandá.
Now follows a gáthá (* Avaçyaka-niry.,'ii., 124), numbered 3 ; finally a prose phrase.
[The twenty-sixth story is that of Bábubali,' beginning on p. 192. I proceed to copy out the omitted passage as it stands in C:
Manam Bahubalir Marichir achayat crí Sthúlabhadrah prabhuh Sádhuh Simhaguhásthitau (sic) matimadah çri Siddhasenalkavih Chanakyah kila Konikah kshitipati Duryodhano Rávanah
Súril Sagarachandra ityabhimataç shakri chaturtho'pi cha 1. Tathá hi dhammo maena kunto o 1. Vinitáyán nagaryám Cri Rishabha. deva-priya 2 Sumamgalá Sunamda. devi Sumangalde Bharaho Bambhi ya mihunayam jáyam, Devi ya Sunamdáe Bahubali Sumdari cheva 3. fri Rishabhadeve vratam ápanne fri Bharateçvarasya rájye datte ashtanavati. putranám vibhajya rdjye datte svamt kevalajnánam avá pa. Vanchanávishaye Açokadatta-kathanakam kathyate.-C. H. T.]
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