De, JRAS, , p. It belongs to the collection transferred from the Indian Museum I, Poona, , p. Therein Satakami is represented to have performed not only a good many sacrifices, but, above all, celebrated Rajasuya once and Asvamedha twice. Heller, in two recensions, Greifwald Jayadeva emphasises the praise and worship of Krsna and claims religious merit ; but he prides himself upon the elegance, clarity and music of his diction, as well as upon the felicity and richness of his sentiments.
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This clue given by Dhammapala is further corroborated by the Commentary, called Atthasalim-Yojam, on Atthasalint In the latter book, the author does refer p. There is nothing very recondite in the verses quoted, and it is difficult to say if all the authors are identical. Tibetan Documents concerning Chinese Turkestan: Asoka, Edicts of, 35, 57, 62, 63, 67, 74, 81, Here if we read these words independently of the Commentaries, it ap- pears that thina was considered to be a mental condition, while the other was a physical one.
For this there appears to be an authority of Jnanaprasthiana para. Laksmapasena in his four copper-plates Anulia, Govindapur, Tapandighi and Saktipur is styled Vedayanaikadhvaga ; while his father Ballalasena is described similarly in the Adbhuta-sagara as Vedayanaika-pathika.
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In Commentaries, thina is interpreted as langour of mind citla- gelannaniwhile middha in many cases but not in all is interpreted as langour of mental concomitants cetasika gelanna ; DA. That Jayadeva had no sectarian purpose is also shown by the fact that the Sahajiya sect of Bengal also regards him as its Adi-guru and haxee of its nine Rasikas.
It does not strictly follow the Sanskrit tradition, but bears closer resemblance to the spirit and style of Apabhramsa or vernacular poetry. Malgre le rapport possible des significations, il vaut mieux en effet distinguer deux series de mots. For the mind goes back into life-continuum bhavanga when it has been thoroughly over-ridden by middha and so the mind does not work -—as when one reaches the attainment of Cessation Nirodha-samiapatti — although there is the body.
Translation and Preface pp. Next, he has to recite aloud the texts that he has learnt by heart. But there is no ground, except similarity of names, for identifying the authors of these two works with our Pasupati.
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Yasomitra, in his Commentary, Abhid har makes avyakhya, often refers to styiana and middha. Somanath Sarma, Dacca Samvat text only, in Bengali characters.
Door Maria Elisabeth Lulius van Goor, He also mentions in the Trimsika karika 14among the mental concomitants, stylana, and middha. As in the case of the Dana- sdgara, it attempts to cover, with copious quotations drawn from a very large number of authors and works, the varied aspects of the subject and bears evidence to the industry and learning of the compiler.
Shastri in Notices, 2nd Series, i, pt. Old age is to some people a great blessing — an occasion for the expres- sion of joy and gratefulness to the Almighty for granting this not too com- mon a favour. Hence it is a material quality. Yo, Maharaja, kapiniddiapareto vokinnam jaggati, idam middhassa maj jham. The five parts, called Pravahas, are entitled respectively Deva, Srhgara, Catu, Apadesa and Uccavaca, and contain 95,54, 72 and 74 sections called Vicis.
Die weitere Untersuchung ergab, dass nachher kein Aorist mehr kommt, sondern nur noch 3 Imperfekte, 5 Perfekte und 11 Prasentien dazu eine Anzahl von nominalen Pradikativen ohne Verbum finitum.
Here too it is the same king Vi;’ a Sangrama. Some of these anthology verses are remarkable, but they are of unequal merit. Win- ternitz Leipzigpp. If middha had been rupa, it could not have been described as something that can be abandoned. Several of the theories pointed by Dhammapala, in his Commentary on Visuddhimagga, to have been adopted by Abhayagirivasins have been discovered in the Vimuttimagga 1 and this theory of middha as a rupa is also referred to in that book.
It has been variously taken to imply verbosity, love of recondite words, floridity, bombast, superficiality, as well as mastery; of lexicography. Proceedings of the British Academy, Vol. Though cast in a semi-dramatic mould, the spirit is entirely lyrical ; though modelled perhaps on the prototype of the popular Krspa-yatm in its choral and melo- dramatic peculiarities, it is yet far removed from the old Yatra by its want of improvisation and mimetic qualities ; though imbued with re- ligious feeling, the attitude is not entirely divorced from the secular ; though intended and still used for popular festival where simplicity and directness count, it yet possesses all the distinctive characteristics of a deliberate work of art.
As he refers to a difference of opinion between Sruta-pala and Kayyata circa 10th century and as he quotes ii. The number of words is over