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mind
yes
trilled, resembling the Ita-
lian pronunciation of r
linger
word
shore
retroflex sh (with the tip
of the tongue turned up
to touch the hard palate)
hiss
hood
CSL Punctuation of English
The acute accent on Sanskrit words when they occur outside of the Sanskrit text itself, marks stress, e.g., Ramayana. It is not part of traditional Sanskrit orthography, transliteration, or transcription, but we supply it here to guide readers in the pronunciation of these unfamiliar words. Since no Sanskrit word is accented on the last syllable it is not necessary to accent disyllables, e.g., Rama.
The second CSL innovation designed to assist the reader in the pronunciation of lengthy unfamiliar words is to insert an unobtrusive middle dot between semantic word breaks in compound names (provided the word break does not fall on a vowel resulting from the fusion of two vowels), e.g., Maha·bharata, but Ramayana (not Rama·ayana). Our dot echoes the punctuating middle dot (·) found in the oldest surviving samples of written Indic, the Ashokan inscriptions of the third century bce.
The deep layering of Sanskrit narrative has also dictated that we use quotation marks only to announce the beginning and end of every direct speech, and not at the beginning of every paragraph.
CSL Punctuation of Sanskrit
The Sanskrit text is also punctuated, in accordance with the punctuation of the English translation. In mid-verse, the punctuation will not alter the sandhi or the scansion. Proper names are capitalized. Most Sanskrit meters have four “feet” (pada); where possible we print the common sloka meter on two lines. In the Sanskrit text, we use French Guillemets (e.g., «kva samcicirsuh?») instead of English quotation marks (e.g., “Where are you off to?”) to avoid confusion with the apostrophes used for vowel elision in sandhi.
SANDHI
Sanskrit presents the learner with a challenge: sandhi (euphonic combination). Sandhi means that when two words are joined in connected speech or writing (which in Sanskrit reflects speech), the last letter (or even letters) of the first word often changes; compare the way we pronounce “the” in “the beginning” and “the end.”
In Sanskrit the first letter of the second word may also change; and if both the last letter of the first word and the first letter of the second are vowels, they may fuse. This has a parallel in English: a nasal consonant is inserted between two vowels that would otherwise coalesce: “a pear” and “an apple.” Sanskrit vowel fusion may produce ambiguity.
The charts on the following pages give the full sandhi system.
Fortunately it is not necessary to know these changes in order to start reading Sanskrit. All that is important to know is the form of the second word without sandhi (pre-sandhi), so that it can be recognized or looked up in a dictionary. Therefore we are printing Sanskrit with a system of punctuation that will indicate, unambiguously, the original form of the second word, i.e., the form without sandhi. Such sandhi mostly concerns the fusion of two vowels.
In Sanskrit, vowels may be short or long and are written differently accordingly. We follow the general convention that a vowel with no mark above it is short. Other books mark a long vowel either with a bar called a macron (a) or with a circumflex (a). Our system uses the ________
macron, except that for initial vowels in sandhi we use a circumflex to indicate that originally the vowel was short, or the shorter of two possibilities (e rather than ai, o rather than au).
When we print initial a, before sandhi that vowel was a
’, before sandhi there was a vowel a
When a final short vowel (a, i, or u) has merged into a following vowel, we print ’ at the end of the word, and when a final long vowel (a, i, or u) has merged into a following vowel we print ” at the end of the word. The vast majority of these cases will concern a final a or a. See, for instance, the following examples:
What before sandhi was atra asti is represented as atr’ asti
Finally, three other points concerning the initial letter of the second word:
(1) A word that before sandhi begins with r (vowel), after sandhi begins with r followed by a consonant: yatha” rtu represents pre-sandhi yatha rtu.
(2) When before sandhi the previous word ends in t and the following word begins with s, after sandhi the last letter of the previous word is c ________
and the following word begins with eh: syac chastravit represents presandhi syat sastravit.
(3) Where a word begins with h and the previous word ends with a double consonant, this is our simplified spelling to show the pre-sandhi form: tad hasati is commonly written as tad dhasati, but we write tadd hasati so that the original initial letter is obvious.
COMPOUNDS
We also punctuate the division of compounds (samasa), simply by inserting a thin vertical line between words. There are words where the decision whether to regard them as compounds is arbitrary. Our principle has been to try to guide readers to the correct dictionary entries.
Exemplar of CSL Style
Where the Devanagari script reads:
Others would print:
We print:
And in English:
May Ganesha’s domed forehead protect you! Streaked with vermilion dust, it seems to be emitting the spreading rays of the rising sun to pacify the teeming darkness of obstructions.
(“Nava·sahasanka and the Serpent Princess” 1.3)
I n this second volume of the “Garland of the Buddha’s Past Lives” (Jatakamala), fourteen further stories recount the Buddha’s past lives as a Bodhi·sattva.1 Although there are key thematic continuities with the first volume—in particular the idealized notion of a virtuous renouncer-king, the anti-householder path of the ascetic, and the Bodhi·sattva’s role as a compassionate savior—the division is not entirely an artificial one. Not only does the narrative move on to the third perfection, that of forbearance (ksanti), there are also other shifts in focus as animal stories take precedence and the notion of proper friendship becomes central.
The Perfection of Forbearance
The introduction to the first volume of the “Garland of the Buddha’s Past Lives” (Meiland 2009) discussed how stories 1–30 appear to be structured around the first three “perfections” (paramita) of giving (dana, stories 1–10), virtue (sila, 11–20), and forbearance (ksanti, 21–30). The last four stories (31–34) do not appear to reflect the fourth perfection of vigor (virya) but instead seem to return to the first three perfections, with stories 33–34 clearly portraying forbearance. According to this analysis, forbearance should therefore be the dominant theme of the present volume (stories 21–34). But, as we shall see, this assumption requires certain qualifications.
“Forbearance” is portrayed in various ways in the “Garland of the Buddha’s Past Lives” but perhaps the most ________
paradigmatic tale on the virtue is ‘The Birth-Story of Kshanti·vadin’ (28), in which the Bodhi·sattva is an ascetic called “Preacher of Forbearance” (Kshanti·vadin). Here a violent and drunken king becomes enraged by Kshanti·vadin, whom he wrongly accuses of attempting to seduce his harem. The ascetic’s sermons serve merely to provoke the king further, leading him to mutilate Kshanti·vadin’s body and