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By F. Max Muller

Bankruptcy I. THE ALPHABET. § I. SANSKRIT is correctly written with the Devanragari alphabet; however the Bengali, Grantha, Telugu, and different glossy Indian alphabets are mostly hired for writing Sanskrit of their respective provinces. Note-Devanagar( skill the Nagar( of the gods, or, potentially, of the Br~hmBJl9. A extra eurrent kind of writing, utilized by Hindus in 1111 universal transaclions the place Hindi is the language hired, is termed easily Nagart. Why the alphabet must have been referred to as lI'dgart, is unknown. If derived from nagara, eity, it might probably suggest the o.rt of writing as first practised in towns. (PaJ]. IV. 2, 128.) No authority has but been adduced from any historical writer for the employment of the notice Devan/igart. within the Lalita-vis/ora (a lifetime of Buddha, translated from Sanskrit into chinese language seventy six A. D.), the place an inventory of alphabets is given, the DevanQgart isn't pointed out, until it's meant through the Deva alphabet. (See background of historic Sanskrit Literature, p. 518.) A

Table of Contents

TAB LEO F CON TEN T S; web page; bankruptcy I-THE ALPHABET; The DcvlLllagari letters 2; § r The Devanagari alphabet three; 2 course of Sanskrit alphabet four; three how one can write the letters four; four Sounds represented by way of the Devallagari; alphabet four; five variety of letters five; 6 The letter!i five; ~ Jihv/lmOHya aud U padhmaniya five; eight indicators of nasals and their alternative; five; nine the 3 nasal semivowels 6; 10: Consonants with no corresponding; nasals 6; I I Auusvara prior to $, take a seat, eight, h 6 * I 2 Names ofletters 7; thirteen Vowel indicators, preliminary, medial, aud; ultimate 7; 14 Consonants by way of vowels 7; IS: Virama 7; sixteen mixture of consonants 7; 17; The signal fOI' r eight; 18 The Virama used as a stop-gap eight; 19: The symptoms for a pause eight; 20 The Avagraha record of compound; consonants eight; 2 I Numerical figures nine; 2"' principles of pronunciation 10; bankruptcy n-RULES OF SA~DHI; § 2 three' item and use of Sandhi eleven; 24 contrast among exterior; and inner Sandhi eleven; 25, Cla

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A then replies that his son, as a mortal of Jambudvı¯pa, probably won’t have ´sraddha¯ [in him]. a is told that if his son doesn’t have ´sraddha¯ [in him], he should be told to dig up the pot of gold that his father buried and then do two things. ”20 Second, And from time to time offer alms to the noble Maha¯ ka¯ tya¯ yana and then direct the reward in our names.

Seeing and ´sraddha¯ are intertwined, and the discourse of the latter necessitates an understanding of the role of the former for moral action. In chapter 2, I explore the contrast between ´sraddha¯ and bhakti. While the Divya¯vada¯na portrays bhakti as a false confidence in divine forces, it represents ´sraddha¯ as a mental state that arises with regard to trustworthy individuals and with regard to certain “indirect objects” whose truth is professed by those trustworthy individuals. The practice of ´sraddha¯ begins with a visual confirmation of the truth of certain objects and phenomena, and it culminates in the making of offerings.

In each case, the monks undergo terrible suffering: they begin to break each other’s skulls with hammers, douse each other with molten lead, and—in the third instance—all of them are torched and incinerated. As it is explained to . ita, these are the results of monks performing misdeeds within the confines of a monastery: fighting in the dining hall, wasting food that was given out of ´sraddha¯ (´sraddha¯deya), and lighting a fire in the monastery. ita arrives at a hermitage where five hundred brahman seers reside, but none of them will respond to his request for shelter.

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