By W. South Coblin

The center of the paintings is a systematically prepared directory of 2,558 sound glosses and 345 Buddhist transcriptions. chinese language characters in each one access are provided with heart chinese language and japanese Han reconstructed kinds.

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Ajatasatru Skt. yojana It is thus unlikely that earlier -c- and -j- had been lost in the language (s) underlying the BTD texts. 3. Sanskrit medial p, t, k, and c are voiced in some Prakrits (Pischel 1900: 143, section 192 and p. 149, section 202; Woolner 1928:12; Burrow 1937:6). In the BTD data Skt. nffi MI'PB sju bwo diei kauljwetda kju Skt. kolita 160 (see item 2 above). Skt. : 35 1 < 1 1 i [ 1 ! § HtH^j/g P-TiiwaO'C ^jaubwasak 'jau pwa thieilaliennagjat 'a kja nzi- taka Skt. upasaka Skt. upatisya Skt.

For this reason I tentatively place it with Wei among the central dialects. The point is problematical. Huai and Xu seem to have occupied very much the same area. See Serruys (1959: 206, Map 4; and Endpaper). 8 Most of the pertinent dialect references of this type are collected in the Xu Fangyan fit Ji 8 of Hang Shijun tfttttlS. A below and are numbered accordingly. SM examples follow the numbering system of Bodman (1954). 20 I I . i . ___^/Chenl / ^\ \ "^0>-

5 A very lengthy study of the life of Liu Xi has been done by Kobayashi (1956), who, however, adds little of a substantive nature to the conclusions of Bodman (1954). 11 (1954:9) has shown, there can be no doubt that Liu Xi was familiar with the dialects of his native area and its neighboring regions, for he makes a number of references to them in his glosses. However, to what extent the eastern dialects form the basis for the sound glosses of SM is a perplexing question. 7 Hence it seems possible that the SM language (as opposed to Liu Xi's native speech) was phonologically a mixture of features derived from more than one EH dialect.

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