^1:2 The original has the plural instead of the singular. It takes great liberties in this respect, and the commentators constantly call to help a vakanavyatyaya or lingavyatyaya, exchange of number or gender, as the case may be. It is impossible in the translation to follow the original in this respect, and useless to note all such grammatical blunders. The conclusion we may draw from them is that in the spoken language many grammatical forms which in the literary language continued to be used, were on the point of dying out or had already actually become obsolete. I am almost sure that the vernacular of the time when the Sutras were composed began to drop the distinction between the singular and plural in the verb. It was, however, artificially revived in the literary Maharashtri of later days.

^2:1 Buddhaputta. Buddha is here and in the sequel explained by akarya, teacher. The word is in the crude form, not in the inflected form, as the nominative would not suit the metre. Liberties of this kind are frequently met with in our text.

^2:2 Niogatthi = niyogarthin. It is always explained and usually means moksharthin. But here and in verse 20 niyoga has perhaps its common meaning: appointment, order. In that case we must translate: he who waits for an order.

^2:3 Kandaliya, literally, he should not demean himself like a Kandala. The commentators, however, divide the word in kanda, violent, hot, and alika, untrue, false. This explanation is too artificial to be accepted, though the meaning comes to the same thing.

^3:1 Buddhanam, i.e. the superiors.

^3:2 Palhatthiya = paryastika: so that his clothes cover his knees and shanks.

^4:1 Pakshapinda.

^4:2 Niyagatthi or niogatthi. The commentator explains it, as in verse 7, by 'desiring liberation.'

^4:3 Ukkuduo. The commentator explains it by muktasanah, karanatah padapunkhanadigatah.

^4:4 In illustration of this the commentator (Devendra) quotes the following verse: esha bandhyasuto yati khapushpakritasekharah | mrigatrishnambhasi snatah sasasringadhanurdharah || There goes the son of a barren woman, bearing a chaplet of sky-flowers, having bathed in the water of a fata morgana, and carrying a bow made of a hare's horn.

^5:1 Samara, explained by the commentator barbers' shop or smithy, with the addition that it includes all places of low people.

^5:2 Buddhah.

^6:1 Phasuya, translated prasuka, and explained: free from living beings.

^6:2 Parakada, prepared for the householder or some other person, but not for the monk himself.

^6:3 The translation of the terms in this verse is rather conjectural, notwithstanding the explanations in the commentary.

^6:4 I translate according to the interpretation of the commentator, which is probably right; but the text sets all rules of grammar at defiance.

^7:1 Literally, search for the goad.

^7:2 Buddha.