Freda Bedi Cont'd (#3)

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Re: Freda Bedi Cont'd (#3)

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Demetrius I Soter
by Wikipedia
Accessed: 12/22/21

Demetrius I Soter
Image
Drachma coin depicting Demetrius I
Basileus of the Seleucid Empire
King of Syria

Reign: November 162 – June 150 BC
Predecessor: Antiochus V Eupator
Successor: Alexander Balas
Born: 185 BC
Died: June 150 BC (aged 34 or 35)
Spouse: Laodice V
Issue: Demetrius II Nicator; Antiochus VII Sidetes; Antigonus
Dynasty: Seleucid
Father: Seleucus IV Philopator
Mother: Laodice IV

Demetrius I (Greek: Δημήτριος Α`, 185 – June 150 BC), surnamed Soter (Greek: Σωτήρ - "Savior"), reigned as king (basileus) of the Hellenistic Seleucid Empire from November 162 – June 150 BC. Demetrius grew up in Rome as a hostage, but returned to Greek Syria and overthrew his young cousin Antiochus V Eupator and regent Lysias. Demetrius took control during a turbulent time of the Empire, and spent much of his time fighting off revolts and challenges to his power from threats such as Timarchus and Alexander Balas.

Biography

Early confinement and escape


Demetirus was born around 185 BC. He was sent to Rome as a hostage at a young age during the reign of his father Seleucus IV Philopator[1] and his mother Laodice IV.[2] Rome taking prominent Seleucid family members hostage was one of the terms of the Treaty of Apamea that had ended the Roman-Seleucid War. His father was murdered by his finance minister Heliodorus in 175 BC;[3][4] his uncle Antiochus IV Epiphanes killed Heliodorus and took the throne himself. While the throne should have gone to Demetrius, he was both too young and also still held as a hostage in Rome. Antiochus IV died around October-November 164 BC while on campaign in Babylonia and Persia. His 9-year-old son Antiochus V Eupator became king, although real power rested in the regent Antiochus IV had left in Antioch, Lysias. Demetrius was then 22 years old. He requested the Roman Senate to restore the Syrian throne to him, but was rejected, since the Romans preferred a weak Syria and would rather it be ruled by a boy rather than a man.[2] Two years later, Antiochus V was greatly weakened because Rome sent an emissary to sink his ships and hamstring his elephants using the terms of the Treaty of Apamea as cause. Demetrius again petitioned the Senate on the grounds that his captivity would do little to inspire Antiochus V to heed Rome, but the appeal was again unsuccessful, as Rome preferred the perceived weak child over him. With the help of the Greek historian Polybius, Demetrius escaped from confinement and made his way to the Seleucid capital Antioch. There he successfully gained the support of the local aristocracy and was welcomed back on the Syrian throne around November 162 BC.[5][6] He immediately executed Antiochus V and Lysias.

This phase of Demetrius's life is unusually well-chronicled, as Polybius was an active participant and advisor to Demetrius, and his book The Histories survived out of antiquity rather than being a lost book.

Reign as King

Image
Coin 162-150 ac.

Demetrius I is recorded in Jewish history (and later Christian history, after the Books of Maccabees were included in some denomination's Biblical canons) for defeating and killing Judas Maccabaeus, the leader of the Maccabean Revolt. Demetrius is recorded as sending a new High Priest to Judea, Alcimus, shortly after his reign started. Alcimus was able to successfully bring back at least some Jews to following the government. Demetrius also dispatched an expedition under Bacchides which broke Maccabee influence over the Judean cities and killed Judas at the Battle of Elasa in 160 BC, restoring Seleucid control to the province for a number of years. Demetrius acquired his surname of Soter, or Savior, from the Babylonians, where he defeated the rebellious Median satrap Timarchus.[1] Timarchus, who had distinguished himself by defending Media against the emergent Parthians, seems to have treated Demetrius' accession as an excuse to declare himself an independent king and extend his realm into Babylonia. His forces were, however, not enough for the legal Seleucid king: Demetrius defeated and killed Timarchus in 160 BC, and dethroned Ariarathes, king of Cappadocia. The Seleucid empire was temporarily united again. Demetrius may have married his sister Laodice V, by whom he had three sons: Demetrius II Nicator, Antiochus VII Sidetes, and Antigonus.

Downfall and death

Demetrius' downfall may be attributed to Heracleides, a surviving brother of the defeated rebel Timarchus, who championed the cause of Alexander Balas, a boy who claimed to be a natural son of Antiochus IV Epiphanes. Heracleides convinced the Roman Senate to support the young pretender against Demetrius I. Balas's mercenary army landed and occupied Ptolemais, and started a reign proclaiming himself as king of the Seleucids in Seleucid year 160 (153–152 BC).[7] The Seleucids now had two kings locked in civil war.

While the Jews were a minor part of Demetrius I's empire, their story was unusually well preserved. Jonathan Apphus, the brother of Judas and the new leader of the Maccabees, was able to negotiate a deal with Demetrius I that would allow him to remove some of the Seleucid forces from Judea to use against Balas. However, Jonathan promptly broke his temporary truce with Demetrius after Alexander Balas offered an even better deal to them. Balas allied with Jonathan: he appointed him as High Priest of Judea and strategos, and Jonathan agreed to send Jewish troops to support Balas's cause. Jonathan, who was born of a priestly family but not from Zadok, the high priestly stock, took the title in Tishri, 152 BC.[8] When Demetrius heard of it, he wrote a letter granting more privileges to Jonathan (1 Macc. 10:25-45). Jonathan did not accept the offer, whether from trust in Balas, distrust in Demetrius, belief that Balas was likely to win the civil war, or a combination of all three.[7]

Balas defeated and killed Demetrius I in 150 BC, becoming the sole king of Syria.[1][9]

Legacy

In 1919 Constantine Cavafy published a poem about Demetrius's time as a hostage in Rome.[10]

See also

• Ancient Greece portal
• List of Syrian monarchs
• Timeline of Syrian history

Notes

1. One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Demetrius s.v. Demetrius I". Encyclopædia Britannica. 7 (11th ed.). Cambridge University Press. p. 983.
2. Appian, Roman History: Syrian Wars 8.46
3. 1 Macc 1:10 (312 - [A.S.] 137 = 175 [B.C.])
4. Appian, Syrian Wars 9.45
5. Bar-Kochva, Bezalel (1989). Judas Maccabaeus: The Jewish Struggle Against the Seleucids. Cambridge University Press. p. 544. ISBN 0521323525.
6. Schürer, Emil (1896) [1890]. A History of the Jewish People in the Times of Jesus Christ. Translated by MacPherson, John. Hendrickson Publishers. p. 226. ISBN 1565630491. Retrieved October 8, 2021.
7. Schürer, Emil (1896) [1890]. A History of the Jewish People in the Times of Jesus Christ. Translated by MacPherson, John. Hendrickson Publishers. p. 241–242. ISBN 1565630491. Retrieved October 8, 2021.
8. 1 Macc 10:21 (312 - [A.S.] 160 = 152 [B.C.])
9. 1 Macc 10:57 (312 - [A.S.] 162 = 150 [B.C.])
10. Δημήτριου Σωτήρος, snhell.gr
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Re: Freda Bedi Cont'd (#3)

Postby admin » Thu Dec 23, 2021 6:08 am

Part 1 of 4

Brahmi script
by Wikipedia
Accessed: 12/22/21

Brāhmī
Image
Brahmi script on Ashoka Pillar in Sarnath (circa 250 BCE)
Script type: Abugida
Time period: At least by the 3rd century BCE[1] to 5th century CE
Direction: left-to-right
Languages: Sanskrit language, Pali, Prakrit, Kannada, Tamil, Saka, Tocharian
Related scripts
Parent systems : Proto-Sinaitic script?; Phoenician alphabet?; Aramaic alphabet?; Brahmi
Child systems: Numerous descendant writing systems
Sister systems: Kharoṣṭhī
ISO 15924
ISO 15924: Brah, 300, Brahmi
Unicode
Unicode alias: Brahmi
Unicode range: U+11000–U+1107F
The theorised Semitic origins of the Brahmi script are not universally agreed upon.[2]

This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA). For an introductory guide on IPA symbols, see Help:IPA. For the distinction between [ ], / / and ⟨ ⟩, see IPA § Brackets and transcription delimiters.

Brahmi (/ˈbrɑːmi/; [x]; ISO: Brāhmī) is a writing system of ancient South Asia.[3] The Brahmi writing system, or script, appeared as a fully developed universal one in South Asia in the third century BCE,[4] and is a forerunner of all writing systems that have found use in South Asia with the exception of the Indus script of the third millennium BCE, the Kharosthi script, which originated in what today is northwestern Pakistan in the fourth or possibly fifth century BCE,[5] the Perso–Arabic scripts since the medieval period, and the Latin scripts of the modern period.[4] Its descendants, the Brahmic scripts, continue to be in use today not only in South Asia, but also Southeast Asia.[6][7][8]

Brahmi is an abugida which uses a system of diacritical marks to associate vowels with consonant symbols. The writing system only went through relatively minor evolutionary changes from the Mauryan period (3rd century BCE) down to the early Gupta period (4th century CE), and it is thought that as late as the 4th century CE, a literate person could still read and understand Mauryan inscriptions.[9] Sometime thereafter, the capability to read the original Brahmi script was lost. The earliest (indisputably dated) and best-known Brahmi inscriptions are the rock-cut edicts of Ashoka in north-central India, dating to 250–232 BCE.

As for the minor monuments henceforth referred to as the "Buddhist Inscriptions", including the Minor Rock Edicts and Minor Pillar Edicts, a casual inspection of the inscriptional evidence and the scholarship on them might indicate that they were inscribed by Chandragupta's grandson Asoka, since the author of the First Minor Rock Edict is explicitly named "Devanampriya Asoka" in two copies of the text.

Unfortunately, we do not have rich, reliable historical sources for the Mauryas. We have only extremely tenuous information about them -- most of it about "Asoka" -- from very late Buddhist "histories", which are in large part fantasy-filled hagiographies having nothing to do with actual human events in the real world. Moreover, as Max Deeg has argued, not only did the inscriptions remain in public view for centuries, but their script and language remained legible to any literate person through the Kushan period (at least to ca. AD 250). This strongly suggests that the inscriptions influenced the legendary "histories" of Buddhism that began to develop at about that time....

[The name Devanampriya Asoka occurs only in the late Buddhist Inscriptions known as the Minor Rock Edicts, specifically the Maski Inscription and the recently discovered Nittur Inscription. According to Sircar (1975), the Gujarra Inscription should be included with them, but it is extremely problematic, and seems to be a crude forgery, as discussed below. The rubbing of the Maski Inscription provided by Hultzsch (1925: 174) is very poor. Hultzsch reads Asok[a]sa 'of Asoka' without comment or explanation of the bracketed "[a]", but in the rubbing the part that includes his Asok[a] is actually written very clearly [[x] [d]eva-na[m]piyasa Asokesa, with the name in an eastern dialect form.]...

But in any case, the positive identification of Asoka as the author of the Maski and Nittur "Minor Rock Edict" inscriptions, which are radically different from any of the highly distinctive Major Inscriptions, makes it absolutely certain that "Devanampriya Asoka" cannot after all be the author of the Major Inscriptions, which explicitly and repeatedly say they are by Devanampriya Priyadarsi 'His Majesty Priyadarsi'. Considering the fact that we have absolutely no reliable historical information on "Asoka", and the fact noted by Deeg that the Major Inscriptions stood in open view for centuries after their erection and must have influenced the later writers of the Buddhist "histories" in question, it is most likely that "Asoka" was not in fact a Mauryan ruler. We do not really know when or where he ruled, if he existed at all; we do not actually know that Dasaratha was the grandson of a Mauryan ruler named Asoka; and so on....

Who, then, really was Devanampriya Asoka? The evidence suggests at least two possibilities. One is that he was imagined by the Kushan period Normative Buddhists on the basis of their understanding of the monumental Major Inscriptions erected by the Mauryas -- evidently by Amitrochates ~ Bindusara. "Asoka" was then projected back to the glorious Mauryan period as an ideal for good Kushan rulers to follow... At any rate, the inscriptions of this Devanampriya Asoka, the apparent author of some of the Late Inscriptions, simply do not have anything in common with the Major Inscriptions of the Mauryas decreed by Devanampriya Priyadarsi....

According to the traditional analysis, the single most important putative "Asoka" inscription for the history of Buddhism is the unique "Third Minor Rock Edict" found at Bairat, now known as the Calcutta-Bairat Inscription, in which "the king of Magadha, Piyadasa" addresses the "Samgha" (community of Buddhist monks) directly, and gives the names of a number of Buddhist sutras, saying, "I desire, Sirs, that many groups of monks and (many) nuns may repeatedly listen to these expositions of the Dharma, and may reflect (on them)." The problems with the inscription are many. It begins with the otherwise unattested phrase "The Magadha King Piyadasa", not Devanampriya Priyadarsi (or a Prakrit version of that name). The omission of the title Devanampriya is nothing short of shocking. Moreover, it is the only inscription to even mention Magadha. It is also undated, unlike the genuine Major Inscriptions, all of which are dated. In the text, the authorial voice declares "reverence and faith in the Buddha, the Dharma, (and) the Samgha".

This is the only occasion in all of the Mauryan inscriptions where the Triratna 'Three Jewels', the "refuge" formula well known from later devotional Buddhism, is mentioned. Most astonishingly, throughout the text the author repeatedly addresses the Buddhist monks humbly as bhamte, translated by Hultzsch as "reverend sirs". The text also contains a higher percentage of words that are found solely within it (i.e., not also found in some other inscription) than does any other inscription. From beginning to end, the Calcutta-Bairat Inscription is simply incompatible with the undoubtedly genuine Major Inscriptions. It is also evidently incompatible with the other Buddhist inscriptions possibly attributable to a later ruler named Devanampriya Asoka.

However, because the inscription is also the only putative Asokan inscription that mentions Buddhist texts, and even names seven of them explicitly, scholars are loath to remove it from the corpus....

The Vinaya per se cannot be dated back to the time of the Buddha (as the text intends), nor to the time of Asoka; it cannot be dated even to the Saka-Kushan period. All fully attested Vinaya texts are actually dated, either explicitly or implicitly, to the Gupta period, specifically to the fifth century AD: "In most cases, we can place the vinayas we have securely in time: the Sarvastivada-vinaya that we know was translated into Chinese at the beginning of the fifth century (404-405 C.E.). So were the Vinayas of the Dharmaguptakas (408), the Mahisasakas (423-424), and the Mahasamghikas (416). The Mulasarvastivada-vinaya was translated into both Chinese and Tibetan still later, and the actual contents of the Pali Vinaya are only knowable from Buddhaghosa's fifth century commentaries."

As Schopen has shown in many magisterial works, the Vinayas are layered texts, so they undoubtedly contain material earlier than the fifth century, but even the earliest layers of the Vinaya texts cannot be earlier than Normative Buddhism, which is datable to the Saka-Kushan period. It thus would require rather more than the usual amount of credulity to project the ancestors of the cited texts back another half millennium or more to the time of the Buddha...

As for other well-known but evidently spurious "Asokan" inscriptions, note that the "Minor Pillar Inscription" at Lumbini not only mentions "Buddha" (as does, otherwise uniquely, the Calcutta-Bairat Inscription), it explicitly calls him Sakyamuni 'the Sage of the Scythians (Sakas)', who it says was born in Lumbini.

The use of the Sanskrit form of his epithet, Sakyamuni, rather than the Prakrit form, Sakamuni, is astounding and otherwise unattested until the late Gandhari documents; that fact alone rules out ascription to such an early period. But it is doubly astounding because this Sanskritism occurs in a text otherwise written completely in Mauryan Prakrit and Brahmi script. What is a Sanskrit form doing there? Sanskrit is not attested in any inscriptions or manuscripts until the Common Era or at most a few decades before it....

Perhaps most telling of all, the inscription is uniquely written in ordinary third person (not royal third person) and is in the past tense. That means the text is narrated by some unknown person and does not even pretend to have been proclaimed by its putative sponsor Devanampriya Priyadarsi, the king who authored the synoptic Major Inscriptions (nor of course by Devanampriya Asoka, who may have authored the synoptic Buddhist Inscriptions). It says that it records events that supposedly happened at some time in the past, but those events have been shown to be fictitious.

The inscription is strikingly unlike the unquestionably authentic Major Inscriptions in general, and based on its contents is much later in date than it evidently pretends to be. It is a spurious inscription....

Finally, the Delhi-Topra pillar includes a good version of the six synoptic Pillar Edicts, which are genuine Major Inscriptions, but it is followed by what is known as the "Seventh Pillar Edict". This is a section that occurs only on this particular monument -- not on any of the six other synoptic Pillar Edict monuments. It is "the longest of all the Asokan edicts. For the most part, it summarizes and restates the contents of the other pillar edicts, and to some extent those of the major rock edicts as well."

In fact, as Salomon suggests, it is a hodgepodge of the authentic inscriptions. It seems not to have been observed that such a melange could not have been compiled without someone going from stone to stone to collect passages from different inscriptions, and this presumably must have involved transmission in writing, unlike with the Major Rock Edict inscriptions, which were clearly dictated orally to scribes from each region of India, who then wrote down the texts in their own local dialects -- and in some cases, their own local script or language; knowledge of writing would seem to be required for that, but not actual written texts.

For the Delhi-Topra pillar addition, someone made copies of the texts and produced the unique "Seventh Pillar Edict".
bilingual Aramaic and Prakrit (both in Aramaic script) fragment from Kandahar known as Kandahar II or Kandahar III, which is written in an extremely odd fashion (Falk 2006: 246), has been identified as representing a portion of the "Seventh Pillar Edict" (Norman 2012: 43), but strong doubts remain about the reading of the text (Falk 2006: 246). It is also by no means exactly like the "Seventh Pillar Edict", not to speak of the peculiar presentation of text and translation. In fact, it looks like a student exercise. It is very similar to the content of the Taxila Inscription and the two Laghman Inscriptions, both of which are also highly problematic, q.v. Falk's (2006: 253) conclusion: "There is no clear evidence for an Asokan influence on this text [the Taxila Inscription]. Like the two Laghman 'edicts' this text as well could be of a rather profane nature, mentioning Asoka as king just in passing." However, Falk (2006: 241) also says of Kandahar II/III that "Asoka must have ordered to bring his words to the public unchanged regarding their sound and content. Presenting this text in two languages using one script for both is a remarkable thought, aimed at avoiding flaws in the translation." This is an unlikely speculation. Finally, the "Seventh Pillar Edict" shares some of the peculiarities of the other minor inscriptions from Afghanistan. (I.e., they are to be distinguished from the genuine fragments of a Greek translation of the Twelfth and Thirteenth Rock Edicts, found at Kandahar, q.v. Halkias 2014.) C. f. Ito (1996), a study of the Greek and Aramaic bilingual inscription from Kandahar. These texts all await detailed, serious study.]...

The "Seventh Pillar Edict" is palaeographically distinct from the text it has been appended to. It is obvious at first glance. The physical differences between the text of the "Seventh Pillar Edict", as compared even to the immediately preceding text of the Sixth Pillar Edict on the East Face, virtually leap out at one. The style of the script, the size and spacing of the letters, the poor control over consistency of style from one letter to the next, and the many hastily written, even scribbled, letters are all remarkable. These characteristics seem not to have been mentioned by the many scholars who have worked on the Mauryan inscriptions.

The text begins as an addition to the synoptic Sixth Pillar Edict, which occupies only part of the East Face "panel". After filling out the available space for text on the East Face, the new text incredibly continues around the pillar, that is, ignoring the four different "faces" already established by the earlier, genuine edicts. This circum-pillar format is unique among all the genuine Mauryan pillar inscriptions.

Another remarkable difference with respect to the genuine Major Inscriptions on pillars is that the latter are concerned almost exclusively with Devanampriya Priyadarsi's Dharma, but do not mention either the Sramanas ''Buddhists' or the Brahmanas 'Brahmanists' by name. This is strikingly unlike the Major Inscriptions on rocks, which mention them repeatedly in many of the edicts. In other words, though the Pillar Edicts are all dated later than the Rock Edicts, for some reason (perhaps their brevity), Devanampriya Priyadarsi does not mention the Sramanas or the Brahmanas in them. The "Seventh Pillar Edict" is thus unique in that it does mention the Buddhists (Sramanas) and Brahmanists (Brahmanas) by name, but the reoccurrence of the names in what claims to be the last of Devanampriya Priyadarsi's edicts suggests that the text is not just spurious, it is probably a deliberate forgery. This conclusion is further supported by the above-noted unique passage in the inscription in which the Buddhists are referred to as the "Samgha". This term occurs in the later Buddhist Inscriptions too; but it is problematic because it is otherwise unknown before well into the Saka-Kushan period.

The one really significant thing the text does is to add the claim that Devanampriya Priyadarsi supported not only the Buddhists and the Brahmanists but also the Ajivikas and Jains. However, all of the Jain holy texts are uncontestedly very late (long after the Mauryan period). The very mention of the sect in the same breath as the others is alone sufficient to cast severe doubt on the text's authenticity.

The "Seventh Pillar Edict" claims that it was inscribed when Devanampriya Priyadarsi had been enthroned for twenty-seven years; that is, only one year after the preceding text (the sixth of the synoptic Pillar Edicts), which says it was inscribed when Devanampriya Priyadarsi had been enthroned for twenty-six years. The "Seventh Pillar Edict" text consists of passages taken from many of the Major Inscriptions, both Rock and Pillar Edicts, in which the points mentioned are typically dated to one or another year after the ruler's coronation, but in the "Seventh Pillar Edict" the events are effectively dated to the same year. Most puzzling of all, why would the king add such an evidently important edict to only a single one of the otherwise completely synoptic pillar inscriptions?

Perhaps even more damning is the fact that in the text itself the very same passages are often repeated verbatim, sometimes (as near the beginning) immediately after they have just been stated, like mechanical dittoisms. Repetition is a known feature of Indian literary texts, but the way it occurs in the "Seventh Pillar Edict" is not attested in the authentic Major Inscriptions. Moreover, as Olivelle has noted, the text repeats the standard opening formula or "introductory refrain" many times; that is, "King Priyadarsin, Beloved of the Gods, says" is repeated verbatim nine times, with an additional shorter tenth repetition. "In all of the other edicts this refrain occurs only once and at the beginning. Such repetitions of the refrain which state that these are the words of the king are found in Persian inscriptions. However, this is quite unusual for Asoka."...

In short, based on its arrangement, palaeography, style, and contents, the "Seventh Pillar Edict" cannot be accepted as a genuine inscription of Devanampriya Priyadarsi. The text was added to the pillar much later than it claims and is an obvious forgery from a later historical period. These factors require that the "Seventh Pillar Edict" be removed from the corpus of authentic inscriptions of Devanampriya Priyadarsi.

The Calcutta-Bairat Inscription, the Lumbini Inscription, and the "Seventh Pillar Edict" of the Delhi-Topra pillar thus do not belong with either the authentic Major Inscriptions of Devanampriya Priyadarsi or the possibly authentic inscriptions of Devanampriya Asoka.

-- Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith


The decipherment of Brahmi became the focus of European scholarly attention in the early 19th-century during East India Company rule in India, in particular in the Asiatic Society of Bengal in Calcutta.[10][11][12][13] Brahmi was deciphered by James Prinsep, the secretary of the Society, in a series of scholarly articles in the Society's journal in the 1830s.[14][15][16][17] His breakthroughs built on the epigraphic work of Christian Lassen, Edwin Norris, H. H. Wilson and Alexander Cunningham, among others.[18][19][20]

The origin of the script is still much debated, with most scholars stating that Brahmi was derived from or at least influenced by one or more contemporary Semitic scripts, while others favor the idea of an indigenous origin or connection to the much older and as yet undeciphered Indus script of the Indus Valley Civilization.[2][21] Brahmi was at one time referred to in English as the "pin-man" script,[22] that is "stick figure" script. It was known by a variety of other names, including "lath", "Laṭ", "Southern Aśokan", "Indian Pali" or "Mauryan" (Salomon 1998, p. 17), until the 1880s when Albert Étienne Jean Baptiste Terrien de Lacouperie, based on an observation by Gabriel Devéria, associated it with the Brahmi script, the first in a list of scripts mentioned in the Lalitavistara Sūtra. Thence the name was adopted in the influential work of Georg Bühler, albeit in the variant form "Brahma".[23] The Gupta script of the fifth century is sometimes called "Late Brahmi". The Brahmi script diversified into numerous local variants classified together as the Brahmic scripts. Dozens of modern scripts used across South and South East Asia have descended from Brahmi, making it one of the world's most influential writing traditions.[24][full citation needed] One survey found 198 scripts that ultimately derive from it.[25]

Among the inscriptions of Ashoka c. 3rd-century BCE written in the Brahmi script a few numerals were found, which have come to be called the Brahmi numerals.[26] The numerals are additive and multiplicative and, therefore, not place value;[26] it is not known if their underlying system of numeration has a connection to the Brahmi script.[???!!!][26] But in the second half of the first millennium CE, some inscriptions in India and Southeast Asia written in scripts derived from the Brahmi did include numerals that are decimal place value, and constitute the earliest existing material examples of the Hindu–Arabic numeral system, now in use throughout the world.[27] The underlying system of numeration, however, was older, as the earliest attested orally transmitted example dates to the middle of the 3rd century CE in a Sanskrit prose adaptation of a lost Greek work on astrology.[!!!][28][29][30]

Texts

Image
A northern example of Brahmi epigraphy: ancient terracotta sculpture from Sugh "Child learning Brahmi", showing the first letters of the Brahmi alphabet, 2nd century BCE.[31]

The Brahmi script is mentioned in the ancient Indian texts of Hinduism, Jainism and Buddhism, as well as their Chinese translations.[32][33] For example, the Lipisala samdarshana parivarta lists 64 lipi (scripts), with the Brahmi script starting the list. The Lalitavistara Sūtra states that young Siddhartha, the future Gautama Buddha (~500 BCE), mastered philology, Brahmi and other scripts from the Brahmin Lipikāra and Deva Vidyāiṃha at a school.[34][32]

A list of eighteen ancient scripts is found in the texts of Jainism, such as the Pannavana Sutra (2nd century BCE) and the Samavayanga Sutra (3rd century BCE).[35][36] These Jaina script lists include Brahmi at number 1 and Kharoṣṭhi at number 4 but also Javanaliya (probably Greek) [!!!] and others not found in the Buddhist lists.[36]

Origins

Main article: Early Indian epigraphy

While the contemporary Kharoṣṭhī script is widely accepted to be a derivation of the Aramaic alphabet, the genesis of the Brahmi script is less straightforward. Salomon reviewed existing theories in 1998,[6] while Falk provided an overview in 1993.[37]

Early theories proposed a pictographic-acrophonic origin for the Brahmi script, on the model of the Egyptian hieroglyphic script. These ideas however have lost credence, as they are "purely imaginative and speculative".[38] Similar ideas have tried to connect the Brahmi script with the Indus script, but they remain unproven, and particularly suffer from the fact that the Indus script is as yet undeciphered.[38]

Image
A later (mistaken) theory of a pictographic-acrophonic origin of the Brahmi script, on the model of the Egyptian hieroglyphic script, by Alexander Cunningham in 1877.

The mainstream view is that Brahmi has an origin in Semitic scripts (usually Aramaic). This is accepted by the vast majority of script scholars since the publications by Albrecht Weber (1856) and Georg Bühler's On the origin of the Indian Brahma alphabet (1895).[39][7] Bühler's ideas have been particularly influential, though even by the 1895 date of his opus on the subject, he could identify no fewer than five competing theories of the origin, one positing an indigenous origin and the others deriving it from various Semitic models.[40]

The most disputed point about the origin of the Brahmi script has long been whether it was a purely indigenous development or was borrowed or derived from scripts that originated outside India. Goyal (1979)[41] noted that most proponents of the indigenous view are fringe Indian scholars, whereas the theory of Semitic origin is held by "nearly all" Western scholars, and Salomon agrees with Goyal that there has been "nationalist bias" and "imperialist bias" on the two respective sides of the debate.[42] In spite of this, the view of indigenous development had been prevalent among British scholars writing prior to Bühler: A passage by Alexander Cunningham, one of the earliest indigenous origin proponents, suggests that, in his time, the indigenous origin was a preference of British scholars in opposition to the "unknown Western" origin preferred by continental scholars.[40] Cunningham in the seminal Corpus Inscriptionum Indicarum of 1877 speculated that Brahmi characters were derived from, among other things, a pictographic principle based on the human body,[43] but Bühler noted that by 1891, Cunningham considered the origins of the script uncertain.

Image
Image
Heliodorus pillar in the Indian state of Madhya Pradesh. Installed about 113 BCE and now named after Heliodorus, who was an ambassador of the Indo-Greek king Antialcidas from Taxila, and was sent to the Indian ruler Bhagabhadra. The pillar's Brahmi-script inscription states that Heliodorus is a Bhagvatena (devotee) of Vāsudeva. A couplet in it closely paraphrases a Sanskrit verse from the Mahabharata.[44][45]

A far more promising approach to the problem, indeed a short cut, seemed to be heralded in a letter to Jones from Lieutenant Francis Wilford, a surveyor and an enthusiastic student of all things oriental, who was based at Benares. Jones had been sent copies of inscriptions found at Ellora and written in Ashoka Brahmi, the still undeciphered pin-men. He had probably sent them to Wilford because Benares, the holy city of the Hindus, was the most likely place to find a Brahmin who might be able to read them. In 1793 Wilford announced that he had found just such a man:
I have the honour to return to you the facsimile of several inscriptions with an explanation of them. I despaired at first of ever being able to decipher them... However, after many fruitless attempts on our part, we were so fortunate as to find at last an ancient sage, who gave us the key, and produced a book in Sanskrit, containing a great many ancient alphabets formerly in use in different parts of India. This was really a fortunate discovery, which hereafter may be of great service to us.

According to the ancient sage, most of Wilford's inscriptions related to the wanderings of the five heroic Pandava brothers from the Mahabharata. At the unspecified time in question they were under an obligation not to converse with the rest of mankind; so their friends devised a method of communicating with them by "writing short and obscure sentences on rocks and stones in the wilderness and in characters previously agreed upon betwixt them." The sage happened to have the key to these characters in his code book; obligingly he transcribed them into Devanagari Sanskrit and then translated them.

To be fair to Wilford, he was a bit suspicious about this ingenious explanation of how the inscriptions got there. But he had no doubts that the deciphering and translation were genuine. "Our having been able to decipher them is a great point in my opinion, as it may hereafter lead to further discoveries, that may ultimately crown our labours with success." Above all, he had now located the code book, "a most fortunate circumstance."

Poor Wilford was the laughing stock of the Benares Brahmins for a whole decade. They had already fobbed him off with Sanskrit texts, later proved spurious, on the source of the Nile and the origin of Mecca. After the code book there was a geographical treatise on The Sacred Isles of the West, which included early Hindu reference to the British Isles. The Brahmins, to whom Sanskrit had so long remained a sacred prerogative, were getting their own back. One wonders how much Wilford paid his "ancient sage."

Jones was already a little suspicious of Wilford's sources, but on
the code book, which was as much a fabrication as the translations supposedly based on it, he reserved judgment until he might see it. He never did. In fact it was never heard of again. But in spite of these disappointments Jones continued to believe that in time this oldest script would be deciphered. He had been sent a copy of the writings on the Delhi pillar and told a correspondent that they "drive me to despair; you are right, I doubt not, in thinking them foreign; I believe them to be Ethiopian and to have been imported a thousand years before Christ." It was not one of his more inspired guesses and at the time of his death the mystery of the inscriptions and of the monoliths was as dark as ever.


-- India Discovered, by John Keay


Most scholars believe that Brahmi was likely derived from or influenced by a Semitic script model, with Aramaic being a leading candidate.[46] However, the issue is not settled due to the lack of direct evidence and unexplained differences between Aramaic, Kharoṣṭhī, and Brahmi.[47] Though Brahmi and the Kharoṣṭhī script share some general features, the differences between the Kharosthi and Brahmi scripts are "much greater than their similarities," and "the overall differences between the two render a direct linear development connection unlikely", states Richard Salomon.[48]

Virtually all authors accept that regardless of the origins, the differences between the Indian script and those proposed to have influenced it are significant. The degree of Indian development of the Brahmi script in both the graphic form and the structure has been extensive. It is also widely accepted that theories about the grammar of the Vedic language probably had a strong influence on this development. Some authors -– both Western and Indian -– suggest that Brahmi was borrowed or inspired by a Semitic script, invented in a short few years during the reign of Ashoka and then used widely for Ashokan inscriptions.[47]
The main thing which makes of the grammarians' Sanskrit a special and peculiar language is its list of roots. Of these there are reported to us about two thousand, with no intimation of any difference in character among them, or warning that a part of them may and that another part may not be drawn upon for forms to be actually used; all stand upon the same plane. But more than half — actually more than half — of them never have been met with, and never will be met with, in the Sanskrit literature of any age. When this fact began to come to light, it was long fondly hoped, or believed, that the missing elements would yet turn up in some corner of the literature not hitherto ransacked; but all expectation of that has now been abandoned. One or another does appear from time to time; but what are they among so many? The last notable case was that of the root stigh, discovered in the Maitrayani-Sanhita, a text of the Brahmana period; but the new roots found in such texts are apt to turn out wanting in the lists of the grammarians. Beyond all question, a certain number of cases are to be allowed for, of real roots, proved such by the occurrence of their evident cognates in other related languages, and chancing not to appear in the known literature; but they can go only a very small way indeed toward accounting for the eleven hundred unauthenticated roots. Others may have been assumed as underlying certain derivatives or bodies of derivatives — within due limits, a perfectly legitimate proceeding; but the cases thus explainable do not prove to be numerous. There remain then the great mass, whose presence in the lists no ingenuity has yet proved sufficient to account for. And in no small part, they bear their falsity and artificiality on the surface, in their phonetic form and in the meanings ascribed to them; we can confidently say that the Sanskrit language, known to us through a long period of development, neither had nor could have any such roots. How the grammarians came to concoct their list, rejected in practice by themselves and their own pupils, is hitherto an unexplained mystery. No special student of the native grammar, to my knowledge, has attempted to cast any light upon it; and it was left for Dr. Edgren, no partisan of the grammarians, to group and set forth the facts for the first time, in the Journal of the American Oriental Society (Vol. XI, 1882 [but the article printed in 1879], pp. 1-55), adding a list of the real roots, with brief particulars as to their occurrence.1 [I have myself now in press a much fuller account of the quotable roots of the language, with all their quotable tense-stems and primary derivatives — everything accompanied by a definition of the period of its known occurrence in the history of the language.] It is quite clear, with reference to this fundamental and most important item, of what character the grammarians' Sanskrit is. The real Sanskrit of the latest period is, as concerns its roots, a true successor to that of the earliest period, and through the known intermediates; it has lost some of the roots of its predecessors, as each of these some belonging to its own predecessors or predecessor; it has, also like these, won a certain number not earlier found: both in such measure as was to be expected. As for the rest of the asserted roots of the grammar, to account for them is not a matter that concerns at all the Sanskrit language and its history; it only concerns the history of the Hindu science of grammar. That, too, has come to be pretty generally acknowledged.1 [Not, indeed, universally; one may find among the selected verbs that are conjugated in full at the end of F. M. Muller's Sanskrit Grammar, no very small number of those that are utterly unknown to Sanskrit usage, ancient or modern.] Every one who knows anything of the history of Indo-European etymology knows how much mischief the grammarians' list of roots wrought in the hands of the earlier more incautious and credulous students of Sanskrit: how many false and worthless derivations were founded upon them. That sort of work, indeed, is not yet entirely a thing of the past; still, it has come to be well understood by most scholars that no alleged Sanskrit root can be accepted as real unless it is supported by such a use in the literary records of the language as authenticates it — for there are such things in the later language as artificial occurrences, forms made for once or twice from roots taken out of the grammarians' list, by a natural license, which one is only surprised not to see oftener availed of (there are hardly more than a dozen or two of such cases quotable): that they appear so seldom is the best evidence of the fact already pointed out above, that the grammar had, after all, only a superficial and negative influence upon the real tradition of the language.

It thus appears that a Hindu grammarian's statement as to the fundamental elements of his language is without authority until tested by the actual facts of the language, as represented by the Sanskrit literature. But the principle won here is likely to prove of universal application; for we have no reason to expect to find the grammarians absolutely trustworthy in other departments of their work, when they have failed so signally in one; there can be nothing in their system that will not require to be tested by the recorded facts of the language, in order to determine its true value....

A curious kind of superstition appears to prevail among certain Sanskrit scholars: they cannot feel that they have the right to accept a fact of the language unless they find it set down in Panini's rules. It may well be asked, on the contrary, of what consequence it is, except for its bearing on the grammatical science itself, whether a given fact is or is not so set down. A fact in the pre-classical language is confessedly quite independent of Panini; he may take account of it and he may not; and no one knows as yet what the ground is of the selection he makes for inclusion in his system. As for a fact in the classical language, it is altogether likely to fall within the reach of one of the great grammarian's rules — at least, as these have been extended and restricted and amended by his numerous successors: and this is a thing much to the credit of the grammar; but what bearing it has upon the language would be hard to say. If, however, we should seem to meet with a fact ignored by the grammar, or contravening its rules, we should have to look to see whether supporting facts in the language did not show its genuineness in spite of the grammar. On the other hand, there are facts in the language, especially in its latest records, which have a false show of existence, being the artificial product of the grammar's prescription or permission; and there was nothing but the healthy conservatism of the true tradition of the language to keep them from becoming vastly more numerous....

It needs to be impressed on the minds of scholars that the study of the Sanskrit language is one thing, and the study of the Hindu science of grammar another and a very different thing; that while there has been a time when the latter was the way to the former, that time is now long past, and the relation of the two reversed; that the present task of the students of the grammar is to make their science accessible, account if possible for its anomalies, and determine how much and what can be extracted from it to fill out that knowledge of the language which we derive from the literature; and that the peculiar Hindu ways of grouping and viewing and naming facts familiar to us from the other related languages are an obstacle in the way of a real and fruitful comprehension of those facts as they show themselves in Sanskrit, and should be avoided.

-- The Study of Hindu Grammar and the Study of Sanskrit, by William Dwight Whitney, American Journal of Philology, Vol. V, 3, Whole No. 19, 1884

The argument of "brahmanical fantasy" has been used in other areas as well. Cf. Mill's statement on the Brahmins above. Also, in connection with the Dhatupatha, a list of some two thousand verbal roots of which more than half have not been met with in Sanskrit literature, it has been suggested that it was "concocted" by the Indian grammarians (Whitney 1884; reprinted in Staal 1992: 142). In fact, the Indian pandits have been accused of inventing the Sanskrit language (Dugald Stewart and Christoph Meiners, quoted in Rosane Rocher 1983: 78).

-- Chapter 4: Law Books in an Oral Culture: The Indian Dharmasastras, Excerpt from "Studies in Hindu Law and Dharmaśastra", by Ludo Rocher

The Brahmi script appeared in the third century B.C. as a fully developed pan-Indian national script (sometimes used as a second script even within the proper territory of Kharosthi in the northwest) …

Terrien de Lacouperie… suggested that the name Brahmi should refer to the left-to-right "Indo-Pali" script of the Asokan pillar inscriptions, and Kharosthi to the right-to-left "Bactro-Pali" script of the rock inscriptions from the northwest. Lacouperie's suggestion was adopted by his contemporaries, most significantly by Buhler… While the name Brahmi for the ancient Indian national script is no doubt in a general sense correct, it should be kept in mind that we do not really know precisely what form or derivative of the script the authors of the early script lists were referring to as "Brahmi," nor whether this term was actually applied to the script used in the time of Asoka.41 [On this point, see the warnings in IC 11.667 [L. Renou and J. Filliozat, L'Inde classique (Classical India, by Louis Renou and Jean Filliozat, Classical India Volume Two, Political History of India From the Earliest Times to the 7th Century A.D., by Jean Filliozat, Translated from the French by Philip Spratt, 1957)] and OBS 99 [S. P. Gupta and K. S. Ramachandran, The Origin of Brahmi Script].

VI.

The key papers by Dr. S.R. Goyal and Shri K.V. Soundara Rajan are very interesting and have raised several important points connected with the origin of the Brahmi script. Goyal's paper especially interested me because I also share most of his views. But before involving into the discussion I wish to point out that Goyal has not been able to take note of all the published material on the subject during the last two decades. For example, he seems to have failed to utilise and analyse properly the views of Dani, Upasaka and the present author on the subject. As it may be pointed out that it was Upasaka who, for the first time, has conclusively proved by giving a diagram that Yerragudi inscription of Asoka follows no method. Mr Soundara Rajan also does not seem to have utilised these recent publications thoroughly.

The first confusing thing about the origin of Brahmi script is its name. The late Prof R.R Pandey observes, "As its-very name suggests the Brahmi script was invented by the Indo-Aryans for the preservation of 'Brahma' or Veda and was originally and mainly employed by the Brahmanas, whose duty was to conserve the Vedic literature and to hand it down to the succeeding generations by writing and copying the text from time to time and by teaching them to their students".91 [Pandey, R.B., Indian Palaeography, p. 35.] This confusion is due to the name Brahmi. It was perhaps Buhler who first advocated this designation for the characters in which majority of the edicts of Asoka are written. But there is no definite ground to accept that the name Brahmi given to the Asokan script is correct beyond doubt. In Buddhist and Jaina works lists of the scripts prevalent in ancient India are given. Almost all the lists begin with the name Brahmi. In Vedic literature there are some references where the word 'Brahmi' occurs but there it has been used in the sense of a speech (Brahmi-Vak) and not in the sense of a script.92 [Pathak, V.S., Brahmi athava Brahmi Vaidika Bhasha aur Lip (Hindi), Madhay Bharati, Vol. II, pp. 13-16.] Therefore, the designation Brahmi to the script of Asoka and its derivatives is simply a matter of convenience and not a matter of fact. Dr Pandey's view that 'as the very name suggests the script was invented by the Indo-Aryans for the preservation of Brahma or Veda' is illusory because he presupposes the name Brahmi for that script. Goyal himself does not make any distinction between the two while writing the lines under the heading Traditional Inventor of Brahmi'. This has resulted in the confusion between two separate issues, i.e., the antiquity of the art of writing in India and the origin of the so-called (Asokan) Brahmi. This has inspired many scholars to search for the latter's roots in Vedic period. Although sceptic about accepting the name Brahmi for the Asokan script we will refer this name on following pages to avoid any possible confusion.

-- The Origin of Brahmi Script, by S.P. Gupta and K.S. Ramachandran, 1979

The various inscriptions which were not made in order to be read must be interpreted as magical, at least in this sense that they were votive, and intended not to make their prayers public but to bring about their realisation by materialising the expression in writing.

-- A Portion translated from l'Inde Classique, Vol. I, Manuel Des Etudes Indiennes, Classical India, by Louis Renou and Jean Filliozat, Classical India Volume Two, Political History of India From the Earliest Times to the 7th Century A.D., by Jean Filliozat, Translated from the French by Philip Spratt, 1957

The name Brahmi is thus used loosely, as a matter of convenience, by modern scholars to refer to the Asokan script and to its varieties and earlier derivatives (distinguished by regional or dynastic terms such as "early southern Brahmi" or "eastern Gupta Brahmi") until about the end of the Gupta period in the sixth century A.D. After this time, the scripts have for the most part differentiated into distinct regional and local varieties, and are conceived as separate scripts denoted by descriptive or, more commonly, geographical terms (e.g., Siddhamatrka [post-Gupta northern script] or proto-Kannada). The terminology for the various premodern Brahmi-derived scripts is, however, largely unstandardized and typically made up ad hoc, due mainly to the lack of attested indigenous terms for many of them....

The origin of the Brahmi script is one of the most problematic and controversial problems in Indian epigraphy ...

Recently several writers have put forth theories to the effect that Brahmi was purposefully invented ex nihilo ["creation out of nothing"] in or around the time of Asoka. S. R. Goyal, for example, 55 ["Brahmi—An Invention of the Early Mauryan Period," in OBS 1-53.] argued that the phonetically logical structure, primary geometric forms, and geographical uniformity of early Brahml show that it was "an invention of the grammarians" of the time of Asoka. Similar arguments were presented by T. P. Verma, who proposed an origin in Buddhist circles.56 [The Palaeography of Brahmi Script in North India, 8, and "Fresh Light on the Origin of Brahmi Alphabet," JOI 13, 1964, 360-71 (esp. 367).] ...

The strongest point in favor of the invention theory is the stiffly symmetrical, geometric appearance of Asokan Brahmi, which does indeed give the impression of an arbitrarily created script....

[T]he discovery ... of six Mauryan inscriptions in Aramaic strongly supports the hypothesis of an Aramaic connection.

However, a possible objection to the derivation of Brahmi from Aramaic is that, since it has been established with virtual certainty that the Kharosthi script is derived from Aramaic, it is hard to see why another, very different, Indic script would have developed from the same prototype in a contiguous region. If the hypothesis of the invention of Brahmi under Asoka's sponsorship is correct, this re-creation may be attributed to the emperor's desire to invent a distinct imperial script, perhaps under the inspiration of Old Persian cuneiform, which would be suited to the promulgation of edicts in written form….

Prinsep's final decipherment was ultimately to rely on paleographic and contextual rather than statistical methods.


-- Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the Other Indo-Aryan Languages, by Richard Salomon

In contrast, some authors reject the idea of foreign influence.[49][50]

Bruce Trigger states that Brahmi likely emerged from the Aramaic script but with extensive local development but there is no evidence of a direct common source.[51] According to Trigger, Brahmi was in use before the Ashoka pillars, at least by 4th or 5th century BCE in Sri Lanka and India, while Kharoṣṭhī was used only in northwest South Asia (eastern parts of modern Afghanistan and neighboring regions of Pakistan) for a while before it died out in ancient times.[51] According to Salomon, the evidence of Kharosthi script's use is found primarily in Buddhist records and those of Indo-Greek, Indo-Scythian, Indo-Parthian and Kushana dynasty era. The Kharosthi likely fell out of general use in or about the 3rd-century CE.[48]

Justeson and Stephens proposed that this inherent vowel system in Brahmi and Kharoṣṭhī developed by transmission of a Semitic abjad through the recitation of its letter values. The idea is that learners of the source alphabet recite the sounds by combining the consonant with an unmarked vowel, e.g. /kə/,/kʰə/,/gə/, and in the process of borrowing into another language, these syllables are taken to be the sound values of the symbols. They also accepted the idea that Brahmi was based on a North Semitic model.[52]

Semitic model hypothesis

Image

Bühler's aspirate derivations

IAST / -aspirate / +aspirate / origin of aspirate according to Bühler


k/kh / [x] / [x] / Semitic emphatic (qoph)
g/gh / [x] / [x] / Semitic emphatic (heth) (hook addition in Bhattiprolu script)
c/ch / [x] / [x] / curve addition
j/jh / [x] / [x] / hook addition with some alteration
p/ph / [x] / [x] / curve addition
b/bh / [x] / [x] / hook addition with some alteration
t/th / [x] / [x] / Semitic emphatic (teth)
d/dh / [x] / [x] / unaspirated glyph back formed
ṭ/ṭh / [x] / [x] / unaspirated glyph back formed as if aspirated glyph with curve
ḍ/ḍh / [x] / [x] / curve addition


Many scholars link the origin of Brahmi to Semitic script models, particularly Aramaic.[39] The explanation of how this might have happened, the particular Semitic script and the chronology have been the subject of much debate. Bühler followed Max Weber in connecting it particularly to Phoenician and proposed an early 8th century BCE date[53] for the borrowing. A link to the South Semitic scripts, a less prominent branch of the Semitic script family, has occasionally been proposed but has not gained much acceptance.[54] Finally, the Aramaic script being the prototype for Brahmi has been the more preferred hypothesis because of its geographic proximity to the Indian subcontinent, and its influence likely arising because Aramaic was the bureaucratic language of the Achaemenid empire. However, this hypothesis does not explain the mystery of why two very different scripts, Kharoṣṭhī and Brahmi, developed from the same Aramaic. A possible explanation might be that Ashoka created an imperial script for his edicts, but there is no evidence to support this conjecture.[55]

The below chart shows the close resemblance that Brahmi has with the first four letters of Semitic script, the first column representing the Phoenician alphabet.

Image / Text / Name[56] / Phoneme / Hieroglyphs / Proto-Sinaitic / Aramaic / Hebrew / Syriac / Greek / Brahmi

Image


Bühler's hypothesis

According to the Semitic hypothesis as laid out by Bühler in 1898, the oldest Brahmi inscriptions were derived from a Phoenician prototype.[57][note 1] Salomon states Bühler's arguments are "weak historical, geographical, and chronological justifications for a Phoenician prototype". Discoveries made since Bühler's proposal, such as of six Mauryan inscriptions in Aramaic, suggest Bühler's proposal about Phoenician as weak. It is more likely that Aramaic, which was virtually certainly the prototype for Kharoṣṭhī, also may have been the basis for Brahmi. However, it is unclear why the ancient Indians would have developed two very different scripts.[55]

Comparison of North Semitic and Brahmi scripts[59][note 2]

Phoenician /Aramaic / Value / Brahmi / Value


Image


According to Bühler, Brahmi added symbols for certain sounds not found in Semitic languages, and either deleted or repurposed symbols for Aramaic sounds not found in Prakrit. For example, Aramaic lacks the phonetic retroflex feature that appears among Prakrit dental stops, such as ḍ, and in Brahmi the symbols of the retroflex and non-retroflex consonants are graphically very similar, as if both had been derived from a single prototype. (See Tibetan alphabet for a similar later development.) Aramaic did not have Brahmi's aspirated consonants (kh, th, etc.), whereas Brahmi did not have Aramaic's emphatic consonants (q, ṭ, [x]), and it appears that these unneeded emphatic letters filled in for some of Brahmi's aspirates: Aramaic q for Brahmi kh, Aramaic [x] ([x]) for Brahmi th ([x]), etc. And just where Aramaic did not have a corresponding emphatic stop, p, Brahmi seems to have doubled up for the corresponding aspirate: Brahmi p and ph are graphically very similar, as if taken from the same source in Aramaic p. Bühler saw a systematic derivational principle for the other aspirates ch, jh, ph, bh, and dh, which involved adding a curve or upward hook to the right side of the character (which has been speculated to derive from h, Brahmi [x]), while d and [x] (not to be confused with the Semitic emphatic [x]) were derived by back formation from dh and ṭh.[61]

The attached table lists the correspondences between Brahmi and North Semitic scripts.[62][59]

Bühler states that both Phoenician and Brahmi had three voiceless sibilants, but because the alphabetical ordering was lost, the correspondences among them are not clear. Bühler was able to suggest Brahmi derivatives corresponding to all of the 22 North Semitic characters, though clearly, as Bühler himself recognized, some are more confident than others. He tended to place much weight on phonetic congruence as a guideline, for example connecting c [x] to tsade [x] rather than kaph [x], as preferred by many of his predecessors.

One of the key problems with a Phoenician derivation is the lack of evidence for historical contact with Phoenicians in the relevant period.[55] Bühler explained this by proposing that the initial borrowing of Brahmi characters dates back considerably earlier than the earliest known evidence, as far back as 800 BCE, contemporary with the Phoenician glyph forms that he mainly compared. Bühler cited a near-modern practice of writing Brahmic scripts informally without vowel diacritics as a possible continuation of this earlier abjad-like stage in development.[53]

The weakest forms of the Semitic hypothesis are similar to Gnanadesikan's trans-cultural diffusion view of the development of Brahmi and Kharoṣṭhī, in which the idea of alphabetic sound representation was learned from the Aramaic-speaking Persians, but much of the writing system was a novel development tailored to the phonology of Prakrit.[63]
The Prakrits were Middle Indo-Aryan languages spoken between about 500 B.C. and 500 A.D. The name Prakrit (prākṛta) means ‘derived’, a name contrasting with Sanskrit (saṃskṛta) ‘complete, perfected’, reflecting the fact that the Prakrit languages were considered historically secondary to, and less prestigious than, Sanskrit.

The oldest stage of Middle Indo-Aryan language is attested in the inscriptions of Ashoka (ca. 260 BCE), as well as in the earliest forms of Pāli, the language of the Theravāda Buddhist canon. The most prominent form of Prakrit is Ardhamāgadhı̄, associated with the ancient kingdom of Magadha, in modern Bihar, and the subsequent Mauryan Empire. Mahāvı̄ra, the founder of Jainism, was born in Magadha, and the earliest Jain texts were composed in Ardhamāgadhı̄.

The other main Prakrit languages include Māhārāṣṭrı̄, Śaurasenī, Māgadhī, and Avantī, used in dramatic literature and lyric poetry, and Gāndhārī, a far North-Western Indo-Aryan language once used extensively as a language of Buddhist literature in Central Asia.
The latest Middle Indo-Aryan period is represented by the Apabhraṃśas, used as literary languages from around the 8th century A.D. well into the second millennium.

Ardhamāgadhı̄ and some other forms of Prakrit became learned, literary languages, much like Classical Sanskrit, but at the earliest period originated as either genuine vernacular dialects, or as lingua francas based on such dialects. It was these vernacular dialects which ultimately developed into the Modern Indo-Aryan languages spoken across South Asia today.

Currently there is no independent degree in Prakrit, but it is offered as a subsidiary language for the BA in Sanskrit. Students will study Prakrit language and literature, as well as the doctrine and early history of Jainism. Students on graduate courses in Indian Studies may also attend Prakrit classes when these are offered.

-- Prakrit, by Faculty of Oriental Studies, University of Oxford

Another evidence cited in favor of Persian influence has been the Hultzsch proposal in 1925 that the Prakrit/Sanskrit word for writing itself, lipi is similar to the Old Persian word dipi, suggesting a probable borrowing.[64][65] A few of the Ashoka edicts from the region nearest the Persian empire use dipi as the Prakrit word for writing, which appears as lipi elsewhere, and this geographic distribution has long been taken, at least back to Bühler's time, as an indication that the standard lipi form is a later alteration that appeared as it diffused away from the Persian sphere of influence. Persian dipi itself is thought to be an Elamite loanword.[66]
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Re: Freda Bedi Cont'd (#3)

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Part 2 of 4

Greek-Semitic model hypothesis

Image
Coin of Agathocles with Hindu deities, in Greek and Brahmi.
Obv: Balarama-Samkarshana with Greek legend: [x].
Rev: Vasudeva-Krishna with Brahmi legend:[x] Rājane Agathukleyesa "King Agathocles". Circa 180 BCE.


Falk's 1993 book Schrift im Alten Indien is a study on writing in ancient India,[67][68] and has a section on the origins of Brahmi.[37] It features an extensive review of the literature up to that time. Falk sees the basic writing system of Brahmi as being derived from the Kharoṣṭhī script, itself a derivative of Aramaic. At the time of his writing, the Ashoka edicts were the oldest confidently dateable examples of Brahmi, and he perceives in them "a clear development in language from a faulty linguistic style to a well honed one"[69] over time, which he takes to indicate that the script had been recently developed.[37][70] Falk deviates from the mainstream of opinion in seeing Greek as also being a significant source for Brahmi. On this point particularly, Salomon disagrees with Falk, and after presenting evidence of very different methodology between Greek and Brahmi notation of vowel quantity, he states "it is doubtful whether Brahmi derived even the basic concept from a Greek prototype".[71] Further, adds Salomon, in a "limited sense Brahmi can be said to be derived from Kharosthi, but in terms of the actual forms of the characters, the differences between the two Indian scripts are much greater than the similarities".[72]

Falk also dated the origin of Kharoṣṭhī to no earlier than 325 BCE, based on a proposed connection to the Greek conquest.[73] Salomon questions Falk's arguments as to the date of Kharoṣṭhī and writes that it is "speculative at best and hardly constitutes firm grounds for a late date for Kharoṣṭhī. The stronger argument for this position is that we have no specimen of the script before the time of Ashoka, nor any direct evidence of intermediate stages in its development; but of course this does not mean that such earlier forms did not exist, only that, if they did exist, they have not survived, presumably because they were not employed for monumental purposes before Ashoka".[70]

Unlike Bühler, Falk does not provide details of which and how the presumptive prototypes may have been mapped to the individual characters of Brahmi. Further, states Salomon, Falk accepts there are anomalies in phonetic value and diacritics in Brahmi script that are not found in the presumed Kharoṣṭhī script source. Falk attempts to explain these anomalies by reviving the Greek influence hypothesis, a hypothesis that had previously fallen out of favor.[70][74]

Hartmut Scharfe, in his 2002 review of Kharoṣṭī and Brāhmī scripts, concurs with Salomon's questioning of Falk's proposal, and states, "the pattern of the phonemic analysis of the Sanskrit language achieved by the Vedic scholars is much closer to the Brahmi script than the Greek alphabet".[21]

Sanskrit is not attested in any inscriptions or manuscripts until the Common Era or at most a few decades before it.66 [Bronkhorst (2011: 46, 50), who cites Salomon (1998:86) on the existence of four inscriptions ascribed by some, including Salomon, to the first century BC; otherwise the earliest inscriptions in Sanskrit are from Mathura in the first and second centuries AD (Salomon 1998: 87).]

-- Appendix C: On The Early Indian Inscriptions, Excerpt from Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith


As of 2018, Harry Falk refined his view by affirming that Brahmi was developed from scratch in a rational way at the time of Ashoka, by consciously combining the advantages of the pre-existing Greek script and northern Kharosthi script.[75] Greek-style letter types were selected for their "broad, upright and symmetrical form", and writing from left to right was also adopted for its convenience.[75] On the other hand, the Kharosthi treatment of vowels was retained, with its inherent vowel "a", derived from Aramaic, and stroke additions to represent other vowel signs.[75] In addition, a new system of combining consonants vertically to represent complex sounds was also developed.[75]

In between experimenting with rust-proof treatments for the new steamboats to be employed on the Ganges, he wrestled next with the Ashoka Brahmi pin-men on the Allahabad column. Coryat's idea that it was some kind of Greek was back in fashion. One scholar claimed to have identified no less than seven letters of the Greek alphabet and another had actually read a Greek name written in this script on an ancient coin. Prinsep was sceptical. The Greek name was only Greek if read upside down. [???!!!] Turn it round and the pinmen letters were just like those on the pillars.

-- India Discovered, by John Keay


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The Kandahar Bilingual Rock Inscription, (also Kandahar Edict of Ashoka, sometimes "Chehel Zina Edict"), is a famous bilingual edict in Greek and Aramaic, proclaimed and carved in stone by the Indian Maurya Empire ruler Ashoka (r.269-233 BCE) around 260 BCE. It is the very first known inscription of Ashoka, written in year 10 of his reign (260 BCE), preceding all other inscriptions, including his early Minor Rock Edicts, his Barabar caves inscriptions or his Major Rock Edicts. This first inscription was written in Classical Greek and Aramaic exclusively. It was discovered in 1958, during some excavation works below a 1m high layer of rubble, and is known as KAI 279.

-- Aramaic Inscription of Laghman [Ashokan Inscriptions], by Wikipedia


Indigenous origin hypothesis

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A 2nd-century BCE Tamil Brahmi inscription from Arittapatti, Madurai India. The southern state of Tamil Nadu has emerged as a major source of Brahmi inscriptions dated between 3rd to 1st-centuries BCE.[76][77]

The possibility of an indigenous origin such as a connection to the Indus script is supported by some Western and Indian scholars and writers. The theory that there are similarities to the Indus script was suggested by early European scholars such as the archaeologist John Marshall[78] and the Assyriologist Stephen Langdon,.[79] G.R. Hunter in his book The Script of Harappa and Mohenjodaro and Its Connection with Other Scripts (1934) proposed a derivation of the Brahmi alphabets from the Indus Script, the match being considerably higher than that of Aramaic in his estimation.[80] British archaeologist Raymond Allchin stated that there is a powerful argument against the idea that the Brahmi script has Semitic borrowing because the whole structure and conception is quite different. He at one time suggested that the origin may have been purely indigenous with the Indus script as its predecessor.[81] However, Allchin and Erdosy later in 1995 expressed the opinion that there was as yet insufficient evidence to resolve the question.[82]

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A proposed connection between the Brahmi and Indus scripts, made in the 19th century by Alexander Cunningham.

Today the indigenous origin hypothesis is more commonly promoted by non-specialists, such as the computer scientist Subhash Kak, the spiritual teachers David Frawley and Georg Feuerstein, and the social anthropologist Jack Goody.[83][84][85] Subhash Kak disagrees with the proposed Semitic origins of the script,[86] instead states that the interaction between the Indic and the Semitic worlds before the rise of the Semitic scripts might imply a reverse process.[87] However, the chronology thus presented and the notion of an unbroken tradition of literacy is opposed by a majority of academics who support an indigenous origin. Evidence for a continuity between Indus and Brahmi has also been seen in graphic similarities between Brahmi and the late Indus script, where the ten most common ligatures correspond with the form of one of the ten most common glyphs in Brahmi.[88] There is also corresponding evidence of continuity in the use of numerals.[89] Further support for this continuity comes from statistical analysis of the relationship carried out by Das.[90] Salomon considered simple graphic similarities between characters to be insufficient evidence for a connection without knowing the phonetic values of the Indus script, though he found apparent similarities in patterns of compounding and diacritical modification to be "intriguing." However, he felt that it was premature to explain and evaluate them due to the large chronological gap between the scripts and the thus far indecipherable nature of the Indus script.[91]

The main obstacle to this idea is the lack of evidence for writing during the millennium and a half between the collapse of the Indus Valley Civilisation around 1500 BCE and the first widely accepted appearance of Brahmi in the 3rd or 4th centuries BCE. Iravathan Mahadevan makes the point that even if one takes the latest dates of 1500 BCE for the Indus script and earliest claimed dates of Brahmi around 500 BCE, a thousand years still separates the two.[92]
CHAPTER TWO: THE ORAL TRADITION
 
The outstanding feature of the oldest Indian education and Indian culture in general, especially in the centuries B.C., is its orality. The Vedic texts make no reference to writing, and there is no reliable indication that writing was known in India except perhaps in the northwestern provinces when these were under Achaemenid rule, since the time of Darius or even Cyrus. Those who write down the Veda go to hell, as the Mahabharata tells us,1 [Mahabharata XIII 24.70 vedanam lekhakas caiva te vai niraya-gaminah.] and Kumarila confirms: "That knowledge of the truth is worthless which has been acquired from the Veda, if the Veda has not been rightly comprehended or if it has been learnt from writing."2 [Tantra-varttika 13 (p.86); p.123.20 in K.V. Abhyankar's ed., Pune 1970. Al-Biruni (Alberuni's India, trans. E.C. Sachau, London 1910, vol.1 p. 125) reported in the eleventh century: "They do not allow the Veda to be committed to writing."] Sayana wrote in the introduction to his Rgveda commentary that "the text of the Veda is to be learned by the method of learning it from the lips of the teacher and not from a manuscript."3 [Rig-Veda Samhita, ed. F.Max Muller, 2nd ed. London 1890 (repr. Varanasi 1966), p. 14 line 15 adhyayana-vidhis ca likhita-pathadi vyavrtydhyayana-samskrtatvam svadhyayasya gamayati.] Several reasons are given for this restriction, among them the fear that the sacred knowledge could fall into the hands of members of the lower castes, or that the student may not be fit for the sacred and supposedly powerful knowledge; the need to recite the Vedic mantras4 [AsGS III 2,2 informs us of the correct way to recite the Veda for oneself: outside the village, on a clean spot, facing east, "looking at the point where heaven and earth touch each other, or shutting his eyes, in whatever way he may deem himself apt" (dyava-prthivyoh sandhim iksamanah sammilya va yatha va yuktam atmanam manyeta).] with correct accents and intonations, if disaster is to be avoided, reinforced the need for oral instruction.5 [A.S. Altekar, Education in Ancient India, 6th ed., Benares 1965, p.46.] The original and most powerful—if unspoken—reason probably is the belief that the instruction in Vedic lore had always been conducted in this way, a holdover from the time when script was completely unknown in India. Some later authors6 [D.D. Kosambi. Ancient India, New York 1966, p. 78: from the fourteenth century on. But the practice must be older, or else the condemnation in Mbh XIII 24.70 (see p. 8 fn. 1; how old this stanza is would be hard to tell) makes little sense. A manuscript of a minor Vedic text, the Naksatra-kalpa (found also in the Atharvaveda-parisista), discovered in Central Asia was dated by its editor A.F. Hoernle (JAS Bengal 62 [1893], pp.11-40) in the fifth century A.D.; H. Falk, Die Schrift im alien Indicn, Tubingen 1993, p. 284. Al Biruni reported in the early eleventh century that "recently" Vasukra from Kashmir had written down and explained the Veda: Alberuni's India, vol. I p. 126. L. Renou, Classical India, vol. 3: Vedic India, p. 2 refers to an eleventh century manuscript.] permit the writing down of Vedic texts, but only as a teaching aid, for reviewing previous oral instruction.
 
The antiquity of writing in India is a controversial topic. A script has been discovered in the excavations of the Indus Valley Civilization that flourished in the Indus valley and adjacent areas in the third millennium B.C. The number of different signs suggest a syllabic script, but all attempts at decipherment have been unsuccessful so far. Attempts by some Indian scholars to connect this undeciphered script with the Indian scripts in vogue from the third century B.C. onward are total failures.7 [B.B. Lai, in Vivekananda Memorial Volume. India's Contribution to the World Thought and Culture, edd. Lokesh Chandra et al., Madras 1970, pp. 189-202; Kamil V. Zvelebil, Dravidian Linguistics: An Introduction, Pondicherry 1990, pp. 84-98; Gregory L. Possehl, Indus Age. The Writing System, Philadelphia 1996, reviews all recent attempts of decipherment.] Aberrations are also attempts to conclude from Rgvedic expressions like aksara8 [J. van Buitenen, JAOS 79 (1959), pp. 176-187 argues that the meaning "syllable" is the primary meaning of the word, the others secondary, possibly by etymological reanalysis.] "immovable, imperishable, syllable, and (very much later) syllabic letter" that script was known to the authors of the Rgvedic hymns.9 [Radha Kumud Mookerji, Ancient Indian Education, 3rd ed. Delhi 1960, pp. 227f.]
 
For a century the prevailing view, among Western scholars at least, was based on the studies of Albrecht Weber and Georg Buhler, who noticed the strong similarity of several letters of Asokan Brahmi with letters in Phoenician and old Aramaic inscriptions, notably on the stone of Mesa dated in the eighth century B.C.10 [Albrecht Weber. ZDMG 31 (1877), pp. 598-612 and Georg Buhler, On the Origin of the Indian Brahma Alphabet, 2nd ed. Strassburg 1898, pp. 55f. and Plate 1.] Buhler assumed therefore that the Brahmi script was borrowed from the old Aramaic script sometime in the eighth century (or at least based on it), probably for commercial purposes; it was only emperor Asoka who used it for his monumental stone inscriptions and thus left us the earliest proof of Indian writing.11 [There is also a coin from Eran containing four letters and often dated at 350 B.C.; but the date is not at all certain.] The fatal flaw12 [Another flaw is the fact that there is a credible likeness only between a few of the Aramaic and Brahmi letters, and that Buhler resorts for the remainder to rather fanciful distortions. But most of those who cannot accept that the Vedic tradition was oral continue to rely on his theories -- or on the even more fanciful derivation of the Brahmi script from the script of the Indus Valley Civilization.] of this theory is the exact phonemic character of the Brahmi script which assigns one and only one letter to each phoneme of the Sanskrit language (or Middle Indic, in the case of Asoka). This would be a dramatic improvement over the Aramaic script that leaves vowels usually unmarked and has no devices to mark the Indian aspirate stops, whereas the Brahmi script matches the phonemic analysis which had been perfected in the Vedic schools in their effort to preserve the exact pronunciation of the Vedic hymns -- but these Vedic schools had no use for a script! Why would then, as the theory goes, Indian merchants modify the Aramaic script so as to conform to the phonetic theory of the Veda reciters?
 
In a daring approach, J.Bronkhorst13 [J.Bronkhorst, IIJ24 (1982), pp. 181-189.] has recently argued that the padapatha of the Rgveda (a form of recitation in which each stanza is broken up into its individual words) was perhaps a clumsy attempt (in the eighth or seventh century B.C.) to write the Rgveda text down. But he has to assume that Indians soon afterwards changed their mind about such use of writing, while they added several more distorted forms of recitation: e.g., the kramapatha14 [G.V. Devasthali, ABORI 58/59, Diamond Jubilee Volume (1978), pp. 573-582.] that "steps" as it were haltingly through a stanza -- all mnemotechnic devices to insure the integrity of the original text. It appears also that the Brahmi script was created for a language that had lost the old vocalic r and l sounds, since the post-Asokan letters for these sounds are derivatives of the letter a with attached hooks; the same may be true for the letters for ai and au that are derived from the letters for e and o with additional strokes.15 [Richard Salomon, Indian Epigraphy, New York 1998, p. 30.] If the Brahmi alphabet had been created for writing Vedic texts (for whom these additional letters are needed), we would have to assume a break in tradition, causing the loss of the original letters for r, 1, ai, and au and a later reinventing of these letters.16 [The incidence of these vowels in initial position is not high, and thus the first attestations in Sanskrit inscriptions and manuscripts are rather late: G. Buhler, Indische Palaeographie, Strassburg 1896, Tafeln 4-6 and On the Origin of the Indian Brahma Alphabet, Strassburg 1898, pp. 34f.; R. Salomon, Indian Epigraphy, pp. 30, 34.]
 
Some recent publications,17 [Gerard Fussman, Annuaire du College de France 1988-89: Resume des cours et travaux, pp.507-514; Oskar von Hinuber, Der Beginn der Schrift und fruhe Schriftlichkeit in Indien, AAWL, Mainz 1989 nr.1 1; Harry Falk, Die Schrift im alien Indien; R. Salomon, JAOS 115 (1995), pp. 271-279 and Indian Epigraphy.] on the other hand, stress that Megasthenes, Seleucus' envoy to the court of Candragupta in Pataliputra [rather, Sandrocottus in Palibothra] around 300 B.C. claims that writing was unknown in India and that, e.g., all legal business was dealt with on the basis of oral evidence and orally preserved rules. Megasthenes was an educated Greek who should have been able to recognize Indian writing if he saw it. According to this view, the Brahmi script was an Indian invention, probably commissioned by King Asoka,18 [S.R. Goyal, in The Origin of Brahmi Script (edd. S.P. Gupta and K.S. Ramachandran), Delhi 1979, pp. 1-53. Similarly, the Persian cuneiform script is now widely considered an invention made at the behest of Cyrus or, more probably, Darius: M. Mayrhofer, BSOAS 42 (1979), pp. 290-296 and KZ 102 (1989), pp. 174-186.] and carried out by brahmin scholars brought up in the tradition of Vedic phonetics who applied their knowledge to creating a script for a Middle Indic idiom. Of course the idea of writing was known through long established contacts with the empire of the Achaemenids and later the Greek successors of Alexander the Great. A word for script was probably already known to Panini (sixth century B.C.?), but it was borrowed from Iranian (lipi/libi from Iranian dipi, in turn derived from Sumerian dup).19 [Panini III 2 21 teaches the formation of the words lipikara/libikara "scribe (?)" which could be an Iranian rather than an Indian formation originally; von Hinuber, ibid., p. 58 considers the possibility that lipi could refer to something like painting rather than writing. AitA V 3,3 prohibits the study of the mahavrata after several polluting activities, including ullikhya and avalikhya which A.B. Keith, The Aitareya Aranyaka, Oxford 1909 repr. 1969, pp. 301f. translated as "had...written, or obliterated writing." The date of that text is not certain, nor is the reference to writing.] The Kharosti script, closely linked to the later Aramaic script, was widely used in the provinces of the Indian Northwest, presumably under the influence of the Achaemenid overlords who used Aramaic as the administrative lingua franca for their empire. Oddly enough, no Aramaic inscriptions or any other written documents have been found so far from the whole easternmost part of their empire -- except after the demise of the empire. The first Kharosti inscriptions we have are those of Asoka, and the tradition of this script continued in the extreme Northwest into the fourth century A.D.
 
Buhler's theory must assume that the more adequate Brahmi script (which differentiated between short and long vowels) was superseded in the Northwest by the less adequate Kharosti script (which did not differentiate between short and long vowels) under the influence of the Iranian overlords and their Aramaic writing20 [But that has not happened in other provinces of the Persian empire where Egyptian hieroglyphics, Babylonian cuneiform script, and Greek alphabetic scripts were in use -- and continued to be used.
We must also consider that the scribes in the service of the empire were probably ethnic Arameans who protected their art and privilege as long as the empire lasted; Falk, Die Schrift, pp. 103f. assumes therefore that locals with a superficial knowledge of the Aramaic system developed the Kharosti after the empire collapsed (doubted by R. Salomon, JAOS 115 [1995], p. 276).] -- and that this imposed script remained in use long after their departure. It is more likely that the Kharosti script was the earlier attempt to write an Indian dialect and was in time replaced by the superior Brahmi developed in Magadha. The Brahmi script is a phonemically correct representation of Prakrit21 [That includes the letter for /n/ which is an oddity in a description of Sanskrit, because it is a predictable allophone of /n/.] that abandoned the graphic reliance of the vowel onset (aleph) in its notation of initial vowels, a major improvement on the Kharosti alphabet.22 [H. Scharfe, forthcoming in JAOS.] This analysis precludes, however, any attempt, such as Buhler's, to directly derive the Brahmi from a much older North Semitic alphabet.
 
The best evidence today is that no script was used or even known in India before 300 B.C., except in the extreme Northwest that was under Persian domination. That is in complete accord with the Indian tradition which at every occasion stresses the orality of the cultural and literary heritage. Whereas the biblical tradition has statements like this: "as it is written in the book of prophecies of Isaiah,"23 [Gospel of St. Luke 3:4 with reference to Isaiah 40:3-5; also Matthew 19:4f. "Have you read 'that in the beginning the Creator made them male and female' and he added, That is why a man leaves his father and mother and is united to his wife and the two become one flesh'" referring to Genesis 1:27 and 2:24.] Indian texts stress that "Thus it is heard in the Svetasvatara-upanisad:..."24 [Sarva-darsana-sangraha ed. Vasudev Shastri Abhyankar, 3rd ed., Poona 1978, chapter XIV p. 327: tatha ca Svetasvataropanisadi sruyate:...] There were no books; the common Indian work for "book" (pusta[ka]) is found not before the early centuries A.D. and is probably a loanword from Persian (post),25 [H. Falk, Schrift, pp. 305f.] and grantha denoted originally only "knot, nexus, text" acquiring the meaning "manuscript" much later.
 
The older Indian literature (including some texts as late as the early centuries A.D.) belongs to one of two classes: sruti "hearing" and smrti "remembering." It behooves us to pay attention to this distinction made by the Indians themselves early on. This use of sruti is first found in AitB VII 9, and ManavaSS 182.4, that of smrti in LatyS S VI 1.6,13 and TaitAr I 2,1 in a late period of canon formation in the eastern Ganges valley.26 [M.Witzel, in: Inside the Texts, Beyond the Texts, ed. M. Witzel, Cambridge / Mass., 1997, pp. 328f.]
 
It is condescending and dangerous to deny Indians their own vision and immediately apply our own schemes, something that historians are fond of doing: note the now debunked "village community" of Sir Henry Maine27 [Louis Dumont, Contributions to Indian Sociology 9 (1966), pp. 82-89.] or Burton Stein's "segmental state." It is preferable to move in two stages: first describe the Indian point of view (be it of the state, ayurveda, or textual traditions), then view the material and the Indian concept from our viewpoint or from a more comprehensive, universalistic position.
 
Sruti, the more authoritative (and, on the whole, older and more carefully preserved)28 ["Vedic schools did not regard as unalterable the texts of formulas which were foreign to their own samhita": J. Gonda, The Ritual Sutras, Wiesbaden 1977, p. 565 with references to V.M. Apte, NIA 3 (1940/41), p. 49 and P.K. Narayana Pillai, Non-rgvedic Mantras in the Marriage Ceremonies, Trivandrum 1958, pp. 44, 202.] class consists of the Vedic hymns29 [It is a curious feature of A. Lord's definition of "oral poetry" that the tightly structured Vedic hymns are excluded because there are no improvised variations by the performers: Albert Lord, The Singer of Tales, Cambridge/Mass. 2nd ed. 1964, p. 280: "could not be oral in any except the most literal sense."] and mantras as well as the theological and philosophical speculations of the Brahmanas and Upanisads which are considered timeless revealed truths, something ordinary men can never hope to perceive themselves but can "hear" through the endless chain of oral tradition.30 [VasDhS VI 43 speaks of the paramparya-gato vedah "The Veda that has come down in a chain of tradition." The Greek historian Thucydides writes in his History of the Peloponnesian War I 4 [x] "Minos, the oldest of those we know from tradition (lit. hearing)."] The original revelation of sruti, though, is often said to be by "seeing,"31 [I would disagree, therefore, with M. Witzel, Inside the Texts, p. 329 "heard by Rsis (sruti)." In Buddhism, sravaka "hearer" may, at least according to some sources, have denoted those followers (monks and lay people alike) who had heard Buddha's message in person: Peter Masefield, Divine Revelation in Pali Buddhism, Colombo/ London 1986, esp. pp. 142f.] but there was also a subtle distinction: in RV VIII 59,6 the seer "saw" through tapas the origins (tapasdbhyapasyam), in TS V 3,5,4 the seers "saw" the meters with tapas (tani tapasdpasyari)32 [AitB VI 34; VII 17; SB I 5,3,3; XIII 2,2,14 (Brhaduktha "saw" not the verses but their application as apri-verses): Hermann Oldenberg, Vorwissenschaftliche Wissenschaft -- Die Weltanschauung der Brahmana-Texte, Gottingen 1919. pp. 222f.] -- but the claim that they "saw" the hymns came only later.33 [Nirukta II 11 stotran dadarsa; VII 3 evam...rsinam mantra-drstayo bhavanti. Panini IV 2 7 drstam sama teaches the formation of names for melodies named after the men who "saw" them.] The contrast in the Sunahsepa story is striking: after Sunahsepa praised several gods with hymns,34 [These hymns are found in the Rgveda and were presumably composed by Sunahsepa on the spot (AB VII 16).] he "saw" an abbreviated pressing ritual35 [AitB VII 17.] that took care of the changed situation when the sacrificial animal, i.e., Sunahsepa himself, was no longer available. The Vedic rsis (whom we call "seers"), in the standard doctrine championed by the Mimamsa, "saw" the eternally existing Vedic hymns and ritual procedures36 [Mahabharata XVIII 5,33 claims that Vyasa "saw" the epic with his divine eye (divyena caksusa), apparently a later development that claimed the Mahabharata as the fifth Veda -- just as later also the Bharatiya Natyasastra claimed to be the fifth Veda: Natyasastra ed. Manomohan Ghosh, Calcutta 1967, I 15ff. These developments are necessarily later than the recognition of the Atharvaveda as the fourth Veda.] -- not with their physical eyes it seems but with a special vision. This view which has become the established dogma of orthodox Hinduism37 [This assertion—that the Veda is apauruseya "not based on humans"—may have been a response to Buddhist arguments that no work involving human agency can give us the assurance of absolute truth: K.N. Jayatilleke, Early Buddhist Theory of Knowledge, London 1963, pp. 191f. and Francis Clooney, Thinking Ritually, Wien 1990, p. 215.] is at variance with the statements of the Vedic poets themselves who say in their hymns that they skillfully created these new songs just as a carpenter builds a chariot,38 [RV V 2,11 tam te stomam...ratham na dhirah...ataksam.] with the help of divine inspiration.39 [dhi RV I 129, 2; IX 100,3 and often; cf. R.N. Dandekar, Der vedische Mensch, Heidelberg 1938, pp. 65f. and Jan Gonda, The Vision of the Vedic Poets, The Hague 1963.] It was perhaps this divinely inspired creativity that elevated the rsi, the brahman (or in the Skandinavian tradition a gifted skald) to such height that he was considered inviolate.40 [Cf. the Vedic stories of Sunahsepa (AitB VII 13-18 and SSS XV 17-20) and Nrmedha (JB 1171) and the Islandic Egils saga Skallagrimssonar, ed. F. Jonsson, 2nd ed., Halle 1924, ch.59-61 and App. A.; H. Scharfe, The State in Indian Tradition, pp. 106f.] The contrast to sruti is not a book but the equally oral tradition of smrti; Monier-Williams is wrong to refer to smrti as "what is only remembered and handed down in writing";41 [A Sanskrit-English Dictionary, Oxford 1899, p. 1101 under sruti.] there is indeed no prohibition of writing smrti-texts down and manuscripts of them abound, but they are no less products of an oral tradition.
 
Smrti comprises the epics and various manuals of correct behavior (grhya-sutra-s and dharma-sutra-s), also many later legal texts and the Puranas, attributed to revered but nevertheless human authors; they are often said to be based on sruti,42 [This is implied in Mimamsa-sutra I 3,3 and made explicit in Sabara-bhasya ed. K. V. Abhyankar, Pune 1970, p. 77. ApDhS I 4 8 srutir hi ballyasy anumanikad acarat "For heard revelation is stronger than an inferential custom" and 112,10 brahmanokta vidhayas; tesam utsannah pathah proyogad anumlyante "The precepts were taught in the Brahmanas; the lost recitations are inferred from usage" show a similar attitude, though the word smrti is not used.] but lack the rigidity and textual faithfulness of that tradition. The reciter of a revealed Vedic text that he had "heard" had no right to make even the slightest changes, but those who recite old "remembrances" were more free to follow their individual style. In the classical Mimamsa doctrine the sruti is "heard" and thus directly perceived during instruction (pratyaksa),43 [Learned brahmins who have memorized the Veda and pass their knowledge on to students are therefore called sruti-pratyaksa-hetavah "causes for the direct perception of sruti" in Manu XII 109 and VasDhS VI 43. Cf. S. Pollock, in: S. Lienhard and I. Piovano (edd.), Lex et Litterae (Fs.O.Botto), Torino 1997, pp. 395-417.] whereas the smrti is based on men's remembrance or inference of doctrines "heard," but not preserved in their exact wording. Both are part of the oral tradition, both are ultimately based on revelation, and there was later a tendency to downplay their distinction,

-- Education in Ancient India, by Hartmut Scharfe, 2002

Furthermore, there is no accepted decipherment of the Indus script, which makes theories based on claimed decipherments tenuous. A promising possible link between the Indus script and later writing traditions may be in the megalithic graffiti symbols of the South Indian megalithic culture, which may have some overlap with the Indus symbol inventory and persisted in use up at least through the appearance of the Brahmi and Tamil Brahmi scripts up into the third century CE. These graffiti usually appear singly, though on occasion may be found in groups of two or three, and are thought to have been family, clan, or religious symbols.[93] In 1935, C.L. Fábri proposed that symbols found on Mauryan punch-marked coins were remnants of the Indus script that had survived the collapse of the Indus civilization.[94] Iravatham Mahadevan, decipherer of Tamil-Brahmi and a noted expert on the Indus script, has supported the idea that both those semiotic traditions may have some continuity with the Indus script, but regarding the idea of continuity with Brahmi, he has categorically stated that he does not believe that theory "at all".[92]

Another form of the indigenous origin theory is that Brahmi was invented ex nihilo, entirely independently from either Semitic models or the Indus script, though Salomon found these theories to be wholly speculative in nature.[95]

Foreign origination

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The word Lipī ([x]) used by Ashoka to describe his "Edicts". Brahmi script (Li=[x] La+[x]i; pī=[x]Pa+[x]ii). The word would be of Old Persian origin ("Dipi").

Main article: Lipi (script)

Pāṇini (6th to 4th century BCE) mentions lipi, the Indian word for writing scripts in his definitive work on Sanskrit grammar, the Ashtadhyayi. According to Scharfe, the words lipi and libi are borrowed from the Old Persian dipi, in turn derived from Sumerian dup.[65][96] To describe his own Edicts, Ashoka used the word Lipī, now generally simply translated as "writing" or "inscription". It is thought the word "lipi", which is also orthographed "dipi" in the two Kharosthi-version of the rock edicts,[note 3] comes from an Old Persian prototype dipî also meaning "inscription", which is used for example by Darius I in his Behistun inscription,[note 4] suggesting borrowing and diffusion.[97][98][99]

Scharfe adds that the best evidence, is that no script was used or ever known in India, aside from the Persian-dominated Northwest where Aramaic was used, before around 300 BCE because Indian tradition "at every occasion stresses the orality of the cultural and literary heritage",[65] yet Scharfe in the same book admits that "a script has been discovered in the excavations of the Indus Valley Civilization that flourished in the Indus valley and adjacent areas in the third millennium B.C. The number of different signs suggest a syllabic script, but all attempts at decipherment have been unsuccessful so far. Attempts by some Indian scholars to connect this undeciphered script with the Indian scripts in vogue from the third century B.C. onward are total failures."[100]

Megasthenes' observations

Megasthenes, a Greek ambassador to the Mauryan court in Northeastern India only a quarter century before Ashoka, noted "… and this among a people who have no written laws, who are ignorant even of writing, and regulate everything by memory."[101] This has been variously and contentiously interpreted by many authors. Ludo Rocher almost entirely dismisses Megasthenes as unreliable, questioning the wording used by Megasthenes' informant and Megasthenes' interpretation of them.[102] Timmer considers it to reflect a misunderstanding that the Mauryans were illiterate "based upon the fact that Megasthenes rightly observed that the laws were unwritten and that oral tradition played such an important part in India."[103]

Some proponents of the indigenous origin theories[who?] question the reliability and interpretation of comments made by Megasthenes (as quoted by Strabo in the Geographica XV.i.53). For one, the observation may only apply in the context of the kingdom of "Sandrakottos" (Chandragupta [no, Sandrocottus!!!]). Elsewhere in Strabo (Strab. XV.i.39), Megasthenes is said to have noted that it was a regular custom in India for the "philosopher" caste (presumably Brahmins) to submit "anything useful which they have committed to writing" to kings,[104] but this detail does not appear in parallel extracts of Megasthenes found in Arrian and Diodorus Siculus.[105][106] The implication of writing per se is also not totally clear in the original Greek as the term "[x]" (source of the English word "syntax") can be read as a generic "composition" or "arrangement", rather than a written composition in particular. Nearchus, a contemporary of Megasthenes, noted, a few decades prior, the use of cotton fabric for writing in Northern India. Indologists have variously speculated that this might have been Kharoṣṭhī or the Aramaic alphabet. Salomon regards the evidence from Greek sources to be inconclusive.[107] Strabo himself notes this inconsistency regarding reports on the use of writing in India (XV.i.67).

Debate on time depth

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Connections between Phoenician (4th column) and Brahmi (5th column). Note that 6th-to-4th-century BCE Aramaic (not shown) is in many cases intermediate in form between the two.

Kenneth Norman (2005) suggests that Brahmi was devised over a longer period of time predating Ashoka's rule:[108]

"Support for this idea of pre-Ashokan development has been given very recently by the discovery of sherds at Anuradhapura in Sri Lanka, inscribed with small numbers of characters which seem to be Brāhmī. These sherds have been dated, by both Carbon 14 and Thermo-luminescence dating, to pre-Ashokan times, perhaps as much as much as two centuries before Ashoka."[109]


He also notes that the variations seen in the Asokan edicts would be unlikely to have emerged so quickly if Brahmi had a single origin in the chancelleries of the Mauryan Empire.[110] He suggests a date of not later than the end of the 4th Century for the development of Brahmi script in the form represented in the inscriptions, with earlier possible antecedents.[110]

Jack Goody (1987) had similarly suggested that ancient India likely had a "very old culture of writing" along with its oral tradition of composing and transmitting knowledge, because the Vedic literature is too vast, consistent and complex to have been entirely created, memorized, accurately preserved and spread without a written system.[???][111][112]

Opinions on this point, the possibility that there may not have been any writing scripts including Brahmi during the Vedic age, given the quantity and quality of the Vedic literature, are divided. While Falk (1993) disagrees with Goody,[113] while Walter Ong and John Hartley (2012) concur,[114] not so much based on the difficulty of orally preserving the Vedic hymns, but on the basis that it is highly unlikely that Panini's grammar was composed. Johannes Bronkhorst (2002) takes the intermediate position that the oral transmission of the Vedic hymns may well have been achieved orally, but that the development of Panini's grammar presupposes writing (consistent with a development of Indian writing in c. the 4th century BCE).[67]
It is generally well known also that the Hindu science, after a however long history of elaboration, became fixed for all future time in the system of a single grammarian, named Panini (believed, though on grounds far from convincing, to have lived two or three centuries before the Christian era). Panini's work has been commented without end, corrected in minor points, condensed, re-cast in arrangement, but never rebelled against or superseded; and it is still the authoritative standard of good Sanskrit. Its form of presentation is of the strangest: a miracle of ingenuity, but of perverse and wasted ingenuity. The only object aimed at in it is brevity, at the sacrifice of everything else — of order, of clearness, of even intelligibility except by the aid of keys and commentaries and lists of words, which then are furnished in profusion. To determine a grammatical point out of it is something like constructing a passage of text out of an index verborum [An index of words.]: if you are sure that you have gathered up every word that belongs in the passage, and have put them all in the right order, you have got the right reading; but only then. If you have mastered Panini sufficiently to bring to bear upon the given point every rule that relates to it, and in due succession, you have settled the case; but that is no easy task. For example, it takes nine mutually limitative rules, from all parts of the text-book, to determine whether a certain aorist shall be ajgarisam or ajagarisam (the case is reported in the preface to Muller's grammar): there is lacking only a tenth rule, to tell us that the whole word is a false and never-used formation. Since there is nothing to show how far the application of a rule reaches, there are provided treatises of laws of interpretation to be applied to them; but there is a residual rule underlying and determining the whole: that both the grammar and the laws of interpretation must be so construed as to yield good and acceptable forms, and not otherwise — and this implies (if that were needed) a condemnation of the whole mode of presentation of the system as a failure.

Theoretically, all that is prescribed and allowed by Panini and his accepted commentators is Sanskrit, and nothing else is entitled to the name. The young pandit, then, is expected to master the system and to govern his Sanskrit speech and writing by it. This he does, with immense pains and labor, then naturally valuing the acquisition in part according to what it has cost him. The same course was followed by those European scholars who had to make themselves the pupils of Hindu teachers, in acquiring Sanskrit for the benefit of Europe; and (as was said above) they did so to their very great advantage. Equally as a matter of course, the same must still be done by any one who studies in India, who has to deal with the native scholars, win their confidence and respect, and gain their aid: they must be met upon their own ground. But it is a question, and one of no slight practical importance, how far Western scholars in general are to be held to this method: whether Panini is for us also the law of Sanskrit usage; whether we are to study the native Hindu grammar in order to learn Sanskrit.

There would be less reason for asking this question, if the native grammar were really the instrumentality by which the conserving tradition of the old language had been carried on. But that is a thing both in itself impossible and proved by the facts of the case to be untrue. No one ever mastered a list of roots with rules for their extension and inflection, and then went to work to construct texts upon that basis. Rather, the transmission of Sanskrit has been like the transmission of any highly cultivated language, only with differences of degree. The learner has his models which he imitates; he makes his speech after the example of that of his teacher, only under the constant government of grammatical rule, enforced by the requirement to justify out of the grammar any word or form as to which a question is raised. Thus the language has moved on by its own inertia, only falling, with further removal from its natural vernacular basis, more and more passively and mechanically into the hands of the grammarians.
All this is like the propagation of literary English or German; only that here there is much more of a vernacular usage that shows itself able to override and modify the rules of grammar. It is yet more closely like the propagation of Latin; only that here the imitation of previous usage is frankly acknowledged as the guide, there being no iron system of grammar to assume to take its place. That such has really been the history of the later or classical Sanskrit is sufficiently shown by the facts. There is no absolute coincidence between it and the language which Panini teaches. The former, indeed, includes little that the grammarians forbid; but, on the other hand, it lacks a great deal that they allow or prescribe. The difference between the two is so great that Benfey, a scholar deeply versed in the Hindu science, calls it a grammar without a corresponding language, as he calls the pre-classical dialects a language without a grammar.1 [Einleitung in die Grammatik der vedischen Sprache, 1874, pp. 3, 4.] If such a statement can be made with any reason, it would appear that there is to be assumed, as the subject of Hindu grammatical science, a peculiar dialect of Sanskrit, which we may call the grammarians' Sanskrit, different both from the pre-classical dialects and from the classical, and standing either between them or beside them in the general history of Indian language. And it becomes a matter of importance to us to ascertain what this grammarians' Sanskrit is, how it stands related to the other varieties of Sanskrit, and whether it is entitled to be the leading object of our Sanskrit study. Such questions must be settled by a comparison of the dialect referred to with the other dialects, and of them with one another. And it will be found, upon such comparison, that the earlier and later forms of the Vedic dialect, the dialects of the Brahmanas and Sutras, and the classical Sanskrit, stand in a filial relation, each to its predecessor, are nearly or quite successive forms of the same language; while the grammarians' Sanskrit, as distinguished from them, is a thing of grammatical rule merely, having never had any real existence as a language, and being on the whole unknown in practice to even the most modern pandits.

-- The Study of Hindu Grammar and the Study of Sanskrit, by William Dwight Whitney

Origin of the name

Several divergent accounts of the origin of the name "Brahmi" (ब्राह्मी) appear in history. Some Buddhist sutras such as the Lalitavistara Sūtra (possibly 4th century CE), list Brāhmī and Kharoṣṭī as some of the sixty-four scripts the Buddha knew as a child.[115] Several Sutras of Jainism such as the Vyakhya Pragyapti Sutra, the Samvayanga Sutra and the Pragyapna Sutra of the Jain Agamas include a list of 18 writing scripts known to teachers before the Mahavira was born, the first one being Bambhi (बाम्भी) in the original Prakrit, which has been interpreted as "Bramhi".[115] The Brahmi script is missing from the 18 script list in the surviving versions of two later Jaina Sutras, namely the Vishesha Avashyaka and the Kalpa Sutra. Jain legend recounts that 18 writing scripts were taught by their first Tirthankara Rishabhanatha to his daughter Bambhi (बाम्भी), she emphasized बाम्भी as the main script as she taught others, and therefore the name Brahmi for the script comes after her name.[116] There is no early epigraphic proof for the expression "Brahmi script". Ashoka himself when he created the first known inscriptions in the new script in the 3rd century BCE, used the expression Dhaṃma Lipi (Prakrit in the Brahmi script: [x], "Inscriptions of the Dharma") but this is not to describe the script of his own Edicts.[/size][/b][117]

A Chinese Buddhist account of the 6th century CE attributes its creation to the god Brahma, though Monier Monier-Williams, Sylvain Lévi and others thought it was more likely to have been given the name because it was moulded by the Brahmins.[118][119]

The term Brahmi (बाम्भी in original) appears in Indian texts in different contexts. According to the rules of the Sanskrit language, it is a feminine word which literally means "of Brahma" or "the female energy of the Brahman".[120] In other texts such as the Mahabharata, it appears in the sense of a goddess, particularly for Saraswati as the goddess of speech and elsewhere as "personified Shakti (energy) of Brahma".[121]

History

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The Prakrit word "Dha-ṃ-ma" (Dharma) in the Brahmi script, as inscribed by Ashoka in his Edicts. Topra Kalan pillar, now in New Delhi (3rd century BCE).

The earliest known full inscriptions of Brahmi are in Prakrit, dated to be from the 3rd to 1st centuries BCE, particularly the Edicts of Ashoka, c. 250 BCE.[122] Prakrit records predominate the epigraphic records discovered in the Indian subcontinent through about the 1st century CE.[122] The earliest known Brahmi inscriptions in Sanskrit are from the 1st century BCE, such as the few discovered in Ayodhya, Ghosundi and Hathibada (both near Chittorgarh).[???][123][note 5]

Sanskrit is not attested in any inscriptions or manuscripts until the Common Era or at most a few decades before it.66 [Bronkhorst (2011: 46, 50), who cites Salomon (1998:86) on the existence of four inscriptions ascribed by some, including Salomon, to the first century BC; otherwise the earliest inscriptions in Sanskrit are from Mathura in the first and second centuries AD (Salomon 1998: 87).]

-- Appendix C: On The Early Indian Inscriptions, Excerpt from Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith

Ancient inscriptions have also been discovered in many North and Central Indian sites, occasionally in South India as well, that are in hybrid Sanskrit-Prakrit language called "Epigraphical Hybrid Sanskrit".[note 6] These are dated by modern techniques to between the 1st and 4th centuries CE.[126][127] Surviving ancient records of the Brahmi script are found as engravings on pillars, temple walls, metal plates, terracotta, coins, crystals and manuscripts.[128][ Salomon 1998, pp. 122–123, 129–131, 262–307. Salomon, Richard (1998). Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan Languages. Oxford University Press. ISBN 978-0-19-535666-3.] [127] [Salomon 1996, p. 377. Salomon, Richard (1995). "On the Origin of the Early Indian Scripts". Journal of the American Oriental Society. 115 (2): 271–279. doi:10.2307/604670. JSTOR 604670.]

One of the most important recent developments regarding the origin of Brahmi has been the discovery of Brahmi characters inscribed on fragments of pottery from the trading town of Anuradhapura in Sri Lanka, which have been dated between the sixth to early fourth century BCE.[129] [Salomon 1998, pp. 12–13. Salomon, Richard (1998). Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan Languages. Oxford University Press. ISBN 978-0-19-535666-3.] Coningham et al. in 1996,[130] [Coningham, R.A.E.; Allchin, F.R.; Batt, C.M.; Lucy, D. (22 December 2008). "Passage to India? Anuradhapura and the Early Use of the Brahmi Script". Cambridge Archaeological Journal. 6 (1): 73. doi:10.1017/S0959774300001608. S2CID 161465267.] stated that the script on the Anuradhapura inscriptions is Brahmi, but stated that the language was a Prakrit rather than a Dravidian language. The historical sequence of the specimens was interpreted to indicate an evolution in the level of stylistic refinement over several centuries, and they concluded that the Brahmi script may have arisen out of "mercantile involvement" and that the growth of trade networks in Sri Lanka was correlated with its first appearance in the area.[130] Salomon in his 1998 review states that the Anuradhapura inscriptions support the theory that Brahmi existed in South Asia before the Mauryan times, with studies favoring the 4th century BCE, but some doubts remain whether the inscriptions might be intrusive into the potsherds from a later date.[129] Indologist Harry Falk has argued that the Edicts of Ashoka represent an older stage of Brahmi, whereas certain paleographic features of even the earliest Anuradhapura inscriptions are likely to be later, and so these potsherds may date from after 250 BCE.[131] [ Falk, H. (2014). "Owner's graffiti on pottery from Tissamaharama Archived 2021-11-10 at the Wayback Machine", in Zeitchriftfür Archäeologie Aussereuropäischer Kulturen. 6. pp.45–47.]

More recently in 2013, Rajan and Yatheeskumar published excavations at Porunthal and Kodumanal in Tamil Nadu, where numerous both Tamil-Brahmi and "Prakrit-Brahmi" inscriptions and fragments have been found.[132] [Rajan prefers the term "Prakrit-Brahmi" to distinguish Prakrit-language Brahmi inscriptions.] Their stratigraphic analysis combined with radiocarbon dates of paddy grains and charcoal samples indicated that inscription contexts date to as far back as the 6th and perhaps 7th centuries BCE.[133] [Rajan, K.; Yatheeskumar, V.P. (2013). "New evidences on scientific dates for Brāhmī Script as revealed from Porunthal and Kodumanal Excavations" (PDF). Prāgdhārā. 21–22: 280–295. Archived from the original (PDF) on 13 October 2015. Retrieved 12 January 2016.] As these were published very recently, they have as yet not been commented on extensively in the literature. Indologist Harry Falk has criticized Rajan's claims as "particularly ill-informed"; Falk argues that some of the earliest supposed inscriptions are not Brahmi letters at all, but merely misinterpreted non-linguistic Megalithic graffiti symbols, which were used in South India for several centuries during the pre-literate era.[134] [Falk, H. (2014), p.46, with footnote 2 ]


Megalithic markings, megalithic graffiti marks, megalithic symbols or non-Brahmi symbols are markings found on mostly potsherds found in Central India, South India and Sri Lanka during the Megalithic Iron Age period. A number of scholars have tried to decipher the symbols since 1878, and currently there is no consensus as to whether they constitute undeciphered writing or graffiti or symbols without any syllabic or alphabetic meaning.

-- Megalithic graffiti symbols, by Wikipedia


Decipherment

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Classification of Brahmi characters by James Prinsep in March 1834. The structure of Brahmi (consonantal characters with vocalic "inflections") was properly identified, but the individual values of characters remained undetermined, except for four of the vocalic inflections. Journal of the Asiatic Society of Bengal Volume 3 (March 1834).[135]

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Norwegian scholar Christian Lassen used the bilingual Greek-Brahmi coinage of Indo-Greek king Agathocles to correctly achieve in 1836 the first secure decipherement of several letters of the Brahmi script, which was later completed by James Prinsep.[136][137]

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Consonants of the Brahmi script, and evolution down to modern Devanagari, according to James Prinsep, as published in the Journal of the Asiatic Society of Bengal, in March 1838. All the letters are correctly deciphered, except for two missing on the right: [x](ś) and [x](ṣ).[138] Vowels and compounds here. All scripts derived from Brahmi are gathered under the term "Brahmic scripts".
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Part 3 of 4

Besides a few inscriptions in Greek and Aramaic (which were only discovered in the 20th century), the Edicts of Ashoka were written in the Brahmi script and sometimes in the Kharoshthi script in the northwest, which had both become extinct around the 4th century CE, and were yet undeciphered at the time the Edicts were discovered and investigated in the 19th century.[139][20]

Inscriptions of the 6th century CE in late Brahmi were already deciphered in 1785 by Charles Wilkins, who published an essentially correct translation of the Gopika Cave Inscription written by the Maukhari king Anantavarman.[140] Wilkins seems to have relied essentially on the similarities with later Brahmic scripts, such as the script of the Pala period and early forms of Devanagari.[140]

Early Brahmi however remained unreadable.[140] Progress resumed in 1834 with the publication of proper facsimiles of the inscriptions on the Allahabad pillar of Ashoka, notably containing Edicts of Ashoka as well as inscriptions by the Gupta Empire ruler Samudragupta.[136]

James Prinsep, an archaeologist, philologist, and official of the East India Company, started to analyse the inscriptions and made deductions on the general characteristics of the early Brahmi script essentially relying on statistical methods.[136] This method, published in March 1834, allowed him to classify the characters found in inscriptions, and to clarify the structure of Brahmi as being composed of consonantal characters with vocalic "inflections". He was able to correctly guess four out of five vocalic inflections, but the value of consonants remained unknown.[136] Although this statistical method was modern and innovative, the actual decipherment of the script would have to wait until after the discovery of bilingual inscriptions, a few years later.[141]

The same year, in 1834, some attempts by Rev. J. Stevenson were made to identify intermediate early Brahmi characters from the Karla Caves (circa 1st century CE) based on their similarities with the Gupta script of the Samudragupta inscription of the Allahabad pillar (4th century CE) which had just been published, but this led to a mix of good (about 1/3) and bad guesses, which did not permit proper decipherment of the Brahmi.[142][136]


The next major step towards deciphering the ancient Brahmi script of the 3rd-2nd centuries BCE was made in 1836 by Norwegian scholar Christian Lassen, who used a bilingual Greek-Brahmi coin of Indo-Greek king Agathocles and similarities with the Pali script to correctly and securely identify several Brahmi letters.[20][136][143] The matching legends on the bilingual coins of Agathocles were:

Greek legend: ΒΑΣΙΛΕΩΣ / ΑΓΑΘΟΚΛΕΟΥΣ (Basileōs Agathokleous, "of King Agathocles")
Brahmi legend:[x] (Rajane Agathukleyesa, "King Agathocles").[144]



James Prinsep was then able to complete the decipherment of the Brahmi script.[136][145][20][146] After acknowledging Lassen's first decipherment,[147] Prinsep used a bilingual coin of Indo-Greek king Pantaleon to decipher a few more letters.[143] James Prinsep then analysed a large number of donatory inscriptions on the reliefs in Sanchi, and noted that most of them ended with the same two Brahmi characters: "[x]". Prinsep guessed correctly that they stood for "danam", the Sanskrit word for "gift" or "donation", which permitted to further increase the number of known letters.[136][148] With the help of Ratna Pâla, a Singhalese Pali scholar and linguist, Prinsep then completed the full decipherment of the Brahmi script.[149][150][151][152] In a series of results that he published in March 1838 Prinsep was able to translate the inscriptions on a large number of rock edicts found around India, and provide, according to Richard Salomon, a "virtually perfect" rendering of the full Brahmi alphabet.[153][154]

Southern Brahmi

Ashokan inscriptions are found all over India and a few regional variants have been observed. The Bhattiprolu alphabet, with earliest inscriptions dating from a few decades of Ashoka's reign, is believed to have evolved from a southern variant of the Brahmi alphabet. The language used in these inscriptions, nearly all of which have been found upon Buddhist relics, is exclusively Prakrit, though Kannada and Telugu proper names have been identified in some inscriptions. Twenty-three letters have been identified. The letters ga and sa are similar to Mauryan Brahmi, while bha and da resemble those of modern Kannada and Telugu script.

Tamil-Brahmi is a variant of the Brahmi alphabet that was in use in South India by about 3rd century BCE, particularly in Tamil Nadu and Kerala. Inscriptions attest their use in parts of Sri Lanka in the same period. The language used in around 70 Southern Brahmi inscriptions discovered in the 20th century have been identified as a Prakrit language.[76][77]

In English, the most widely available set of reproductions of Brahmi texts found in Sri Lanka is Epigraphia Zeylanica; in volume 1 (1976), many of the inscriptions are dated from the 3rd to 2nd century BCE.[155]

Unlike the edicts of Ashoka, however, the majority of the inscriptions from this early period in Sri Lanka are found above caves. The language of Sri Lanka Brahmi inscriptions has been mostly been Prakrit though some Tamil-Brahmi inscriptions have also been found, such as the Annaicoddai seal.[156] The earliest widely accepted examples of writing in Brahmi are found in Anuradhapura, Sri Lanka.[130]

Red Sea and Southeast Asia

The Khuan Luk Pat inscription discovered in Thailand is in Tamil Brahmi script. Its date is uncertain and has been proposed to be from the early centuries of the common era.[157][158] According to Frederick Asher, Tamil Brahmi inscriptions on potsherds have been found in Quseir al-Qadim and in Berenike, Egypt which suggest that merchant and trade activity was flourishing in ancient times between India and the Red Sea region.[158] Additional Tamil Brahmi inscription has been found in Khor Rori region of Oman on an archaeological site storage jar.[158]

Characteristics

Brahmi is usually written from left to right, as in the case of its descendants. However, an early coin found in Eran is inscribed with Brahmi running from right to left, as in Aramaic. Several other instances of variation in the writing direction are known, though directional instability is fairly common in ancient writing systems.[159]

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The word 'Brahmi' in modern Brahmi font

Consonants

Brahmi is an abugida, meaning that each letter represents a consonant, while vowels are written with obligatory diacritics called mātrās in Sanskrit, except when the vowels commence a word. When no vowel is written, the vowel /a/ is understood. This "default short a" is a characteristic shared with Kharosthī, though the treatment of vowels differs in other respects.

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Brahmi consonants.

Conjunct consonants

See also: Conjunct consonant

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Some major conjunct consonants in the Brahmi script.

Special conjunct consonants are used to write consonant clusters such as /pr/ or /rv/. In modern Devanagari the components of a conjunct are written left to right when possible (when the first consonant has a vertical stem that can be removed at the right), whereas in Brahmi characters are joined vertically downwards.

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Kya (vertical assembly of consonants "Ka" [x] and "Ya" [x]), as in "Sa-kya-mu-nī " ([x], "Sage of the Shakyas")

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Sva (Sa+Va)

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Sya (Sa+Ya)

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Hmī (Ha+Ma+i+i), as in the word "Brāhmī" ([x]).

Vowels

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Brahmi diacritic vowels.

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The Brahmi symbol for /ka/, modified to represent different vowels

Vowels following a consonant are inherent or written by diacritics, but initial vowels have dedicated letters. There are three "primary" vowels in Ashokan Brahmi, which each occur in length-contrasted forms: /a/, /i/, /u/; long vowels are derived from the letters for short vowels. There are also four "secondary" vowels that do not have the long-short contrast, /e/, /ai/, /o/, /au/.[160] Note though that the grapheme for /ai/ is derivative from /e/ in a way which parallels the short-long contrast of the primary vowels. However, there are only nine distinct vowel diacritics, as short /a/ is understood if no vowel is written. The initial vowel symbol for /au/ is also apparently lacking in the earliest attested phases, even though it has a diacritic. Ancient sources suggest that there were either 11 or 12 vowels enumerated at the beginning of the character list around the Ashokan era, probably adding either aṃ or aḥ.[161] Later versions of Brahmi add vowels for four syllabic liquids, short and long /ṛ/ and /ḷ/. Chinese sources indicate that these were later inventions by either Nagarjuna or Śarvavarman, a minister of King Hāla.[162]

It has been noted that the basic system of vowel marking common to Brahmi and Kharosthī, in which every consonant is understood to be followed by a vowel, was well suited to Prakrit,[163] but as Brahmi was adapted to other languages, a special notation called the virāma was introduced to indicate the omission of the final vowel. Kharoṣṭhī also differs in that the initial vowel representation has a single generic vowel symbol that is differentiated by diacritics, and long vowels are not distinguished.

The collation order of Brahmi is believed to have been the same as most of its descendant scripts, one based on Shiksha, the traditional Vedic theory of Sanskrit phonology. This begins the list of characters with the initial vowels (starting with a), then lists a subset of the consonants in five phonetically-related groups of five called vargas, and ends with four liquids, three sibilants, and a spirant. Thomas Trautmann attributes much of the popularity of the Brahmic script family to this "splendidly reasoned" system of arrangement.[164]

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Punctuation

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A 1st century BCE/CE inscription from Sanchi: "Vedisakehi daṃtakārehi rupakaṃmaṃ kataṃ" ([x], "Ivory workers from Vidisha have done the carving").[165]

Punctuation[166] can be perceived as more of an exception than as a general rule in Asokan Brahmi. For instance, distinct spaces in between the words appear frequently in the pillar edicts but not so much in others. ("Pillar edicts" refers to the texts that are inscribed on the stone pillars oftentimes with the intention of making them public.) The idea of writing each word separately was not consistently used.

In the early Brahmi period, the existence of punctuation marks is not very well shown. Each letter has been written independently with some occasional space between words and longer sections.

In the middle period, the system seems to be developing. The use of a dash and a curved horizontal line is found. A lotus (flower) mark seems to mark the end, and a circular mark appears to indicate the full stop. There seem to be varieties of full stop.

In the late period, the system of interpunctuation marks gets more complicated. For instance, there are four different forms of vertically slanted double dashes that resemble "//" to mark the completion of the composition. Despite all the decorative signs that were available during the late period, the signs remained fairly simple in the inscriptions. One of the possible reasons may be that engraving is restricted while writing is not.

Baums identifies seven different punctuation marks needed for computer representation of Brahmi:[167]
• single ([x]) and double ([x]) vertical bar (danda) – delimiting clauses and verses
• dot (x[), double dot ([x]), and horizontal line (x[) – delimiting shorter textual units
• crescent ([x]) and lotus ([x]) – delimiting larger textual units

Evolution of the Brahmi script

Brahmi is generally classified in three main types, which represent three main historical stages of its evolution over nearly a millennium:[168]
• Early Brahmi or "Ashokan Brahmi" (3rd-1st century BCE)
• Middle Brahmi or "Kushana Brahmi" (1st-3rd centuries CE)
• Late Brahmi or "Gupta Brahmi", also called Gupta script (4th-6th centuries CE)

Evolution of the Brahmi script[169]
Image


Early Brahmi or "Ashokan Brahmi" (3rd–1st century BCE)

Early "Ashokan" Brahmi (3rd–1st century BCE) is regular and geometric, and organized in a very rational fashion:

Independent vowels

Image
Early Brahmi vowel diacritics.

Letter / IAST and Sanskrit IPA / Mātrā / IAST and
Sanskrit IPA / Letter / IAST and Sanskrit IPA / Mātrā / IAST and Sanskrit IPA


Image


Consonants

Image


The final letter does not fit into the table above; it is [x] ḷa.

Unicode and digitization

Main article: Brahmi (Unicode block)

Early Ashokan Brahmi was added to the Unicode Standard in October, 2010 with the release of version 6.0.

The Unicode block for Brahmi is U+11000–U+1107F. It lies within Supplementary Multilingual Plane. As of August 2014 there are two non-commercially available fonts that support Brahmi, namely Noto Sans Brahmi commissioned by Google which covers all the characters,[174] and Adinatha which only covers Tamil Brahmi.[175] Segoe UI Historic, tied in with Windows 10, also features Brahmi glyphs.[176]

The Sanskrit word for Brahmi, ब्राह्मी (IAST Brāhmī) in the Brahmi script should be rendered as follows: [x].

Brahmi[1][2]

Official Unicode Consortium code chart (PDF)


Image

Notes:
1. As of Unicode version 14.0
2. Grey areas indicate non-assigned code points


Some famous inscriptions in the Early Brahmi script

See also: Early Indian epigraphy

The Brahmi script was the medium for some of the most famous inscriptions of ancient India, starting with the Edicts of Ashoka, circa 250 BCE.

Birthplace of the historical Buddha

Main article: Lumbini pillar inscription

In a particularly famous Edict, the Rummindei Edict in Lumbini, Nepal, Ashoka describes his visit in the 21st year of his reign, and designates Lumbini as the birthplace of the Buddha. He also, for the first time in historical records, uses the epithet "Sakyamuni" (Sage of the Shakyas), to describe the Buddha.[177]

Rummindei pillar, inscription of Ashoka (circa 248 BCE)

Translation (English)


When King Devanampriya Priyadarsin had been anointed twenty years, he came himself and worshipped (this spot) because the Buddha Shakyamuni was born here. (He) both caused to be made a stone bearing a horse (?) and caused a stone pillar to be set up, (in order to show) that the Blessed One was born here. (He) made the village of Lummini free of taxes, and paying (only) an eighth share (of the produce).

— The Rummindei Edict, one of the Minor Pillar Edicts of Ashoka.[177]


As for other well-known but evidently spurious "Asokan" inscriptions, note that the "Minor Pillar Inscription" at Lumbini not only mentions "Buddha" (as does, otherwise uniquely, the Calcutta-Bairat Inscription), it explicitly calls him Sakyamuni 'the Sage of the Scythians (Sakas)',64 [The Lumbini Inscription, line 3, has Budhe jate Sakyamuni ti "the Buddha Sakyamuni was born here" (Hultzsch 1925: 164).] who it says was born in Lumbini.65 [See the discussion of this and other related issues in Phelps (2008).] The use of the Sanskrit form of his epithet, Sakyamuni, rather than the Prakrit form, Sakamuni, is astounding and otherwise unattested until the late Gandhari documents; that fact alone rules out ascription to such an early period. But it is doubly astounding because this Sanskritism occurs in a text otherwise written completely in Mauryan Prakrit and Brahmi script. What is a Sanskrit form doing there? Sanskrit is not attested in any inscriptions or manuscripts until the Common Era or at most a few decades before it.66 [Bronkhorst (2011: 46, 50), who cites Salomon (1998:86) on the existence of four inscriptions ascribed by some, including Salomon, to the first century BC; otherwise the earliest inscriptions in Sanskrit are from Mathura in the first and second centuries AD (Salomon 1998: 87).]

-- Appendix C: On The Early Indian Inscriptions, Excerpt from Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith


Transliteration (original Brahmi script)

Transliteration is the process of transferring a word from the alphabet of one language to another. ... Unlike a translation, which tells you the meaning of a word that's written in another language, a transliteration only gives you an idea of how the word is pronounced, by putting it in a familiar alphabet.

-- Transliteration, by vocabulary.com


[x]
Devānaṃpiyena Piyadasina lājina vīsati-vasābhisitena
[x]
atana āgāca mahīyite hida Budhe jāte Sakyamuni ti
[x]
silā vigaḍabhī cā kālāpita silā-thabhe ca usapāpite
[x]
hida Bhagavaṃ jāte ti Luṃmini-gāme ubalike kaṭe
[x]
aṭha-bhāgiye ca

— Adapted from transliteration by E. Hultzsch,[177]


Inscription (Prakrit in the Brahmi script)

Image
The Rummindei pillar edict in Lumbini.

Heliodorus Pillar inscription

The Heliodorus pillar is a stone column that was erected around 113 BCE in central India[178] in Vidisha near modern Besnagar, by Heliodorus, an ambassador of the Indo-Greek king Antialcidas in Taxila[179] to the court of the Shunga king Bhagabhadra. Historically, it is one of the earliest known inscriptions related to the Vaishnavism in India.[180][181][182]

Heliodorus pillar inscription (circa 113 BCE)

Translation (English)


This Garuda-standard of Vāsudeva, the God of Gods
was erected here by the devotee Heliodoros,
the son of Dion, a man of Taxila,
sent by the Great Yona King Antialkidas, as ambassador
to King Kasiputra Bhagabhadra,
the Savior son of the princess from Varanasi,
in the fourteenth year of his reign. [183]

Three immortal precepts (footsteps)... when practiced
lead to heaven: self-restraint, charity, consciousness


Transliteration (original Brahmi script)

[x]
Devadevasa Vā[sude]vasa Garuḍadhvaje ayaṃ
[x]
karito i[a] Heliodoreṇa bhāga-
[x]
vatena Diyasa putreṇa Takhkhasilākena
[x]
Yonadatena agatena mahārājasa
[x]
Aṃtalikitasa upa[ṃ]tā samkāsam-raño
[x]
Kāsīput[r]asa [Bh]āgabhadrasa trātārasa
[x]
vasena [catu]daseṃna rājena vadhamānasa
[x]
Trini amuta[x]pādāni (i me) (su)anuthitāni
[x]
neyamti sva(gam) dama cāga apramāda

— Adapted from transliterations by E. J. Rapson,[184] Sukthankar,[185] Richard Salomon,[186] and Shane Wallace.[179]


[b]Inscription (Prakrit in the Brahmi script)[179]


Image
Heliodorus pillar rubbing (inverted colors). The text is in the Brahmi script of the Sunga period.[186] For a recent photograph.

Middle Brahmi or "Kushana Brahmi" (1st–3rd centuries CE)

Middle Brahmi or "Kushana Brahmi" was in use from the 1st-3rd centuries CE. It is more rounded than its predecessor, and introduces some significant variations in shapes. Several characters ([x]and [x]), classified as vowels, were added during the "Middle Brahmi" period between the 1st and 3rd centuries CE, in order to accommodate the transcription of Sanskrit:[187][188]

Independent vowels

Image
Middle Brahmi vowel diacritics

Letter / IAST and Sanskrit IPA / Letter / IAST and Sanskrit IPA

Image


Consonants

Image


Examples

Image
Early/Middle Brahmi legend on the coinage of Chastana: RAJNO MAHAKSHATRAPASA GHSAMOTIKAPUTRASA CHASHTANASA "Of the Rajah, the Great Satrap, son of Ghsamotika, Chashtana". 1st–2nd century CE.[189]

Image
Inscribed Kushan statue of Western Satraps King Chastana, with inscription "Shastana" in Middle Brahmi script of the Kushan period ([x] Sa-sta-na).[190]
Here, sta [x] is the conjunct consonant of sa [x] and ta [x], vertically combined. Circa 100 CE.


Image
The rulers of the Western Satraps were called Mahākhatapa ("Great Satrap") in their Brahmi script inscriptions, as here in a dedicatory inscription by Prime Minister Ayama in the name of his ruler Nahapana, Manmodi Caves, circa 100 CE.[191]

Image
Nasik Cave inscription No.10. of Nahapana, Cave No.10.

Late Brahmi or "Gupta Brahmi" (4th–6th centuries CE)

Main article: Gupta script

See also: Gupta Empire

Independent vowels

Late Brahmi vowel diacritics

Image
Gupta script vowel diacritics (Allahabad standard).[192][193]

Image
Usage examples.[192][193]

Letter / IAST and Sanskrit IPA / Letter / IAST and Sanskrit IPA

Image


Consonants

Image


Examples

Image
Gupta script on stone Kanheri Caves, one of the earliest descendants of Brahmi

Image
The Gopika Cave Inscription of Anantavarman, in the Sanskrit language and using the Gupta script. Barabar Caves, Bihar, or 6th century CE.

Image
Coin of Alchon Huns ruler Mihirakula. Obv: Bust of king, with legend in Gupta script ([x],[194] (Ja)yatu Mihirakula ("Let there be victory to Mihirakula").[195][196][197]

Image
Sanchi inscription of Chandragupta II.

Descendants

Main article: Brahmic scripts

Image
1800 years separate these two inscriptions: Brahmi script of the 3rd century BCE (Edict of Ashoka), and its derivative, 16th century CE Devanagari script (1524 CE), on the Delhi-Topra pillar.

Over the course of a millennium, Brahmi developed into numerous regional scripts. Over time, these regional scripts became associated with the local languages. A Northern Brahmi gave rise to the Gupta script during the Gupta Empire, sometimes also called "Late Brahmi" (used during the 5th century), which in turn diversified into a number of cursives during the Middle Ages, including the Siddhaṃ script (6th century) and Śāradā script (9th century).

Southern Brahmi gave rise to the Grantha alphabet (6th century), the Vatteluttu alphabet (8th century), and due to the contact of Hinduism with Southeast Asia during the early centuries CE, also gave rise to the Baybayin in the Philippines, the Javanese script in Indonesia, the Khmer alphabet in Cambodia, and the Old Mon script in Burma.

Also in the Brahmic family of scripts are several Central Asian scripts such as Tibetan, Tocharian (also called slanting Brahmi), and the one used to write the Saka language.

The Brahmi script also evolved into the Nagari script which in turn evolved into Devanagari and Nandinagari. Both were used to write Sanskrit, until the latter was merged into the former. The resulting script is widely adopted across India to write Sanskrit, Marathi, Hindi and its dialects, and Konkani.

The arrangement of Brahmi was adopted as the modern order of Japanese kana, though the letters themselves are unrelated.[198]

Evolution from Brahmi to Gupta, and to Devanagari[199]

Image


Possible tangential relationships

Some authors have theorized that some of the basic letters of hangul may have been influenced by the 'Phags-pa script of the Mongol Empire, itself a derivative of the Tibetan alphabet, a Brahmi script (see origin of Hangul).[200][201] However, one of the authors, Gari Ledyard, on whose work much of this theorized connection rests, cautions against giving 'Phags-pa much credit in the development of Hangul:

I have devoted much space and discussion to the role of the Mongol ʼPhags-pa alphabet in the origin of the Korean alphabet, but it should be clear to any reader that in the total picture, that role was quite limited. [...] The origin of the Korean alphabet is, in fact, not a simple matter at all. Those who say it is "based" in ʼPhags-pa are partly right; those who say it is "based" on abstract drawings of articulatory organs are partly right. [...] Nothing would disturb me more, after this study is published, than to discover in a work on the history of writing a statement like the following: "According to recent investigations, the Korean alphabet was derived from the Mongol ʼPhags-pa script" [...] ʼPhags-pa contributed none of the things that make this script perhaps the most remarkable in the world.[202]
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Re: Freda Bedi Cont'd (#3)

Postby admin » Thu Dec 23, 2021 1:28 pm

Part 4 of 4

See also

• Early Indian epigraphy
• Lipi
• Pre-Islamic scripts in Afghanistan
• Sankhalipi
• Tamil-Brahmi
• Annaicoddai seal

Notes

1. Aramaic is written from right to left, as are several early examples of Brahmi.[58][page needed] For example, Brahmi and Aramaic g ([x] and [x] ) and Brahmi and Aramaic t ([x] and [x] ) are nearly identical, as are several other pairs. Bühler also perceived a pattern of derivation in which certain characters were turned upside down, as with pe [x ] and [x] pa, which he attributed to a stylistic preference against top-heavy characters.
2. Bühler notes that other authors derive [x] (cha) from qoph. "M.L." indicates that the letter was used as a mater lectionis in some phase of Phoenician or Aramaic. The matres lectionis functioned as occasional vowel markers to indicate medial and final vowels in the otherwise consonant-only script. Aleph [x] and particularly ʿayin [x] only developed this function in later phases of Phoenician and related scripts, though [x] also sometimes functioned to mark an initial prosthetic (or prothetic) vowel from a very early period.[60]

Image
"Dhrama-Dipi" in Kharosthi script.

3. For example, according to Hultzsch, the first line of the First Edict at Shahbazgarhi (or at Mansehra) reads: "(Ayam) Dhrama-dipi Devanapriyasa Raño likhapitu" ("This Dharma-Edicts was written by King Devanampriya" Inscriptions of Asoka. New Edition by E. Hultzsch (in Sanskrit). 1925. p. 51.

This appears in the reading of Hultzsch's original rubbing of the Kharoshthi inscription of the first line of the First Edict at Shahbazgarhi (here attached, which reads "Di" [x] rather than "Li" [x] ).
4. For example Column IV, Line 89
5. More numerous inscribed Sanskrit records in Brahmi have been found near Mathura and elsewhere, but these are from the 1st century CE onwards.[124]
6. The archeological sites near the northern Indian city of Mathura has been one of the largest source of such ancient inscriptions.
Andhau (Gujarat) and Nasik (Maharashtra) are other important sources of Brahmi inscriptions from the 1st century CE.[125]

The Indo-Greeks may have ruled as far as the area of Mathura until sometime in the 1st century BCE: the Maghera inscription, from a village near Mathura, records the dedication of a well "in the one hundred and sixteenth year of the reign of the Yavanas", which could be as late as 70 BCE....

"Menander became the ruler of a kingdom extending along the coast of western India, including the whole of Saurashtra and the harbour Barukaccha. His territory also included Mathura, the Punjab, Gandhara and the Kabul Valley", Bussagli p101)

-- History of the Indo-Greek Kingdom, by Wikipedia


The Hathigumpha inscription of the Kalinga king Kharavela mentions that fearing him, a Yavana (Greek) king or general retreated to Mathura with his demoralized army. The name of the Yavana king is not clear, but it contains three letters, and the middle letter can be read as ma or mi. Some historians, such as R. D. Banerji and K.P. Jayaswal reconstructed the name of the Yavana king as "Dimita", and identified him with Demetrius.

-- Demetrius I of Bactria, by Wikipedia


The amount of power delegated to Apollodotus may show that Demetrius did not expect to be able to return from Bactria to India for some time, and it is unfortunate that there is no hint to be got of what it was which kept him in Bactria. At the same time, the appointment of Demetrius II to take his brother's place as joint-king in Bactria itself is proof that Demetrius did intend to return to India sooner or later; it was obvious that he would have to, if his plan was to be carried out to its conclusion. Whether he really did return can hardly be said with any confidence; the question depends on the much defaced Hathigumpha inscription of Kharavela (App. 5), which throws an uncertain light. But if it says what some scholars claim that it says, then he did return and was somewhere in Menander's sphere in the south-east, perhaps at Mathura, when the news came of Eucratides' attack in 168; and certainly it would fit in very well with Eucratides' story if we suppose that Eucratides rather had things his own way at the start and that Demetrius did not come on the scene in Bactria till late in 168 or even 167, especially as it is just possible (p. 100) that he brought Indian troops. If so, what took Demetrius to the south-east was either that Menander was being attacked and needed reinforcements, or else he came to arrange the final campaign in which Apollodotus and Menander were to join hands; in either case he can have had no suspicion of the plans of Antiochus IV....

Alexander had found a country divided between local kings and 'free peoples' (Aratta) under their own oligarchic rule. With the kings accommodation was possible to him, for he understood kings, but it was not common: Taxiles joined him and Porus became reconciled to him, but three others -- Sambos, Musicanus, and the second Paurava king, the 'bad Porus' -- were irreconcilable, and one, Abisares, held aloof. But the free peoples -- the Asvaka of Gandhara, the Cathaei between the Ravi and the Beas, the Malavas (Malli) of the lower Ravi -- all fought him desperately; he did not understand them and they did not understand him. Subsequently this whole complex of states became part of the Mauryan empire, but that empire was nothing organic, merely a covering framework; it functioned while the central power was strong, but easily fell back into its component parts when it became weak, though the component parts might have altered meanwhile. The Greeks met with local kings in Cutch and Surastrene, as has been seen, and at Mathura.

-- Chapter IV: Demetrius and the Invasion of India, Excerpt from The Greeks in Bactria and India, by William Woodthorpe Tarn


The Datta rulers are never mentioned as "king" or Raja on their coins, suggesting that they may only have been local rulers subservient to another king. Since the Indo-Greeks were in control of Mathura around the same time frame (150–50 BCE) according to the Yavanarajya inscription, it is thought that there may have been a sort of tributary relationship between the local Datta or Mitra dynasty and the Indo-Greek kings.[History of Early Stone Sculpture at Mathura: Ca. 150 BCE – 100 CE, Sonya Rhie Quintanilla, BRILL, 2007, p.8–10]

-- Datta dynasty, by Wikipedia


The Mitra dynasty refers to a group of local rulers whose name incorporated the suffix "-mitra" and who are thought to have ruled in the area of Mathura from around 150 BCE to 50 BCE, at the time of Indo-Greek hegemony over the region, and possibly in a tributary relationship with them. They are not known to have been satraps nor kings, and their coins only bear their name without any title, therefore they are sometimes simply called "the Mitra rulers of Mathura". Alternatively, they have been dated from 100 BCE to 20 BCE.

-- Mitra dynasty (Mathura), by Wikipedia


The "Great Stupa" at Sanchi is the oldest structure and was originally commissioned by the emperor Ashoka the Great of the Maurya Empire in the 3rd century BCE. Its nucleus was a hemispherical brick structure built over the relics of the Buddha, with a raised terrace encompassing its base, and a railing and stone umbrella on the summit, the chatra, a parasol-like structure symbolizing high rank. The original Stupa only had about half the diameter of today's stupa, which is the result of enlargement by the Sungas.
The Shunga Empire (IAST: Śuṅga) was an ancient Indian dynasty from Magadha that controlled areas of the central and eastern Indian subcontinent from around 184 to 75 BCE.[???]

-- Shunga Empire, by Wikipedia

It was covered in brick, in contrast to the stones that now cover it.

-- Sanchi, by Wikipedia


As for other well-known but evidently spurious "Asokan" inscriptions, note that the "Minor Pillar Inscription" at Lumbini not only mentions "Buddha" (as does, otherwise uniquely, the Calcutta-Bairat Inscription), it explicitly calls him Sakyamuni 'the Sage of the Scythians (Sakas)',64 [The Lumbini Inscription, line 3, has Budhe jate Sakyamuni ti "the Buddha Sakyamuni was born here" (Hultzsch 1925: 164).] who it says was born in Lumbini.65 [See the discussion of this and other related issues in Phelps (2008).] The use of the Sanskrit form of his epithet, Sakyamuni, rather than the Prakrit form, Sakamuni, is astounding and otherwise unattested until the late Gandhari documents; that fact alone rules out ascription to such an early period. But it is doubly astounding because this Sanskritism occurs in a text otherwise written completely in Mauryan Prakrit and Brahmi script. What is a Sanskrit form doing there? Sanskrit is not attested in any inscriptions or manuscripts until the Common Era or at most a few decades before it.66 [Bronkhorst (2011: 46, 50), who cites Salomon (1998:86) on the existence of four inscriptions ascribed by some, including Salomon, to the first century BC; otherwise the earliest inscriptions in Sanskrit are from Mathura in the first and second centuries AD (Salomon 1998: 87).]

-- Appendix C: On The Early Indian Inscriptions, Excerpt from Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith


The traditional idea that all were originally quarried at Chunar, just south of Varanasi and taken to their sites, before or after carving, "can no longer be confidently asserted",15 [Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, p. 22] and instead it seems that the columns were carved in two types of stone. Some were of the spotted red and white sandstone from the region of Mathura, the others of buff-colored fine grained hard sandstone usually with small black spots quarried in the Chunar near Varanasi. The uniformity of style in the pillar capitals suggests that they were all sculpted by craftsmen from the same region. It would therefore seem that stone was transported from Mathura and Chunar to the various sites where the pillars have been found, and there was cut and carved by craftsmen.

-- Pillars of Ashoka, by Wikipedia


Indo-Scythians [150 BCE–400 CE] (also called Indo-Sakas) were a group of nomadic Iranian peoples of Scythian origin who migrated from Central Asia southward into northern and western regions of ancient India from the middle of the 2nd century BCE to the 4th century CE.

The first Saka king of India was Maues/Moga (1st century BC) who established Saka power in Gandhara, and Indus Valley. The Indo-Scythians extended their supremacy over north-western India, conquering the Indo-Greeks and other local kingdoms. The Indo-Scythians were apparently subjugated by the Kushan Empire, by either Kujula Kadphises or Kanishka....

The Indo-Scythians ultimately established a kingdom in the northwest, based near Taxila, with two great Satraps, one in Mathura in the east, and one in Surastrene (Gujarat) in the southwest....

In northern India, the Indo-Scythians conquered the area of Mathura over Indian kings around 60 BCE. Some of their satraps were Hagamasha and Hagana, who were in turn followed by the Saca Great Satrap Rajuvula.

The Mathura lion capital, an Indo-Scythian sandstone capital in crude style, from Mathura in northern India, and dated to the 1st century CE, describes in kharoshthi the gift of a stupa with a relic of the Buddha, by Queen Nadasi Kasa, the wife of the Indo-Scythian ruler of Mathura, Rajuvula. The capital also mentions the genealogy of several Indo-Scythian satraps of Mathura.

Rajuvula apparently eliminated the last of the Indo-Greek kings Strato II around 10 CE, and took his capital city, Sagala.

The coinage of the period, such as that of Rajuvula, tends to become very crude and barbarized in style. It is also very much debased, the silver content becoming lower and lower, in exchange for a higher proportion of bronze, an alloying technique (billon) suggesting less than wealthy finances.

The Mathura lion capital inscriptions attest that Mathura fell under the control of the Sakas. The inscriptions contain references to Kharahostes and Queen Ayasia, the "chief queen of the Indo-Scythian ruler of Mathura, satrap Rajuvula." Kharahostes was the son of Arta as is attested by his own coins. Arta is stated to be brother of King Moga or Maues.

The Indo-Scythian satraps of Mathura are sometimes called the "Northern Satraps", in opposition to the "Western Satraps" ruling in Gujarat and Malwa. After Rajuvula, several successors are known to have ruled as vassals to the Kushans, such as the "Great Satrap" Kharapallana and the "Satrap" Vanaspara, who are known from an inscription discovered in Sarnath, and dated to the 3rd year of Kanishka (c. AD 130), in which they were paying allegiance to the Kushans.


-- Indo-Scythians, by Wikipedia


Image
A map of India in the 2nd century AD showing the extent of the Kushan Empire (in yellow) during the reign of Kanishka. Most historians consider the empire to have variously extended as far east as the middle Ganges plain, to Varanasi on the confluence of the Ganges and the Jumna, or probably even Pataliputra....

Several inscriptions in Sanskrit in the Brahmi script, such as the Mathura inscription of the statue of Vima Kadphises, refer to the Kushan Emperor as "Kushana"....

Rosenfield notes that archaeological evidence of a Kushan rule of long duration is present in an area stretching from Surkh Kotal, Begram, the summer capital of the Kushans, Peshawar, the capital under Kanishka I, Taxila, and Mathura, the winter capital of the Kushans....

During the Kushan Empire, many images of Gandhara share a strong resemblance to the features of Greek, Syrian, Persian and Indian figures. These Western-looking stylistic signatures often include heavy drapery and curly hair, representing a composite (the Greeks, for example, often possessed curly hair).

As the Kushans took control of the area of Mathura as well, the Art of Mathura developed considerably, and free-standing statues of the Buddha came to be mass-produced around this time, possibly encouraged by doctrinal changes in Buddhism allowing to depart from the aniconism that had prevailed in the Buddhist sculptures at Mathura, Bharhut or Sanchi from the end of the 2nd century BC. The artistic cultural influence of kushans declined slowly due to Hellenistic Greek and Indian influences.


-- Kushan Empire, by Wikipedia


GAUTAMA BUDDHA, THE SCYTHIAN SAGE

The dates of Gautama Buddha are not recorded in any reliable historical source, and the traditional dates are calculated on unbelievable lineages…

His personal name, Gautama, is evidently earliest recorded in the Chuangtzu, a Chinese work from the late fourth to third centuries BC….

His epithet Sakamuni (later Sanskritized as Sakyamuni), 'Sage of the Scythians ("Sakas")', is unattested in the genuine Mauryan inscriptions or the Pali Canon.

It is earliest attested, as Sakamuni, in the Gandhari Prakrit texts, which date to the first centuries AD (or possibly even the late first century BC)….

It is thus arguable that the epithet could have been applied to the Buddha during the Saka (Saka or "Indo-Scythian") Dynasty -- which dominated northwestern India on and off from approximately the first century BC, continuing into the early centuries AD as satraps or "vassals" under the Kushans -- and that the reason for it was strong support for Buddhism by the Sakas, Indo-Parthians, and Kushans....

The Buddha must have passed away well before 325 to 304 BC, the dates for the appearance of the earliest hard evidence on the existence of Buddhism or elements of Buddhism. This is still three centuries before even the earliest Gandhari texts and the traditional (high) date of the Pali Canon. Despite widespread belief that the latter collections of material, both of which are from the Saka-Kushan period or later, represent "Early Buddhism", the work of many scholars has shown that even by internal evidence alone it must be already quite far removed from the earliest Buddhism -- the teachings and practices of the followers of the Buddha himself and the next few generations after him, up to the mid-third century BC.

-- Greek Buddha: Pyrrho's Encounter With Early Buddhism in Central Asia, by Christopher I. Beckwith



References

1. Salomon 1998, pp. 11–13.
2. Salomon 1998, p. 20.
3. Salomon 1998, p. 17 Quote: " Until the late nineteenth century, the script of the Aśokan (non-Kharosthi) inscriptions and its immediate derivatives was referred to by various names such as “lath” or “Lat,” “Southern Aśokan,” “Indian Pali,” “Mauryan,” and so on. The application to it of the name Brahmi [sc. lipi], which stands at the head of the Buddhist and Jaina script lists, was first suggested by T[errien] de Lacouperie, who noted that in the Chinese Buddhist encyclopedia Fa yiian chu lin the scripts whose names corresponded to the Brahmi and Kharosthi of the Lalitavistara are described as written from left to right and from right to left, respectively. He therefore suggested that the name Brahmi should refer to the left-to-right “Indo-Pali” script of the Aśokan pillar inscriptions, and Kharosthi to the right-to-left “Bactro-Pali” script of the rock inscriptions from the northwest."
4. Salomon 1998, p. 17 Quote: "... the Brahmi script appeared in the third century B.c. as a fully developed pan-Indian national script (sometimes used as a second script even within the proper territory of Kharosthi in the north-west) and continued to play this role throughout history, becoming the parent of all of the modern Indic scripts both within India and beyond. Thus, with the exceptions of the Indus script in the protohistoric period, of Kharosthi in the northwest in the ancient period, and of the Perso–Arabic and European scripts in the medieval and modern periods, respectively, the history of writing in India is virtually synonymous with the history of the Brahmi script and its derivatives.
5. Salomon 1998, pp. 42–46 "The presumptive homeland and principal area of the use of Kharoṣțhī script ... was the territory along and around the Indus, Swat, and Kabul River Valleys of the modern North-West Frontier Province of Pakistan; ... [pp. 42–44] In short, there is no clear evidence to allow us to specify the date of the origin of Kharoṣțhī with any more precision than sometime in the fourth, or possibly the fifth, century B.C. [p. 46]"
6. Salomon 1998, pp. 19–30.
7. Salomon, Richard (1995). "On The Origin Of The Early Indian Scripts: A Review Article". Journal of the American Oriental Society. 115 (2): 271–279. doi:10.2307/604670. JSTOR 604670. Archived from the original on 2019-05-22. Retrieved 2013-06-18.
8. "Brahmi". Encyclopedia Britannica. 1999. Among the many descendants of Brāhmī are Devanāgarī (used for Sanskrit, Hindi and other Indian languages), the Bengali and Gujarati scripts and those of the Dravidian languages
9. Beckwith, Christopher I. (2017). Greek Buddha: Pyrrho's Encounter with Early Buddhism in Central Asia. Princeton University Press. p. 242. ISBN 978-0-691-17632-1.
10. Lahiri, Nayanjot (2015), Ashoka in Ancient India, Harvard University Press, pp. 14, 15, ISBN 978-0-674-05777-7, Facsimiles of the objects and writings unearthed—from pillars in North India to rocks in Orissa and Gujarat—found their way to the Asiatic Society of Bengal. The meetings and publications of the Society provided an unusually fertile environment for innovative speculation, with scholars constantly exchanging notes on, for instance, how they had deciphered the Brahmi letters of various epigraphs from Samudragupta’s Allahabad pillar inscription, to the Karle cave inscriptions. The Eureka moment came in 1837 when James Prinsep, a brilliant secretary of the Asiatic Society, building on earlier pools of epigraphic knowledge, very quickly uncovered the key to the extinct Mauryan Brahmi script. Prinsep unlocked Ashoka; his deciphering of the script made it possible to read the inscriptions.
11. Thapar, Romila (2004), Early India: From the Origins to AD 1300, University of California Press, pp. 11, 178–179, ISBN 978-0-520-24225-8, The nineteenth century saw considerable advances in what came to be called Indology, the study of India by non-Indians using methods of investigation developed by European scholars in the nineteenth century. In India the use of modern techniques to ‘rediscover’ the past came into practice. Among these was the decipherment of the brahmi script, largely by James Prinsep. Many inscriptions pertaining to the early past were written in brahmi, but knowledge of how to read the script had been lost. Since inscriptions form the annals of Indian history, this decipherment was a major advance that led to the gradual unfolding of the past from sources other than religious and literary texts. (p. 11) ... Until about a hundred years ago in India, Ashoka was merely one of the many kings mentioned in the Mauryan dynastic list included in the Puranas. Elsewhere in the Buddhist tradition he was referred to as a chakravartin, ..., a universal monarch but this tradition had become extinct in India after the decline of Buddhism. However, in 1837, James Prinsep deciphered an inscription written in the earliest Indian script since the Harappan, brahmi. There were many inscriptions in which the King referred to himself as Devanampiya Piyadassi (the beloved of the gods, Piyadassi). The name did not tally with any mentioned in the dynastic lists, although it was mentioned in the Buddhist chronicles of Sri Lanka. Slowly the clues were put together but the final confirmation came in 1915, with the discovery of yet another version of the edicts in which the King calls himself Devanampiya Ashoka. (pp. 178-179)
12. Coningham, Robin; Young, Ruth (2015), The Archaeology of South Asia: From the Indus to Asoka, c.6500 BCE–200 CE, Cambridge University Press, pp. 71–72, ISBN 978-0-521-84697-4, Like William Jones, Prinsep was also an important figure within the Asiatic Society and is best known for deciphering early Brahmi and Kharosthi scripts. He was something of a polymath, undertaking research into chemistry, meteorology, Indian scriptures, numismatics, archaeology and mineral resources, while fulfilling the role of Assay Master of the East India Company mint in East Bengal (Kolkatta). It was his interest in coins and inscriptions that made him such an important figure in the history of South Asian archaeology, utilising inscribed Indo-Greek coins to decipher Kharosthi and pursuing earlier scholarly work to decipher Brahmi. This work was key to understanding a large part of the Early Historical period in South Asia ...
13. Kopf, David (2021), British Orientalism and the Bengal Renaissance: The Dynamics of Indian Modernization 1773-1835, Univ of California Press, pp. 265–266, ISBN 978-0-520-36163-8, In 1837, four years after Wilson's departure, James Prinsep, then Secretary of the Asiatic Society, unravelled the mystery of the Brahmi script and thus was able to read the edicts of the great Emperor Asoka. The rediscovery of Buddhist India was the last great achievement of the British orientalists. The later discoveries would be made by Continental Orientalists or by Indians themselves.
14. Verma, Anjali (2018), Women and Society in Early Medieval India: Re-interpreting Epigraphs, London: Routledge, pp. 27–, ISBN 978-0-429-82642-9, In 1836, James Prinsep published a long series of facsimiles of ancient inscriptions, and this series continued in volumes of the Journal of the Asiatic Society of Bengal. The credit for decipherment of the Brahmi script goes to James Prinsep and thereafter Georg Buhler prepared complete and scientific tables of Brahmi and Khrosthi scripts.
15. Kulke, Hermann; Rothermund, Dietmar (2016), A History of India, London: Routledge, pp. 39–, ISBN 978-1-317-24212-3, Ashoka’s reign of more than three decades is the first fairly well-documented period of Indian history. Ashoka left us a series of great inscriptions (major rock edicts, minor rock edicts, pillar edicts) which are among the most important records of India’s past. Ever since they were discovered and deciphered by the British scholar James Prinsep in the 1830s, several generations of Indologists and historians have studied these inscriptions with great care.
16. Wolpert, Stanley A. (2009), A New History of India, Oxford University Press, p. 62, ISBN 978-0-19-533756-3, James Prinsep, an amateur epigraphist who worked in the British mint in Calcutta, first deciphered the Brāhmi script.
17. Chakrabarti, Pratik (2020), Inscriptions of Nature: Geology and the Naturalization of Antiquity, Johns Hopkins University Press, pp. 48–, ISBN 978-1-4214-3874-0, Prinsep, the Orientalist scholar, as the secretary of the Asiatic Society of Bengal (1832-39), oversaw one of the most productive periods of numismatic and epigraphic study in nineteenth-century India. Between 1833 and 1838, Prinsep published a series of papers based on Indo-Greek coins and his deciphering of Brahmi and Kharoshthi scripts.
18. Salomon 1998, pp. 204–205 "Prinsep came to India in 1819 as assistant to the assay master of the Calcutta Mint and remained until 1838, when he returned to England for reasons of health. During this period Prinsep made a long series of discoveries in the fields of epigraphy and numismatics as well as in the natural sciences and technical fields. But he is best known for his breakthroughs in the decipherment of the Brahmi and Kharosthi scripts. ... Although Prinsep's final decipherment was ultimately to rely on paleographic and contextual rather than statistical methods, it is still no less a tribute to his genius that he should have thought to apply such modern techniques to his problem."
19. Sircar, D.C. (2017) [1965]. Indian Epigraphy. Delhi: Motilal Banarsidass. pp. 11–. ISBN 978-81-208-4103-1. The work of the reconstruction of the early period of Indian history was inaugurated by European scholars in the 18th century. Later on, Indians also became interested in the subject. The credit for the decipherment of early Indian inscriptions, written in the Brahmi and Kharosthi alphabets, which paved the way for epigraphical and historical studies in India, is due to scholars like Prinsep, Lassen, Norris and Cunningham.
20. Garg, Sanjay (2017). "Charles Masson: A footloose antiquarian in Afghanistan and the building up of numismatic collections in museums in India and England". In Himanshu Prabha Ray (ed.). Buddhism and Gandhara: An Archaeology of Museum Collections. Taylor & Francis. pp. 181–. ISBN 978-1-351-25274-4.
21. Scharfe, Hartmut (2002). "Kharosti and Brahmi". Journal of the American Oriental Society. 122 (2): 391–393. doi:10.2307/3087634. JSTOR 3087634.
22. Keay 2000, p. 129–131.
23. Falk 1993, p. 106.
24. Rajgor 2007.
25. Trautmann 2006, p. 64.
26. Plofker 2009, pp. 44–45.
27. Plofker 2009, p. 45.
28. Plofker 2009, p. 47"A firm upper bound for the date of this invention is attested by a Sanskrit text of the mid-third century CE, the Yavana-jātaka or “Greek horoscopy” of one Sphujidhvaja, which is a versified form of a translated Greek work on astrology. Some numbers in this text appear in concrete number format"
29. Hayashi 2003, p. 119.
30. Plofker 2007, pp. 396–397.
31. Chhabra, B. Ch. (1970). Sugh Terracotta with Brahmi Barakhadi: appears in the Bulletin National Museum No. 2. New Delhi: National Museum.
32. Georg Bühler (1898). On the Origin of the Indian Brahma Alphabet. K.J. Trübner. pp. 6, 14–15, 23, 29., Quote: "(...) a passage of the Lalitavistara which describes the first visit of Prince Siddhartha, the future Buddha, to the writing school..." (page 6); "In the account of Prince Siddhartha's first visit to the writing school, extracted by Professor Terrien de la Couperie from the Chinese translation of the Lalitavistara of 308 AD, there occurs besides the mention of the sixty-four alphabets, known also from the printed Sanskrit text, the utterance of the Master Visvamitra[.]"
33. Salomon 1998, pp. 8–10 with footnotes
34. Nado, Lopon (1982). "The Development of Language in Bhutan". The Journal of the International Association of Buddhist Studies. 5 (2): 95. Under different teachers, such as the Brahmin Lipikara and Deva Vidyasinha, he mastered Indian philology and scripts. According to Lalitavistara, there were as many as sixty-four scripts in India.
35. Tsung-i, Jao (1964). "Chinese Sources on Brāhmī and Kharoṣṭhī". Annals of the Bhandarkar Oriental Research Institute. 45 (1/4): 39–47. JSTOR 41682442.
36. Salomon 1998, p. 9.
37. Falk 1993, pp. 109–167.
38. Salomon 1998, pp. 19–20
39. Salomon 1996, p. 378.
40. Bühler 1898, p. 2.
41. Goyal, S. R. (1979). S. P. Gupta; K. S. Ramachandran (eds.). The Origin of Brahmi Script., cited after Salomon (1998).
42. Salomon 1998, p. 19, fn. 42: "there is no doubt some truth in Goyal's comment that some of their views have been affected by 'nationalist bias' and 'imperialist bias,' respectively."
43. Cunningham, Alexander (1877). Corpus Inscriptionum Indicarum v. 1: Inscriptions of Asoka. Calcutta: Superintendent of Government Printing. p. 54.
44. F. R. Allchin; George Erdosy (1995). The Archaeology of Early Historic South Asia: The Emergence of Cities and States. Cambridge University Press. pp. 309–310. ISBN 978-0-521-37695-2.
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46. Brahmi, Encyclopedia Britannica (1999), Quote: "Brāhmī, writing system ancestral to all Indian scripts except Kharoṣṭhī. Of Aramaic derivation or inspiration, it can be traced to the 8th or 7th century BC, when it may have been introduced to Indian merchants by people of Semitic origin. (...) a coin of the 4th century BC, discovered in Madhya Pradesh, is inscribed with Brāhmī characters running from right to left."
47. Salomon 1998, pp. 18–24.
48. Salomon 1998, pp. 23, 46–54
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157. P Shanmugam (2009). Hermann Kulke; et al. (eds.). Nagapattinam to Suvarnadwipa: Reflections on the Chola Naval Expeditions to Southeast Asia. Institute of Southeast Asian Studies. p. 208. ISBN 978-981-230-937-2.
158. Frederick Asher (2018). Matthew Adam Cobb (ed.). The Indian Ocean Trade in Antiquity: Political, Cultural and Economic Impacts. Taylor & Francis Group. p. 158. ISBN 978-1-138-73826-3.
159. Salomon 1998, pp. 27–28.
160. Salomon 1996, pp. 373–4.
161. Bühler 1898, p. 32.
162. Bühler 1898, p. 33.
163. Daniels, Peter T. (2008), "Writing systems of major and minor languages", Language in South Asia, Cambridge University Press, p. 287
164. Trautmann 2006, p. 62–64.
165. Chakrabarti, Manika (1981). Mālwa in Post-Maurya Period: A Critical Study with Special Emphasis on Numismatic Evidences. Punthi Pustak. p. 100.
166. Ram Sharma, Brāhmī Script: Development in North-Western India and Central Asia, 2002
167. Stefan Baums (2006). "Towards a computer encoding for Brahmi". In Gail, A.J.; Mevissen, G.J.R.; Saloman, R. (eds.). Script and Image: Papers on Art and Epigraphy. New Delhi: Shri Jainendra Press. pp. 111–143.
168. Singh, Upinder (2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century. Pearson Education India. p. 43. ISBN 9788131711200.
169. Evolutionary chart, Journal of the Asiatic Society of Bengal Vol 7, 1838 [1]
170. Inscriptions of the Edicts of Ashoka
171. Inscriptions of Western Satrap Rudradaman I on the rock at Girnar circa 150 CE
172. Kushan Empire inscriptions circa 150-250 CE.
173. Gupta Empire inscription of the Allahabad Pillar by Samudragupta circa 350 CE.
174. Google Noto Fonts – Download Noto Sans Brahmi zip file
175. Adinatha font announcement
176. Script and Font Support in Windows – Windows 10 Archived 2016-08-13 at the Wayback Machine, MSDN Go Global Developer Center.
177. Hultzsch, E. (1925). Inscriptions of Asoka. Oxford: Clarendon Press. pp. 164–165.
178. Avari, Burjor (2016). India: The Ancient Past: A History of the Indian Subcontinent from C. 7000 BCE to CE 1200. Routledge. p. 167. ISBN 9781317236733.
179. Greek Culture in Afghanistan and India: Old Evidence and New Discoveries Shane Wallace, 2016, p.222-223
180. Osmund Bopearachchi, 2016, Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence
181. Burjor Avari (2016). India: The Ancient Past: A History of the Indian Subcontinent from C. 7000 BCE to CE 1200. Routledge. pp. 165–167. ISBN 978-1-317-23673-3.
182. Romila Thapar (2004). Early India: From the Origins to AD 1300. University of California Press. pp. 216–217. ISBN 978-0-520-24225-8.
183. Archaeological Survey of India, Annual report 1908–1909 p.129
184. Rapson, E. J. (1914). Ancient India. p. 157.
185. Sukthankar, Vishnu Sitaram, V. S. Sukthankar Memorial Edition, Vol. II: Analecta, Bombay: Karnatak Publishing House 1945 p.266
186. Salomon 1998, pp. 265–267
187. Brahmi Unicode (PDF). pp. 4–6.
188. James Prinsep table of vowels
189. Seaby's Coin and Medal Bulletin: July 1980. Seaby Publications Ltd. 1980. p. 219.
190. "The three letters give us a complete name, which I read as Ṣastana (vide facsimile and cast). Dr. Vogel read it as Mastana but that is incorrect for Ma was always written with a circular or triangular knob below with two slanting lines joining the knob" in Journal of the Bihar and Orissa Research Society. The Society. 1920.
191. Burgess, Jas (1883). Archaeological Survey Of Western India. p. 103.
192. Das Buch der Schrift: Enthaltend die Schriftzeichen und Alphabete aller ... (in German). K. k. Hof- und Staatsdruckerei. 1880. p. 126.
193. "Gupta Unicode" (PDF).
194. The "h" ( ) is an early variant of the Gupta script
195. Verma, Thakur Prasad (2018). The Imperial Maukharis: History of Imperial Maukharis of Kanauj and Harshavardhana (in Hindi). Notion Press. p. 264. ISBN 9781643248813.
196. Sircar, D. C. (2008). Studies in Indian Coins. Motilal Banarsidass. p. 376. ISBN 9788120829732.
197. Tandon, Pankaj (2013). Notes on the Evolution of Alchon Coins Journal of the Oriental Numismatic Society, No. 216, Summer 2013. Oriental Numismatic Society. pp. 24–34. also Coinindia Alchon Coins (for an exact description of this coin type)
198. Smith, Janet S. (Shibamoto) (1996). "Japanese Writing". In Daniels, Peter T.; Bright, William (eds.). The World's Writing Systems. Oxford University Press. pp. 209–17. ISBN 0-19-507993-0.
199. Evolutionary chart, Journal of the Asiatic Society of Bengal Vol 7, 1838 [2]
200. Ledyard 1994, p. 336–349.
201. Daniels, Peter T. (Spring 2000). "On Writing Syllables: Three Episodes of Script Transfer" (PDF). Studies in the Linguistic Sciences. 30 (1): 73–86.
202. The Korean language reform of 1446 : the origin, background, and Early History of the Korean Alphabet, Gari Keith Ledyard. University of California, 1966:367–368, 370, 376.

Bibliography

• Annette Wilke; Oliver Moebus (2011). Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism. Walter de Gruyter. ISBN 978-3-11-024003-0.
• Bühler, Georg (1898). On the Origin of the Indian Brahma Alphabet. Strassburg K.J. Trübner.
• Deraniyagala, Siran (2004). The Prehistory of Sri Lanka: An Ecological Perspective. Department of Archaeological Survey, Government of Sri Lanka. ISBN 978-955-9159-00-1.
• Falk, Harry (1993). Schrift im alten Indien: ein Forschungsbericht mit Anmerkungen (in German). Gunter Narr Verlag.
• Gérard Fussman, Les premiers systèmes d'écriture en Inde, in Annuaire du Collège de France 1988–1989 (in French)
• Hayashi, Takao (2003), "Indian Mathematics", in Grattan-Guinness, Ivor (ed.), Companion Encyclopedia of the History and Philosophy of the Mathematical Sciences, 1, pp. 118–130, Baltimore, MD: The Johns Hopkins University Press, 976 pages, ISBN 978-0-8018-7396-6.
• Oscar von Hinüber, Der Beginn der Schrift und frühe Schriftlichkeit in Indien, Franz Steiner Verlag, 1990 (in German)
• Keay, John (2000). India: A History. Grove Press. ISBN 978-0-8021-3797-5.
• Ledyard, Gari (1994). The Korean Language Reform of 1446: The Origin, Background, and Early History of the Korean Alphabet. University Microfilms.
• Masica, Colin (1993). The Indo-Aryan Languages. Cambridge University Press. ISBN 978-0-521-29944-2.
• Norman, Kenneth R. (1992). "The Development of Writing in India and its Effect upon the Pāli Canon". Wiener Zeitschrift für die Kunde Südasiens / Vienna Journal of South Asian Studies. 36 (Proceedings of the VIIIth World Sanskrit Conference Vienna): 239–249.
• Patel, Purushottam G.; Pandey, Pramod; Rajgor, Dilip (2007). The Indic Scripts: Palaeographic and Linguistic Perspectives. D.K. Printworld. ISBN 978-81-246-0406-9.
• Plofker, K. (2007), "Mathematics of India", in Katz, Victor J. (ed.), The Mathematics of Egypt, Mesopotamia, China, India, and Islam: A Sourcebook, Princeton, NJ: Princeton University Press, 685 pages, pp 385–514, pp. 385–514, ISBN 978-0-691-11485-9.
• Plofker, Kim (2009), Mathematics in India: 500 BCE–1800 CE, Princeton, NJ: Princeton University Press, ISBN 978-0-691-12067-6.
• Rocher, Ludo (2014). Studies in Hindu Law and Dharmaśāstra. Anthem Press. ISBN 978-1-78308-315-2.
• Salomon, Richard (1996). "Brahmi and Kharoshthi". In Daniels, Peter T.; Bright, William (eds.). The World's Writing Systems. Oxford University Press. ISBN 0-19-507993-0.
• Salomon, Richard (1995). "On the Origin of the Early Indian Scripts". Journal of the American Oriental Society. 115 (2): 271–279. doi:10.2307/604670. JSTOR 604670.
• Salomon, Richard (1998). Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the other Indo-Aryan Languages. Oxford University Press. ISBN 978-0-19-535666-3.
• Trautmann, Thomas (2006). Languages and Nations: The Dravidian Proof in Colonial Madras. University of California Press. ISBN 978-0-520-24455-9.
• Timmer, Barbara Catharina Jacoba (1930). Megasthenes en de Indische maatschappij. H.J. Paris.

Further reading

• Buswell Jr., Robert E.; Lopez Jr., David S., eds. (2017). "Brāhmī". The Princeton Dictionary of Buddhism. Princeton University Press. ISBN 9780691157863.
• Hitch, Douglas A. (1989). "BRĀHMĪ". Encyclopaedia Iranica, Vol. IV, Fasc. 4. pp. 432–433.
• Matthews, P. H. (2014). "Brahmi". The Concise Oxford Dictionary of Linguistics (3 ed.). Oxford University Press. ISBN 978-0-19-967512-8.
• Red. (2017). "Brahmi-Schrift". Lexikon des gesamten Buchwesens Online (in German). Brill Online.
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Outline of forgery
by Wikipedia
Accessed: 12/25/21
https://en.wikipedia.org/wiki/Outline_of_forgery

What could happen when a wealthy foreigner was trying to locate such information in old Indian texts is exemplified by the case of Francis WILFORD (I761?-1822), a respected member of the Asiatic Society of Bengal who lived in India four decades after the sack of Calcutta rang in the British Empire. Unlike Holwell, Wilford had studied Sanskrit. He was intent on proving on the basis of Indian texts that India and Egypt had from ancient times been in close contact and that their religions came from a common source. Since that source was, of course, ultimately Noah's ark, Wilford had Indian assistants look for a precise set of topics: the deluge, the name of Noah and his sons, and so forth. Like Holwell some decades before him, Wilford had to tell a learned Indian what he was looking for "as a clue to guide him," and for several years he faithfully translated what this Indian guru gave him. But suddenly he detected that he had fallen victim to fraud:

In order to avoid the trouble of consulting books, he conceived the idea of framing legends from what he recollected from the Puranas, and from what he had picked up in conversation with me. As he was exceedingly well read in the Puranas, and other similar books ... it was an easy task for him; and he studied to introduce as much truth as he could, to obviate the danger of immediate detection .... His forgeries were of three kinds; in the first there was only a word or two altered; in the second were such legends as had undergone a more material alteration; and in the third all those which he had written from memory. (Wilford 1805:251)


The output of this Indian expert was quite astonishing, and the most famous example shows what good remuneration, a sense of what the customer is looking for, and skill in composition can achieve. The learned Indian composed a story "which in nine Sanskrit verses ... reprises the story of Noah, his three sons, and the curse of Ham" and convinced no less a man than William Jones that Noah and his three sons figured in genuine Indian Puranas (Trautmann 1997:90-91). Wilford described how his Indian teacher proceeded in this case:

It is a legend of the greatest importance, and said to be extracted from the Padma. It contains the history of NOAH and his three sons, and is written in a masterly style. But unfortunately there is not a word of it to be found in that Purana. It is, however, mentioned, though in less explicit terms, in many Puranas, and the pandit took particular care in pointing out to the several passages which confirmed, more or less, this interesting legend. Of these I took little notice, as his extract appeared more explicit and satisfactory. (Wilford 1805:254)


Since Wilford had told his pandit exactly what he was looking for, the forger produced an ingenious narrative that presented elements of the story of Noah and his sons in an Indian dress and included some surprising details such as "the legend about the intoxication of NOAH" which, as Wilford now realized, "is from what my pandit picked up in conversation with me" (p. 254). In all, this man "composed no less than 12,000 brand new Puranic slokas -- about half the length of the Ramayana! -- and inserted them into manuscripts of the Skanda and Brahmanda Purana" (Trautmann 1997:92). This was a fraud committed on a man who was far more learned than Holwell; the texts were in Sanskrit, not Hindi; and the source texts could be verified.

-- The Birth of Orientalism, by Urs App

In textual studies, a palimpsest (/ˈpælɪmpsɛst/) is a manuscript page, either from a scroll or a book, from which the text has been scraped or washed off so that the page can be reused for another document.[1] Parchment was made of lamb, calf, or goat kid skin and was expensive and not readily available, so in the interest of economy a page was often re-used by scraping off the previous writing. In colloquial usage, the term palimpsest is also used in architecture, archaeology and geomorphology to denote an object made or worked upon for one purpose and later reused for another, for example a monumental brass the reverse blank side of which has been re-engraved.

The word "palimpsest" derives from the Latin palimpsestus, which derives from the Ancient Greek παλίμψηστος[2] (palímpsēstos, from παλίν + ψαω = "again" + "scrape"), a compound word that describes the process: "The original writing was scraped and washed off, the surface resmoothed, and the new literary material written on the salvaged material."[3] The Ancient Greeks used wax-coated tablets, like scratch-pads, to write on with a stylus, and to erase the writing by smoothing the wax surface and writing again. This practice was adopted by Ancient Romans, who wrote (literally scratched on letters) on wax-coated tablets, which were reusable; Cicero's use of the term "palimpsest" confirms such a practice.

-- Palimpsest, by Wikipedia

The following outline is provided as an overview of and topical guide to forgery:
Forgery – process of making, adapting, or imitating objects, statistics, or documents with the intent to deceive.

Types of forgery

• Archaeological forgery
• Art forgery
• Black propaganda — false information and material that purports to be from a source on one side of a conflict, but is actually from the opposing side
• Counterfeiting
o Counterfeit money — types of counterfeit coin include the cliché forgery, the fourrée and the slug
o Counterfeit consumer goods
o Counterfeit medication
o Counterfeit watches
o Unapproved aircraft parts
o Watered stock
• False documents
• Forgery as covert operation
• Identity document forgery
o Fake passport
• Literary forgery
o Fake memoirs
o Pseudopigraphy — the false attribution of a work, not always as an act of forgery
• Musical forgery — music allegedly written by composers of past eras, but actually composed later by someone else
• Philatelic forgery — fake stamps produced to defraud stamp collecters
• Signature forgery

Legality of forgery

Kenya


• Forgery of Foreign Bills Act 1803
• Forgery Act 1830
• Forgery, Abolition of Punishment of Death Act 1832
• Forgery Act 1837
• Forgery Act 1861
• Forgery Act 1870
• Forgery Act 1913
• Forgery and Counterfeiting Act 1981

International

• Anti-Counterfeiting Trade Agreement
• Council of Europe Convention on the Counterfeiting of Medical Products

Related offences

• Phishing — impersonating a reputable organization via electronic media, which often involves creating a replica of a trustworthy website
• Uttering — knowingly passing on a forgery with the intent to defraud

Detection and prevention of forgery

Anti-counterfeiting agencies and organisations


• Authentics Foundation - an international non-governmental organization that raises public awareness of counterfeits
• Central Bank Counterfeit Deterrence Group — an international group of central banks that investigates emerging threats to the security of banknotes
• Counterfeit Coin Bulletin — a now-defunct publication of the American Numismatic Association
• Alliance Against Counterfeit Spirits — the trade association for the worldwide spirit industry's protection against counterfeit produce
• Philatelic Foundation — a major source of authentication of rare and valuable postage stamps
• United States Secret Service — the agency responsible for the prevention and investigation of counterfeit U.S. currency
• Verified-Accredited Wholesale Distributors — a program that offers accreditation to wholesale pharmaceutical distribution facilities

Tools and techniques

• Authentication - the act of confirming the truth of an attribute of a single piece of data claimed true by an entity.
• Counterfeit banknote detection pen — uses an iodine-based ink that reacts with the starch found in counterfeit banknotes
• EURion constellation — a pattern of symbols incorporated into banknote designs, which can be detected by imaging software
• Geometric lathe — a 19th-century lathe used for making ornamental patterns on the plates used in printing banknotes and stamps
• Microprinting - very small text hidden on banknotes or cheques, that is difficult to accurately reproduce
• Optical variable device — an iridescent image that cannot be photocopied or scanned
• Optically variable ink — ink that appears to change color depending on the angle it is viewed from
• Philatelic expertisation — the process whereby an expert is asked to give an opinion whether a philatelic item is genuine
• Questioned document examination — a forensic science discipline that attempts to answer questions about disputed documents
• Security printing — the field of the printing industry that deals with the printing of items such as banknotes and identity documents
• Security thread — a thin ribbon threaded through a banknote, that appears as a solid line when held up to the light
• Taggant — a radio frequency microchip that can be tracked and identified
• Watermark — a recognizable image or pattern in paper that appears as various shades of lightness when viewed

Examples of forgery

Archaeological forgery


• Acámbaro figures — over 32,000 ceramic figurines which appear to provide evidence for the co-existence of dinosaurs and humans
• Archaeoraptor — the supposed "missing link" between birds and tetrapod dinosaurs; constructed by rearranging pieces of genuine fossils
• AVM Runestone — a student prank that was believed to be an ancient Norse runestone
• Beringer's Lying Stones — fake fossils that were planted as an 18th-century prank
• Brandenburg stone — a stone slab bearing markings which appear to be letters of an unknown alphabet
• Calaveras Skull — a human skull that was thought to prove the existence of Pliocene-age man in North America
• Cardiff Giant — a ten-foot-tall "petrified man" carved out of gypsum
• Chiemsee Cauldron — a golden cauldron found at the bottom of a lake
• Crystal skull — a series of artifacts crafted from quartz, often attributed to Aztec or Mayan civilizations
• Drake's Plate of Brass — supposedly a brass plaque planted by Francis Drake upon arrival in America, but a practical joke that spun out of control
• Grave Creek Stone — a small sandstone disk inscribed with twenty-five pseudo-alphabetical characters
• Holly Oak gorget — a mammoth engraved upon a shell pendant
• Ica stones — a collection of andesite stones that depict dinosaurs co-existing with humans
• Japanese Paleolithic hoax — many paleolithic finds manufactured by amateur archaeologist Shinichi Fujimura to bolster his reputation
• Kafkania pebble — a small rounded pebble bearing what could be an early example of Greek syllabic writing
• Kinderhook plates — six bell-shaped pieces of brass with strange engravings; Latter-Day Saints founder Joseph Smith allegedly attempted to translate them
• Lead Books of Sacromonte — a series of texts inscribed on circular lead leaves, denounced as heretical forgeries by the Vatican in 1682; modern scholars concur with this analysis
• Lenape Stone — an engraving that appears to show Native Americans hunting a woolly mammoth
• Michigan relics — artifacts that appear to prove that East Europeans lived in Michigan in ancient times; a money-making scam
• The inscription at Pedra da Gávea — allegedly carved by Phoenicians, who were not thought to have had the naval capacity to travel across the ocean to Brazil
• Persian Princess — the mummified body of a "Persian princess"; the corpse of a woman who was murdered around 1996
• Piltdown Man — the jaw of an orangutan attached to the skull of a human, hailed as the missing link between humans and apes
• Sherborne Bone — a bone with a horse's head engraved on it, now known to be a schoolboy prank
• Solid Muldoon — a "petrified human" made out of the mortar, rock dust, clay, plaster, ground bones, blood, and meat
• Spirit Pond runestones — small stones bearing runic inscriptions, ostensibly of pre-Columbian origin
• Tiara of Saitaferne — a tiara exhibited at the Louvre Museum as belonging to a Scythian king, until this statement was disputed by the goldsmith who created it
• Vinland map — an allegedly 15th-century map of the world, which would have been be the earliest map to depict America (or "Vinland")

Art forgery

• Amarna Princess — a statue created by Shaun Greenhalgh in the ancient Egyptian style, and sold to Bolton Museum for £439,767
• Black Admiral — a Revolutionary War-era painting of a black man in a naval uniform
• Bust of Flora — a bust of the Roman goddess Flora, previously believed to be a work by Leonardo da Vinci, now attributed to Richard Cockle Lucas.
• Camille Corot forgeries — thousands of imitation Jean-Baptiste-Camille Corot paintings
• Eadred Reliquary — a silver vessel created by Shaun Greenhalgh, containing a piece of wood which he claimed was a fragment of the True Cross
• Etruscan terracotta warriors — three terracotta warriors created by Italian forgers and sold to the Metropolitan Museum of Art
• The Faun — a sculpture created by Shaun Greenhalgh and sold as a work by Paul Gauguin
• Flower portrait — a portrait of William Shakespeare, probably painted in the 19th century
• Michelangelo's Cupid — a sleeping Cupid sculpture that was created, artificially aged and sold by Renaissance artist Michelangelo
• Risley Park Lanx — the replica of a genuine Roman artifact, "discovered" by the Greenhalgh family and put on display at the British Museum
• Rospigliosi Cup — a gold and enamel cup thought to have been crafted by Italian goldsmith Benvenuto Cellini, but now considered a 19th-century forgery
• The works of the Spanish Forger — an unidentified 19th-century artist who created over 200 medieval miniatures, which are still highly valued by collectors

Black propaganda

• The Franklin Prophecy — an anti-Semitic speech falsely attributed to Benjamin Franklin, arguing against the admittance of Jewish immigrants to the newly formed United States
• Morey letter — a letter published during the 1880 US presidential elections, suggesting that James A. Garfield was in favor of Chinese immigration
• Our Race Will Rule Undisputed Over The World — a speech given by the non-existent Rabbi Emanuel Rabinovich, outlining Jewish plans for world domination
• A Protocol of 1919 — a document supposedly found among the belongings of a Jew killed in battle, outlining Jewish plans for world domination
• The Protocols of the Elders of Zion — a lengthy text, originating in Russia and widely publicized by the Nazi party, outlining Jewish plans for world domination
• A Radical Program for the Twentieth Century — a text supposedly written by a British Jewish Communist, cited as proof that the civil rights movement in America was a foreign Communist plot
• Tanaka Memorial — an alleged Japanese strategic planning document, advising Emperor Hirohito on how to conquer the world

Counterfeiting

• 2012 Pakistan fake medicine crisis — a batch of counterfeit medicine that killed over 100 heart patients at a hospital in Punjab
• Counterfeit United States currency — some notable examples of counterfeit operations
• Fake Indian Currency Note — fake currency in circulation in the Indian economy
• Operation Bernhard — a Nazi plot to destabilize the British economy by dropping counterfeit notes out of aircraft
• Superdollar — a very high-quality counterfeit the United States hundred dollar bill
• Partnair Flight 394 — a chartered flight that crashed in 1989, killing all 55 people on board; it was caused by counterfeit aircraft parts
• Unauthorized Apple Stores in China — twenty-two unauthorized Apple Stores discovered in Kunming

Forged documents

• Canuck letter — a letter implying that a Democratic presidential candidate was prejudiced against French-Canadians
• Casket letters — letters and sonnets supposedly written by Mary, Queen of Scots, implicating her in the murder of her husband
• Donation of Constantine — a decree issued by emperor Constantine I, granting authority over Rome and part of the Roman Empire to Pope Sylvester I and his successors
• Dossiers Secrets — documents, planted in the National Library of France, that were used as the basis for a series of BBC documentaries
• Habbush letter — a letter linking Saddam Hussein to al-Qaeda and the 9/11 attacks
• Killian documents — memos critical of President George W. Bush's service in the National Guard
• Larmenius Charter — a Latin manuscript listing twenty-two successive Grand Masters of the Knights Templar
• Lindsay pamphlet scandal — pamphlets distributed by the Australian Liberal Party, claiming an alliance between the Labor Party and an Islamic organization
• Mustafa-letter — a letter used by Norway's Liberal Party to prove that the country was in danger of being overrun with Muslims
• Niger uranium forgeries — documents implying that Saddam Hussein had attempted to purchase yellowcake uranium powder, allegedly to build weapons of mass destruction
• Oath of a Freeman — a copy of the loyalty oath drawn up by 17th-century Pilgrims
• Privilegium Maius — a medieval manuscript boosting the legitimacy and influence of the House of Habsburg
• Pseudo-Isidorian Decretals — letters and canons purportedly authored by early popes, including a collection authored by "Benedict Levita".
• William Lynch speech — a speech by an 18th-century slave owner, who claims to have discovered the secret of controlling slaves by pitting them against each other
• Zeno map — a map of the North Atlantic containing many non-existent islands
• Zinoviev letter — a directive from Moscow to Britain's Communist Party, calling for intensified communist agitation; the letter contributed to the downfall of Prime Minister MacDonald

Literary forgery

• The Aquarian Gospel of Jesus the Christ — a religious text supposedly transcribed from the Akashic records
• The Archko Volume — a series of supposedly contemporary reports relating to the life and death of Jesus
• Autobiography of Howard Hughes — an "autobiography" of reclusive eccentric Howard Hughes, written without his knowledge or consent
• Book of Jasher — an alternative account of the Old Testament narrative
• Book of Veles — a set of Slavic texts written on wooden planks
• Centrum Naturae Concentratum — a 17th-century alchemical text
• Christine — a compilation of letters purportedly written by an English girl studying in Germany in 1914, before the outbreak of war
• Chronicle of Huru — supposedly an official chronicle of the medieval Moldavian court
• Chronicon of Pseudo-Dexter — a 15th-century account of the Church's activities in Spain, attributed to Flavius Dexter
• De Situ Britanniae — an 18th-century forgery represented as a Roman account of ancient Britain
• Epistle to the Alexandrians — an unknown text derided as a forgery in a 7th-century manuscript
• Epistle to the Laodiceans — a lost letter of Saint Paul, often "rediscovered" by forgers
• Essene Gospel of Peace — a text which claims, among other things, that Jesus was a vegetarian
• Gospel of Josephus — a forgery created to raise publicity for a novel
• Historias de la Conquista del Mayab — a Mexican manuscript supposedly written by an 18th-century monk
• History of the Captivity in Babylon — an ostensibly Old Testament text elaborating on the Book of Jeremiah
• Hitler Diaries — a set of volumes purported to be the diaries of Adolf Hitler, serialized in the German magazine Stern and the British Sunday Times
• Ireland Shakespeare forgeries — forged correspondence between Shakespeare and his contemporaries, and a "lost play" entitled Vortigern and Rowena
• Jack the Ripper Diary — the forged diary of Victorian merchant James Maybrick, apparently revealing him to be Jack the Ripper
• Letter of Benan — the letter of an Egyptian physician describing his encounters with Jesus
• Letter to an Anti-Zionist Friend — a letter in support of Zionism, attributed to Martin Luther King, Jr.
• The Lost Chapter of the Acts of the Apostles — the "missing" 29th chapter of the Acts of the Apostles
• Memoirs Of Mr. Hempher, The British Spy To The Middle East — a document purporting to be the account of an 18th-century secret agent, describing his role in founding the Islamic reform movement of Wahhabism
• Manuscripts of Dvůr Králové and Zelená Hora — fraudulent Slavic manuscripts created in the early 19th century
• Minuscule 2427 — a minuscule manuscript of the Gospel of Mark
• Mussolini diaries — several forged diaries supposedly written by the Italian dictator Benito Mussolini
• My Sister and I — an autobiographical work attributed to the philosopher Nietzsche, containing a probably fictional account of his incestuous relationship with his sister
• Oahspe: A New Bible — a New Age bible written by an American dentist
• Ossianic poems — a cycle of epic poems published by the Scottish poet James Macpherson, attributed to the legendary Ossian
• Roxburghe Ballads — over a thousand 17th-century ballads published by John Payne Collier, some of which he had written himself
• Salamander Letter — a document that offers an alternative account of Joseph Smith's finding of the Book of Mormon.
• Sixth and Seventh Books of Moses — a magical text supposedly written by Moses, providing instructions on how to perform the miracles portrayed in the Bible
• The Songs of Bilitis — a collection of erotic poetry allegedly found on the walls of a tomb in Cyprus
• Supplements to the Satyricon — several forged versions of the Latin novel Satyricon
• Talmud Jmmanuel — a supposedly ancient Aramaic text suggesting an extraterrestrial origin for the Bible
• The Zohar — a primary text of medieval Kabbalah, written by a 16th-century Spanish Rabbi but attributed to Rabbi Shimon Bar Yochai, an ancient sage of the Second Temple period

Musical forgery

• Adélaïde Concerto — a violin concerto attributed to Mozart

Philatelic forgery

• Russian philatelic forgeries — some examples of notable Russian stamp forgeries
• Stock Exchange Forgery 1872-73 — a fraud perpetrated by telegraph clerks at the London Stock Exchange
• Turner Collection of Forgeries — a collection of forged postage stamps on display at the British Library

Forgery controversies

The authenticity of certain documents and artifacts has not yet been determined and is still the subject of debate.

• Augustan History — a collection of biographies of Roman emperors
• Bat Creek inscription — an inscription on a stone allegedly found in a Native American burial mound
• Isleworth Mona Lisa — a close imitation of da Vinci's Mona Lisa, sometimes attributed in part to da Vinci
• James Ossuary — a chalk box used to contain the bones of the dead, bearing the inscription "James, son of Joseph, brother of Jesus"
• Jehoash Inscription — an inscription confirming the Biblical account of the repairs made to the temple in Jerusalem by Jehoash
• Jordan Lead Codices — a series of ring-bound books of lead and copper, that are said to pre-date the writings of St. Paul
• Kensington Runestone — a slab of greywacke covered in Scandinavian runes, found in North America and supposedly carved in the 14th century
• Letter of Lentulus — an epistle allegedly written by a Roman Consul, giving a physical description of Jesus
• Majestic 12 documents — supposedly leaked papers relating to the formation, in 1947, of a secret committee of US officials to investigate the Roswell incident
• Mar Saba letter — an epistle, attributed to Clement of Alexandria, discussing the Secret Gospel of Mark
• Newark Holy Stones — a set of artifacts allegedly discovered among a group of ancient Indian burial grounds
• Old High German lullaby — a supposedly 10th-century poem containing numerous references to Germanic mythology
• Prophecy of the Popes — a series of 112 short cryptic phrases which purport to predict future Roman Catholic Popes
• Shroud of Turin — a linen cloth that is said to be the burial shroud of Jesus, and bears the image of a man who appears to have suffered injuries consistent with crucifixion
• Sinaia lead plates — a set of lead plates written in an unknown language
• Sisson documents — sixty-eight Russian documents which claim that Trotsky and Lenin were German agents attempting to bring about Russia's withdrawal from World War I
• Stalin's alleged speech of 19 August 1939 — a speech supposedly given by Joseph Stalin in which he stated that the approaching war would benefit the Soviet Union
• Titulus Crucis — a piece of wood, ostensibly a fragment of the True Cross upon which Jesus was crucified
• US Army Field Manual 30-31B — a text purporting to be a classified appendix of a US Army Field Manual which describes top-secret counter-insurgency tactics

Some documents and artifacts were previously thought to be forgeries, but have subsequently been determined to be genuine.

• Bords de la Seine à Argenteuil — an oil painting by Monet
• Glozel artifacts — over three thousand artifacts dating back to the Neolithic era, discovered in a small French hamlet
• Lady of Elche — a stone bust believed to have been carved by the Iberians
• Praeneste fibula — a golden brooch bearing an inscription in Old Latin

Notable forgers

Archaeological forgers


• Charles Dawson (1864–1916) — "discoverer" of the Piltdown Man
• Shinichi Fujimura (born 1950)
• Oded Golan (born 1951) — accused of forging the James Ossuary, among other things; he was acquitted of these charges in March 2012
• Islam Akhun
• Brigido Lara
• Moses Shapira (1830–1884)

Art forgers

• Giovanni Bastianini (1830–1868)
• William Blundell (born 1947)
• Chang Dai-chien (1899–1983)
• Yves Chaudron
• Alceo Dossena (1878–1937)
• John Drewe (born 1948)
• Kenneth Fetterman
• Alfredo Fioravanti (1886–1963)
• Shaun Greenhalgh (born 1961) — described by the Metropolitan Police as "the most diverse art forger known in history"
• Guy Hain
• Eric Hebborn (1934–1996)
• Elmyr de Hory (1905–1976) — subject of the Orson Welles documentary F for Fake
• Geert Jan Jansen (born 1943)
• Tom Keating (1917–1984)
• Konrad Kujau (1938–2000) — the author of the Hitler Diaries
• Mark A. Landis (born 1955)
• Lothar Malskat (1913–1988)
• Han van Meegeren (1889–1947) — estimated to have earned the equivalent of over thirty million dollars for his forgeries
• Jacques van Meegeren (1912–1977)
• John Myatt (born 1945)
• Sámuel Literáti Nemes (1796–1842)
• Edmé Samson (1810–1891)
• Ely Sakhai (born 1952)
• Jean-Pierre Schecroun
• Émile Schuffenecker (1851–1934)
• Karl Sim (born 1923)
• David Stein (1935–1999)
• Tony Tetro (born 1950)
• Robert Thwaites
• Franz Tieze (1842–1932)
• William J. Toye (born 1931)
• Eduardo de Valfierno — allegedly masterminded the 1911 theft of the Mona Lisa
• Kenneth Walton (born 1967) — author of the memoir Fake: Forgery, Lies, & eBay
• E. M. Washington (born 1962)
• Theo van Wijngaarden (1874–1952)

Counterfeiters

• Philip Alston (c. 1740 - after 1799)
• Anatasios Arnaouti (born 1967)
• Trevor Ashmore
• Robert Baudin (1918–1983)
• Charles Black (1928 - 2012)
• William Booth (c. 1776 – 1812)
• Mary Butterworth (1686–1775)
• William Chaloner (c. 1665 – 1699)
• Louis Colavecchio
• The Cragg Vale Coiners
• Thomas Dangerfield (c. 1650 – 1685)
• Mike DeBardeleben (1940–2011)
• John Duff (c. 1759 – 1799)
• Edward Emery (died c. 1850)
• David Farnsworth
• Bernhard Krüger (1904–1989) — director of the Nazi counterfeiting plot codenamed Operation Bernhard
• Ignazio Lupo (1877–1947)
• Catherine Murphy (died 1789) — the last woman to be executed by burning.
• Emanuel Ninger (1845–1927)
• Bernard von NotHaus — inventor of the Liberty Dollar
• Salomon Smolianoff (1899–1976) — WWII concentration camp detainee and key figure in Operation Bernhard
• Samuel C. Upham (1819–1885)
• Arthur Williams

Document forgers

• Frank Abagnale (born 1948) — subject of the film Catch Me If You Can
• Charles Bertram (1723–1765) — author of De Situ Britanniae
• Joseph Cosey (1887 – c. 1950)
• Przybysław Dyjamentowski (1694–1774)
• Michael John Hamdani
• Adolfo Kaminsky (born 1925)
• Jean LaBanta (born c. 1879)
• Maharaja Nandakumar (died 1775)
• Richard Pigott (1835–1889)
• Piligrim (died 991)
• James Reavis (1843–1914)
• Alves dos Reis (1898–1955)
• Scott Reuben (born 1958)
• William Roupell (1831–1909)
• William Wynne Ryland (c. 1738 – 1783)
• Michael Sabo
• Alexander Howland Smith (fl. 1886)
• Robert Spring (1813–1876)
• Adolf Ludvig Stierneld (1755–1835)
• Brita Tott (fl. 1498)
• Lucio Urtubia (born 1931)
• Denis Vrain-Lucas (1818–1880)
• Henry Woodhouse (1884–1970)

Literary forgers

• Annio da Viterbo (c. 1432 – 1502)
• Sir Edmund Backhouse, 2nd Baronet (1873–1944)
• Adémar de Chabannes (c. 988 – 1034)
• Thomas Chatterton (1752–1770)
• Mark Hofmann (born 1954) — forger of several documents relating to the Latter Day Saint movement, including the Salamander letter
• William Henry Ireland (1775–1835) — author of the Ireland Shakespeare forgeries and the pseudepigraphical play Vortigern and Rowena
• Clifford Irving (1930 - 2017)
• William Lauder (c. 1680 – 1771)
• James Macpherson (1736–1796) — the supposed "translator" of the Ossianic poems
• Iolo Morganwg (1747–1826)
• François Nodot (c. 1650 – 1710)
• Francesco Maria Pratilli (1689–1763)
• Constantine Simonides (1820–1867)
• Clotilde de Surville (fl. 1421)
• Charles Weisberg (died 1945)

Musical forgers

• Henri Casadesus (1879–1947)
• Marius Casadesus (1892–1981) — creator of the Adélaïde Concerto
• François-Joseph Fétis (1784–1871)
• Fritz Kreisler (1875–1962)
• Winfried Michel (born 1948)
• David Popper (1843–1913)
• Roman Turovsky-Savchuk (born 1961)
• Vladimir Vavilov (1925–1973)
• Voller Brothers (1885-1927)

Signature forgers

• Henry Fauntleroy (1784–1824)
• James Townsend Saward (1799 – after 1857)

Stamp forgers

For a more comprehensive list, see List of stamp forgers.

• A. Alisaffi
• Bernhardt Assmus (c. 1856 – after 1892)
• Rainer Blüm
• Delandre (1883–1923)
• Georges Fouré (1848–1902)
• François Fournier (1846–1917)
• Sigmund Friedl (1851–1914)
• Julius Goldner (c. 1841 – 1898)
• N. Imperato
• Madame Joseph (c. 1900 – after 1945)
• Louis-Henri Mercier (fl. 1890)
• Erasmo Oneglia (1853–1934)
• Adolph Otto (fl. 1870)
• Angelo Panelli (c. 1887 – c. 1967)
• Oswald Schroeder (died c. 1920)
• Lucian Smeets
• Jean de Sperati (1884–1957)
• Philip Spiro
• Béla Székula (1881–1966)
• Raoul de Thuin (1890–1975)
• Harold Treherne (c. 1884 - after 1908)

Media

• The Art of the Faker — a book about art forgery by Frank Arnau
• The Counterfeiters — a movie inspired by the Nazi counterfeiting scheme, Operation Bernhard
• F for Fake — an Orson Welles documentary about art forger Elmyr de Hory
• Fake Britain — a BBC television series about counterfeiting and its effects on consumers
• Fake: Forgery, Lies, & eBay — a memoir by art forger Kenneth Walton
• Fake or Fortune? — a BBC television series which examines the provenance of notable artworks
• Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology — a book by Kenneth L. Feder on the topic of pseudoarcheology
• Pierre Grassou — a novel by Honoré de Balzac about a fictional art forger
• Selling Hitler — an ITV drama-documentary about the Hitler Diaries

External links

• Forgery and Fakes: Overview, Caslon Analytics.
• Sources of information on art forgery, Museum Security Network

************************

Literary forgery
by Wikipedia
Accessed: 12/25/21

Image
Cover of The Songs of Bilitis (1894), a French pseudotranslation of Ancient Greek erotic poetry by Pierre Louÿs

Literary forgery (also known as literary mystification, literary fraud or literary hoax) is writing, such as a manuscript or a literary work, which is either deliberately misattributed to a historical or invented author, or is a purported memoir or other presumably nonfictional writing deceptively presented as true when, in fact, it presents untrue or imaginary information or content.

History

Literary forgery may involve the work of a famous author whose writings have an established intrinsic, as well as monetary, value. In an attempt to gain the rewards of such a reputation, the forger often engages in two distinct activities. The forger produces a writing which resembles the style of the known reputable author to whom the fake is to be attributed. The forger may also fake the physical alleged original manuscript. This is less common, as it requires a great deal of technical effort, such as imitating the ink and paper. The forger then claims that, not only is the style of writing the same, but also that the ink and paper are of the kind or type used by the famous author. Other common types of literary forgery may draw upon the potential historical cachet and novelty of a previously undiscovered author.

Literary forgery has a long history. Onomacritus (c. 530 – 480 BCE) is among the most ancient known literary forgers. He invented prophecies, which he ascribed to the bard Musaeus.[1]

In the 3rd century CE, a certain Septimius produced what appeared to be a Latin translation of an eyewitness account to the Trojan War by Dictys of Crete. In the letter of dedication, the translator gave additional credence to the document by claiming the Greek original had come to light during Nero's reign when Dictys' tomb was opened by an earthquake and his diary was discovered. Septimius then claimed the original had been handed to the governor of Crete, Rutilius Rufus, who gave the diary to Nero during his tour of Greece in 66-67 CE. According to historian Miriam Griffin, such bogus and romantic claims to antiquity were not uncommon at the time.[2]

One of the longest lasting literary forgeries is by Pseudo-Dionysius the Areopagite, a 5th-6th century Syrian mystical writer who claimed to be a disciple of Paul the Apostle. Five hundred years later, Abelard expressed doubts about the authorship, but it was not until after the Renaissance that there was general agreement that the attribution of the work was false. In the intervening 1,000 years, the writings had much theological influence.[3]

Thomas Chatterton (1752–1770), the English poet and letter writer, began his brilliant medieval forgeries when little more than a child. While they brought him praise, and fame after his death, his writing afforded little in the way of financial success and he committed suicide aged 17, penniless, alone and half-starved.

The English Mercurie appeared to be the first English newspaper when it was discovered in 1794. This was, ostensibly, an account of the English battle with the Spanish Armada of 1588, but was, in fact, written in the 18th century by Philip Yorke, 2nd Earl of Hardwicke, as a literary game with his friends.[4]

Literary forgery was promoted as a creative method by Charles Nodier and, in the 19th century, many writers produced literary forgeries under his influence, notably Prosper Merimee and Pierre Louys.

The Protocols of the Elders of Zion was an antisemitic forged document first published in Russia. The abridged version was available to the public in 1903. The unabridged version was later edited by a retired officer of the Russian Imperial Guard, G.V. Butmi. This forgery exploits Jews by stating that Jews were inevitably trying to exercise a coup against Christianity in order to essentially rule the world. The document was exposed as plagiarism by English journalist Philip Graves in 1921. Graves exposed the strong similarities in the political satire by Maurice Joly, The Dialogue in Hell Between Machiavelli and Montesquieu. The forged document was supported and promoted by Henry Ford in his newspaper, The Dearborn Independent.[5]

Related issues

Fake memoirs


Main pages: Fake memoir, List of fake memoirs and journals, and Category: Written fiction presented as fact

Sometimes, the authorship of a piece is uncontested, but the writer is untruthful about themselves to such a degree that it is as if it was a forgery - rather than forging in the name of an expert or authority, the author falsely claims such authority for themselves. This usually takes the form of autobiographical works as fake memoirs. Its modern form is most common with "misery lit" books, in which the author claims to have suffered illness, parental abuse, and/or drug addiction during their upbringing, yet recovered well enough to write of their struggles. The 1971 book Go Ask Alice is officially anonymous, but claims to be taken from the diary of an actual drug abuser; later investigation showed that the work is almost certainly fictitious, however. A recent example is the 2003 book A Million Little Pieces by James Frey, wherein Frey claimed to experience fighting drug addiction in rehab; the claimed events were fictional, yet not presented as such.[6]

Other forms considered literary hoaxes are when an author asserts an identity and history for themselves that is not accurate. Asa Earl Carter wrote under the pseudonym Forrest Carter; Forrest Carter claimed to be a half-Cherokee descendent who grew up in native culture, but the real Asa Earl Carter was a white man from Alabama. Forrest Carter's persona thus possessed a similar false authenticity as a forged work would, in both their memoir and their fiction.[7] Similarly, Nasdijj and Margaret Seltzer also falsely claimed Native American descent to help market their works.[8][9] Danny Santiago claimed to be a young Latino growing up in East Los Angeles, yet the author (whose real name was Daniel Lewis James) was a Midwesterner in his 70s.[10]

Transparent literary fiction

A rare case that can occur is when it is not entirely clear if a work was a fictional piece or a forgery. This generally occurs when a work is written intended as a piece of fiction, but through the mouthpiece of a famous historical character; the audience at the time understands that the work is actually written by others imagining what the historical persona might have written or thought. With later generations, this distinction is lost, and the work is treated as authoritatively by the real person. Later yet, the fact that the work was not really by the seeming author resurfaces. In the case of true transparent literary fictions, no deception is involved, and the issue is merely one of misinterpretation. However, this is fairly rare.

Examples of this may include several works of wisdom literature such as the book of Ecclesiastes and the Song of Solomon in the Hebrew Bible. Both works do not directly name an author, but are written from the perspective of King Solomon, and feature poetry and philosophical thoughts from his perspective that can switch between first and third-person perspectives. The books may not have intended to be taken as actually from the hand of Solomon, but this became tangled, and many later generations did assume they were directly from Solomon's hand. The fact that it is not clear if any deception was involved makes many scholars reluctant to call the work forgeries, however, even those that take the modern scholarly view that they were unlikely to have been written by Solomon due to the work only being quoted by others many centuries after Solomon's death.

For more disputed examples, some New Testament scholars believe that pseudepigrapha in the New Testament epistles can be explained as such transparent fictions. Richard Bauckham, for example, writes that for the Second Epistle of Peter, "Petrine authorship was intended to be an entirely transparent fiction."[11] This view is contested. Bart Ehrman writes that if a religiously prescriptive document was widely known to be not actually from the authority it claimed, it would not be taken seriously. Therefore, the claim of authorship by Peter only makes sense if the intent was indeed to falsely claim the authority of a respected figure in such epistles.[12]

See also

• Helen Darville
• Hitler Diaries
• False document
• Clifford Irving
• Anthony Godby Johnson
• Journalistic scandal
• JT LeRoy
• Outline of forgery
• Dave Pelzer
• Pseudepigrapha
• B. Wongar

References

1. B. Ehrman, Writing in the Name of God--Why the Bible's Authors Are Not Who We Think They Are, HarperOne (2011)ISBN 0062012614, pp. 39-40
2. Nero: The end of a Dynasty, Miram T. Griffin, 1984. Chapter 9. ISBN 0415214645
3. Sarah Coakley (Editor), Charles M. Stang (Editor), Re-thinking Dionysius the Areopagite, Wiley-Blackwell (2009), ISBN 978-1405180894
4. Penny Magazine of the Society for the Diffusion of Useful Knowledge, Volume 9, January 18, 1840, pp. 17-19
5. Graves, Philip (1921). The Truth about the Protocols: A Literary Forgery. The Times of London.
6. "A Million Little Lies". The Smoking Gun. July 23, 2010.
7. Randall, Dave (September 1, 2002). "The tall tale of Little Tree and the Cherokee who was really a Klansman". The Independent.
8. William McGowan, Gray Lady Down: What the Decline and Fall of the New York Times Means, pp. 160-161, Encounter books, 2010, ISBN 978-1594034862
9. Menand, Louis (2018). "Literary Hoaxes and the Ethics of Authorship". The New Yorker. Condé Nast.
10. Folkart, Burt A. "OBITUARIES : Daniel James : Writer Who Masqueraded as a Latino."Los Angeles Times. Los Angeles Times, 21 May 1988. Web. 24 Apr. 2012. <http://articles.latimes.com/1988-05-21/news/mn-2879_1_daniel-james>
11. Jude-2 Peter, Volume 50, Word Biblical Commentary.
12. Ehrman, Bart (2012). Forgery and Counterforgery: The Use of Literary Deceit in Early Christian Polemics. Oxford University Press. p. 141–145. ISBN 9780199928033.

Bibliography

• Bart D. Ehrman Forgery and Counterforgery: The Use of Literary Deceit in Early Christian Polemics, Oxford University Press, USA (2012) 978-0199928033
• James Anson Farrer Literary Forgeries. With an Introduction by Andrew Lang, HardPress Publishing (2012) ISBN 978-1290475143
• Anthony Grafton Forgers and Critics: Creativity and Duplicity in Western Scholarship (Princeton: Princeton University Press, 1990) ISBN 0-691-05544-0
• Ian Haywood The making of history: a study of the literary forgeries of James Macpherson and Thomas Chatterton in relation to eighteenth-century ideas of history and fiction, Fairleigh Dickinson University Press, 1986, ISBN 978-0838632611
• Lee Israel Can You Ever Forgive Me?: Memoirs of a Literary Forger Simon & Schuster; 1st edition (2008)ISBN 978-1416588672
• Melissa Katsoulis Telling Tales: A History of Literary Hoaxes (London: Constable, 2009) ISBN 978-1-84901-080-1
• Richard Landon Literary forgeries & mystifications, Thomas Fisher Rare Book Library U. of Toronto, 2003, ISBN 978-0772760456
• Robin Myers Fakes and Frauds: Varieties of Deception In Print & Manuscript (New Castle: Oak Knoll Press 1996) ISBN 0-906795-77-X
• K. K. Ruthven Faking Literature Cambridge University Press (2001) ISBN 978-0521669658
• John Whitehead This Solemn Mockery: The Art of Literary Forgery (London: Arlington Books 1973) ISBN 0-85140-212-7
• Joseph Rosenblum Practice to Deceive: The Amazing Stories of Literary Forgery’s Most Notorious Practitioners (New Castle: Oak Knoll Press, 2000) ISBN 1-58456-010-X

External links

• Books about literary forgery at About.com
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False document
by Wikipedia
Accessed 12/25/21



Besides this history of Firoz Shah, the author often refers to his Manakib-i Sultan Tughlik, and he mentions his intention of writing similar memoirs of the reign of Sultan Muhammad, the son of Firoz Shah. Nothing more appears to be known of these works.

Firoz Shah was born in the year 709 H. (1309 A.D.). It is recorded that his father was named Sipah-salar Rajab, and was brother of Sultan Ghiyasu-d din Tughlik Ghazi. The writer of this work has given a full account of their parentage in his Memoirs of Sultan Tughlik (Manakib-i Sultan Tughlik)....

On the very day that Firoz Shah was born, the author's grandfather, Shams-i Shahab 'Afif, also came into the world. The females of the author's ancestors then lived at Dipalpur, and constantly visited the female apartments of Tughlik Shah, and often in talking of these matters the author's great-grandfather used to say that he had frequently given Firoz Shah a cup of milk; and Firoz Shah himself when he had reached the summit of his power and glory, used to tell the author's father that he had sucked at the breast of his grandmother....

On the death of Sultan Tughlik he was succeeded on the throne of Dehli by Muhammad Shah. At the accession of this monarch Firoz Shah was eighteen years of age.... Even at this period Firoz Shah showed himself very kind and generous to the poor, and when any case of distress came before him he was prompt to relieve it. When Muhammad Shah divided the territories of Dehli into four parts, as the author has fully explained in his Manakib-i Sultan Muhammad, he placed one part under the charge of Firoz Shah, so that he might acquire experience in the art of government....

It is commonly reported that when the Khwaja-i Jahan heard that Sultan Muhammad Shah was dead, and that Sultan Firoz Shah had been chosen by the nobles and chief men to succeed him, he set up the son of Muhammad Shah in opposition at Dehli, and gained the people over to his side. But this commonly received story is not true. The author here gives the true account of this transaction just as he heard it from Kishwar Khan, son of Kishlu Khan Bahram, one of the servants of the Court.

When Sultan Muhammad Shah died at Thatta, the chiefs of the Hazara of Khurasan, who had come to assist him, as soon as they heard of his death, plundered the chief bazar, as the author has related in his Manakib-i Sultan Muhammad Shah....

The Sultan then marched through Kanauj and Oudh to Jaunpur. Before this time there was no town of any extent (shahr-i abadan) there, but the Sultan, observing a suitable site, determined upon building a large town. He accordingly stayed there six months, and built a fine town on the banks of the Kowah, to which he determined to give the name of Sultan Muhammad Shah, son of Tughlik Shah, and as that sovereign bore the name of Jaunan, he called the place Jaunanpur (Jaunpur). An account of this foundation was sent to Khwaja-i Jahan at Dehli. Jaunpur was made a (capital) city in the reign of the Sultanu-sh Shark Khwaja-i Jahan, and I intend to give a full account of this King of the East in my memoirs (manakib) of the reign of Sultan Muhammad, son of Firoz. After this delay of six months, he marched for Bengal, and in due time arrived there...

During the forty years that Firoz Shah reigned, all his people were happy and contented; but when he departed, and the territory of Dehli came into the hands of others, by the will of fate, the people were dispersed and the learned were scattered. At length the inhabitants, small and great, all suffered from the inroads of the Mughals. The aged author of this work has written a full account thereof in his Description of the Sack of Dehli [Zikr-i kharabi Dehli]....

Towards the end of the reign of Firoz Shah, *** enmity broke out between the minister and Prince Muhammad Khan, afterwards Sultan Muhammad Shah. Their dissensions were the cause of great trouble and disaster to the country; old and young, small and great, suffered, and the country at length fell a prey to the inroads of the Mughals. The author has entered fully into the details of this quarrel in his memoir of Sultan Muhammad bin Firoz.

-- XVI. Tarikh-i Firoz Shahi, of Shams-i Siraj 'Afif, Excerpt from The History of India As Told By Its Own Historians: The Muhammadan Period, edited from the posthumous papers of the Late Sir H.M. Elliot, K.C.B., East India Company's Bengal Civil Service, by Professor John Dowson, M.R.A.S., Staff college, Sandhurst, Vol. III, P. 269-364, 1871


Shams-i Siraj ‘Afif, author of the Ta'rikh-i Firuz Shahi, completed his work after the death of Firuz Shah. The work was written after the capture of the city of Delhi by Timur’s army in 1398-1399. ‘Afif's relationship to the court is not known. He was not known to be a nadim like Barani and his patron is not known. ‘Afif devotes several chapters to the architectural endeavors of the sultan, most notably the foundations at Firuzabad and Hissar. He also provides a list of monuments where Firuz Shah undertook restoration and also discusses the transport of the Asokan columns to Delhi. Since ‘Afif witnessed the destruction of Delhi by Timur, his history is a nostalgic recollection of a past era. His account is not always firsthand and he frequently relies on the testimony of other authorities, such as his father, as well as his own memory. According to the author, the Ta’rikh is only part of a larger composition which records the history of the Delhi sultanate from the time of Ghiyath al-Din Tughluq through the time of Timur’s capture. However, the known manuscripts of the work include only the reign of Firuz Shah. The name Ta’rikh-i Firuz Shahi has been ascribed to the work by modern historians on the basis of the surviving portions. Even these, however, are incomplete according to the author’s table of contents. ‘Afif refers to his work as the Manaqib-i Firuz Shahi. [The manaqib ("merit" or "virtue") is a literary genre which is usually reserved for biographies of saints and Muslim holymen. According to Hardy, the application of this genre to a biography of a sultan is unusual and he claims that ‘Afif "superimposes upon events a pattern required by the literary genre..." The same author contends that ‘Afif models the sultan "in conformity with an abstract ideal." See Hardy, Historians of Medieval India, p. 41.]

-- The Architecture of Firuz Shah Tughluq, Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University, by William Jeffrey McKibben, B.A., M.A., 1988


A false document is a technique by which an author aims to increase verisimilitude in a work of fiction by inventing and inserting or mentioning documents that appear to be factual.[1] The goal of a false document is to convince an audience that what is being presented is factual.

In politics

-- Morale Operations Branch, by Wikipedia

-- Doctrine Re Rumors, by Office of Strategic Services Planning Group

-- Walt Disney's World War II propaganda production, by Wikipedia

-- Investigation of Un-American Propaganda Activities in the United States: Appendix, Part IV: German-American Bund: Three Documents on the German-American Bund, by Special Committee on Un-American Activities

-- Investigation of Un-American Propaganda Activities in the United States: Appendix, Part VII: Report on the Axis Front Movement in the United States [Excerpt from pp. 59-85]

-- Propaganda in the United States, by Wikipedia

-- Brand, by Wikipedia

-- Spin (Propaganda), by Wikipedia

-- Chapter 13: Tango with the Devil . The Red Millionaire: A Political Biography of Willy Munzenberg, Moscow's Secret Propaganda Tsar in the West, by Sean McMeekin

-- Rupert Murdoch: Propaganda Recruit, by Robert Parry

-- Branding Democracy: U.S. Regime Change in Post-Soviet Eastern Europe, by Gerald Sussman


A forged document, the Zinoviev Letter, helped bring the downfall of the first Labour Government in Britain. Conspiracies within secret intelligence services have occurred more recently, leading Harold Wilson to put in place rules to prevent in the 1960s phone tapping of members of Parliament, for example.

The Protocols of the Elders of Zion, purporting to describe a Jewish plan for global domination, was first published in Russia in 1903, translated into multiple languages, and disseminated internationally in the early part of the 20th century.

In art

Artist JSG Boggs's life and work have been extensively explored by author and journalist Lawrence Weschler. Boggs drew currency with exceptional care and accuracy, but he only ever drew one side. He then attempted to buy things with the piece of paper upon which he has drawn the currency. His goal was to pass each bill for its face value in common transactions. He bought lunch, clothes, and lodging in this manner, and after the transactions were complete, his bills fetched many times their face value on the art market. Boggs did not make any money from the much larger art market value of his work, only from reselling the goods bought, the change and receipts and other such materials. He was arrested in many countries, and there was much controversy surrounding his work.

Orson Welles' F for Fake is a prime example of a film which is both about falsification (art forgery and the journalism surrounding art forgery) as well as having falsified moments within the film. The movie follows the exploits of a famous art forger, his biographer Clifford Irving, and the subsequent fake autobiography of Howard Hughes that Irving tries to publish. The issues of veracity and forgery are explored in the film, while at the same time, Welles tricks the audience by incorporating fake bits of narrative alongside the documentary footage.

In cross-marketing

There is a long history of producers creating tie-in material to promote and merchandise movies and television shows. Tie-in materials as far-ranging as toys, games, lunch boxes, clothing and so on have all been created and in some cases generate as much or more revenue as the original programming. One big merchandising arena is publishing. In most cases such material is not considered canon within the show's mythology; however, in some instances the books, magazines, etc. are specifically designed by the creators to be canonical. With the rise of the Internet, in-canon online material has become more prominent.

Hoaxes

Main article: Hoax

A number of hoaxes have involved false documents:

• Salamander Letter
The Report From Iron Mountain
• The Oera Linda book
• The Hitler Diaries
• The Dossiers Secrets d'Henri Lobineau

See also

• Alternate reality game
• A Racial Program for the Twentieth Century, an anti-Semitic forgery
• Donation of Constantine
• Epistolary novel
• False documentation
• Fictional book
• Forgery
• Frame tale
• Literary forgery
• Fictitious entry
• Questioned document examination
• Voynich manuscript

References

1. Baker, Timothy C. (2014). "Authentic Inauthenticity: The Found Manuscript". Contemporary Scottish Gothic. pp. 54–88. doi:10.1057/9781137457202_3. ISBN 978-1-349-49861-1.

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Pseudepigrapha
by Wikipedia
Accessed: 12/25/21

Image
Pseudo-Dionysius the Areopagite

Pseudepigrapha (also anglicized as "pseudepigraph" or "pseudepigraphs") are falsely attributed works, texts whose claimed author is not the true author, or a work whose real author attributed it to a figure of the past.[1]

In biblical studies, the term pseudepigrapha can refer to an assorted collection of Jewish religious works thought to be written c. 300 BCE to 300 CE. They are distinguished by Protestants from the deuterocanonical books (Catholic and Orthodox) or Apocrypha (Protestant), the books that appear in extant copies of the Septuagint in the fourth century or later[2] and the Vulgate, but not in the Hebrew Bible or in Protestant Bibles.[3] The Catholic Church distinguishes only between the deuterocanonical and all other books; the latter are called biblical apocrypha, which in Catholic usage includes the pseudepigrapha.[citation needed] In addition, two books considered canonical in the Orthodox Tewahedo churches, viz. Book of Enoch and Book of Jubilees, are categorized as pseudepigrapha from the point of view of Chalcedonian Christianity.[citation needed]

In addition to the sets of generally agreed to be non-canonical works, scholars will also apply the term to canonical works who make a direct claim of authorship, yet this authorship is doubted. For example, the Book of Daniel is widely considered to have been written in the 2nd century BCE, 400 years after the prophet Daniel lived, and thus the work is pseudepigraphic. A New Testament example might be the book of 2 Peter, widely considered to be written approximately 80 years after Saint Peter's death. Early Christians, such as Origen, harbored doubts as to the authenticity of the book's authorship.[4]

Etymology

The word pseudepigrapha (from the Greek: ψευδής, pseudḗs, "false" and ἐπιγραφή, epigraphḗ, "name" or "inscription" or "ascription"; thus when taken together it means "false superscription or title";[5] see the related epigraphy) is the plural of "pseudepigraphon" (sometimes Latinized as "pseudepigraphum").

Classical and biblical studies

There have probably been pseudepigrapha almost from the invention of full writing. For example, ancient Greek authors often refer to texts which claimed to be by Orpheus or his pupil Musaeus of Athens but which attributions were generally disregarded. Already in Antiquity the collection known as the "Homeric Hymns" was recognized as pseudepigraphical, that is, not actually written by Homer.[citation needed] The only surviving Ancient Roman book on cooking is pseudepigraphically attributed to a famous gourmet, Apicius, even though it is not clear who actually assembled the recipes.

Literary studies

In secular literary studies, when works of antiquity have been demonstrated not to have been written by the authors to whom they have traditionally been ascribed, some writers apply the prefix pseudo- to their names. Thus the encyclopedic compilation of Greek myth called the Bibliotheca is often now attributed, not to Apollodorus of Athens, but to "pseudo-Apollodorus" and the Catasterismi, recounting the translations of mythic figure into asterisms and constellations, not to the serious astronomer Eratosthenes, but to a "pseudo-Eratosthenes". The prefix may be abbreviated, as in "ps-Apollodorus" or "ps-Eratosthenes".[citation needed]

Old Testament and intertestamental studies

See also: Apocrypha and Biblical apocrypha

In biblical studies, pseudepigrapha refers particularly to works which purport to be written by noted authorities in either the Old and New Testaments or by persons involved in Jewish or Christian religious study or history. These works can also be written about biblical matters, often in such a way that they appear to be as authoritative as works which have been included in the many versions of the Judeo-Christian scriptures. Eusebius indicates this usage dates back at least to Serapion of Antioch, whom Eusebius records[6] as having said: "But those writings which are falsely inscribed with their name (ta pseudepigrapha), we as experienced persons reject...."

Many such works were also referred to as Apocrypha, which originally connoted "secret writings", those that were rejected for liturgical public reading. An example of a text that is both apocryphal and pseudepigraphical is the Odes of Solomon.[7] It is considered pseudepigraphical because it was not actually written by Solomon but instead is a collection of early Christian (first to second century) hymns and poems, originally written not in Hebrew, and apocryphal because they were not accepted in either the Tanakh or the New Testament.

Protestants have also applied the word Apocrypha to texts found in Catholic and Eastern Orthodox scriptures which were not found in Hebrew manuscripts. Catholics call those "deuterocanonical books". Accordingly, there arose in some Protestant biblical scholarship an extended use of the term pseudepigrapha for works that appeared as though they ought to be part of the biblical canon, because of the authorship ascribed to them, but which stood outside both the biblical canons recognized by Protestants and Catholics. These works were also outside the particular set of books that Roman Catholics called deuterocanonical and to which Protestants had generally applied the term Apocryphal. Accordingly, the term pseudepigraphical, as now used often among both Protestants and Roman Catholics (allegedly for the clarity it brings to the discussion), may make it difficult to discuss questions of pseudepigraphical authorship of canonical books dispassionately with a lay audience. To confuse the matter even more, Eastern Orthodox Christians accept books as canonical that Roman Catholics and most Protestant denominations consider pseudepigraphical or at best of much less authority. There exist also churches that reject some of the books that Roman Catholics, Orthodox and Protestants accept. The same is true of some Jewish religious movements. Many works that are "apocryphal" are otherwise considered genuine.[citation needed]

There is a tendency not to use the word pseudepigrapha when describing works later than about 300 CE when referring to biblical matters.[3]: 222–28  But the late-appearing Gospel of Barnabas, Apocalypse of Pseudo-Methodius, the Pseudo-Apuleius (author of a fifth-century herbal ascribed to Apuleius), and the author traditionally referred to as the "Pseudo-Dionysius the Areopagite", are classic examples of pseudepigraphy. In the fifth century the moralist Salvian published Contra avaritiam ("Against avarice") under the name of Timothy; the letter in which he explained to his former pupil, Bishop Salonius, his motives for so doing survives.[8] There is also a category of modern pseudepigrapha.

Examples of books labeled Old Testament pseudepigrapha from the Protestant point of view are the Book of Enoch, the Book of Jubilees (both of which are canonical in Orthodox Tewahedo Christianity and the Beta Israel branch of Judaism); the Life of Adam and Eve and "Pseudo-Philo".[citation needed]

The term pseudepigrapha is also commonly used to describe numerous works of Jewish religious literature written from about 300 BCE to 300 CE. Not all of these works are actually pseudepigraphical. It also refers to books of the New Testament canon whose authorship is misrepresented. Such works include the following:[3]

• 3 Maccabees
• 4 Maccabees
• Assumption of Moses
• Ethiopic Book of Enoch (1 Enoch)
• Slavonic Second Book of Enoch
• Book of Jubilees
• 3 Baruch
• Letter of Aristeas
• Life of Adam and Eve
• Ascension of Isaiah
• Psalms of Solomon
• Sibylline Oracles
• 2 Baruch
• Testaments of the Twelve Patriarchs
• 4 Ezra

Various canonical works accepted as scripture have since been reexamined and considered by modern scholars in the 19th century onward as likely cases of pseudepigraphica. The Book of Daniel directly claims to be written by the prophet Daniel, yet there are strong reasons to believe it was not written until centuries after Daniel's death, such as references to the book only appearing in the 2nd century BCE and onward. The book is an apocalypse wherein Daniel offers a series of predictions of the future, and is meant to reassure the Jews of the period that the tyrant Antiochus IV Epiphanes would soon be overthrown. By backdating the book to the 6th century BCE and providing a series of correct prophecies as to the history of the past 400 years, the authorship claim of Daniel strengthens the true author's predictions of the coming fall of the Seleucid Empire.[4][9]

New Testament studies

Some Christian scholars maintain that nothing known to be pseudepigraphical was admitted to the New Testament canon. However, many biblical scholars, such as Dr. Bart D. Ehrman, hold that only seven of Paul's epistles are convincingly genuine.[10] All of the other 20 books in the New Testament appear to many scholars to be written by unknown people who were not the well-known biblical figures to whom the early Christian leaders originally attributed authorship.[10] The Catholic Encyclopedia notes,

The first four historical books of the New Testament are supplied with titles, which however ancient, do not go back to the respective authors of those sacred texts. The Canon of Muratori, Clement of Alexandria, and St. Irenaeus bear distinct witness to the existence of those headings in the latter part of the second century of our era. Indeed, the manner in which Clement (Strom. I, xxi), and St. Irenaeus (Adv. Haer. III, xi, 7) employ them implies that, at that early date, our present titles to the gospels had been in current use for some considerable time. Hence, it may be inferred that they were prefixed to the evangelical narratives as early as the first part of that same century. That however, they do not go back to the first century of the Christian era, or at least that they are not original, is a position generally held at the present day. It is felt that since they are similar for the four Gospels, although the same Gospels were composed at some interval from each other, those titles were not framed and consequently not prefixed to each individual narrative, before the collection of the four Gospels was actually made. Besides as well pointed out by Prof. Bacon, "the historical books of the New Testament differ from its apocalyptic and epistolary literature, as those of the Old Testament differ from its prophecy, in being invariably anonymous, and for the same reason. Prophecies, whether in the earlier or in the later sense, and letters, to have authority, must be referable to some individual; the greater his name, the better. But history was regarded as common possession. Its facts spoke for themselves. Only as the springs of common recollection began to dwindle, and marked differences to appear between the well-informed and accurate Gospels and the untrustworthy ... become worth while for the Christian teacher or apologist to specify whether the given representation of the current tradition was 'according to' this or that special compiler, and to state his qualifications". It thus appears that the present titles of the Gospels are not traceable to the Evangelists themselves.[11]


The earliest and best manuscripts of Matthew, Mark, Luke and John were all written anonymously.[12] Furthermore, the books of Acts, Hebrews, 1 John, 2 John and 3 John were also written anonymously.[12]

Pauline epistles

Main article: Pauline epistles

There are thirteen letters in the New Testament which are attributed to Paul and are still considered by Christians to carry Paul's authority. These letters are part of the Christian Bible and are foundational for the Christian Church. Therefore, those letters which some think to be pseudepigraphic are not considered any less valuable to Christians.[13] Some of these epistles are termed as "disputed" or "pseudepigraphical" letters because they do not appear to have been written by Paul. They instead appear to have come from followers writing in Paul's name, often using material from his surviving letters. Some choose to believe that these followers may have had access to letters written by Paul that no longer survive, although this theory still depends on someone other than Paul writing these books.[14] Some theologians prefer to simply distinguish between "undisputed" and "disputed" letters, thus avoiding the term "pseudepigraphical".[13]

Authorship of 6 out of the 13 canonical epistles of Paul has been questioned by both Christian and non-Christian biblical scholars.[14] These include the Epistle to the Ephesians, Epistle to the Colossians, Second Epistle to the Thessalonians, First Epistle to Timothy, Second Epistle to Timothy, and Epistle to Titus. These six books are referred to as "deutero-Pauline letters", meaning "secondary" standing in the corpus of Paul's writings. They internally claim to have been written by Paul, but some biblical scholars present strong evidence that they could not have been written by Paul.[10] Those known as the "Pastoral Epistles" (Timothy, 2 Timothy, and Titus) are all so similar that they are thought to be written by the same unknown author in Paul's name.[10]

Catholic epistles

Main article: Catholic epistles

There are seven letters in the New Testament which are attributed to several apostles, such as Saint Peter, John the Apostle, and Jesus's brothers James and Jude.

Three of the seven letters are anonymous. These three have traditionally been attributed to John the Apostle, the son of Zebedee and one of the Twelve Apostles of Jesus. Consequently, these letters have been labelled the Johannine epistles, despite the fact that none of the epistles mentions any author. Most modern scholars believe the author is not John the Apostle, but there is no scholarly consensus for any particular historical figure. (see: Authorship of the Johannine works).[15][16]

Two of the letters claim to have been written by Simon Peter, one of the Twelve Apostles of Jesus. Therefore, they have traditionally been called the Petrine epistles. However, most modern scholars agree the second epistle was probably not written by Peter, because it appears to have been written in the early 2nd century, long after Peter had died. Yet, opinions on the first epistle are more divided; many scholars do think this letter is authentic. (see: Authorship of the Petrine epistles)[17]

In one epistle, the author only calls himself James (Ἰάκωβος Iákobos). It is not known which James this is supposed to be. There are several different traditional Christian interpretations of other New Testament texts which mention a James, brother of Jesus. However, most modern scholars tend to reject this line of reasoning, since the author himself does not indicate any familial relationship with Jesus. A similar problem presents itself with the Epistle of Jude (Ἰούδας Ioudas): the writer names himself a brother of James (ἀδελφὸς δὲ Ἰακώβου adelphos de Iakóbou), but it is not clear which James is meant. According to some Christian traditions, this is the same James as the author of the Epistle of James, who was allegedly a brother of Jesus; and so, this Jude should also be a brother of Jesus, despite the fact he does not indicate any such thing in his text.[18]

Other Pseudepigrapha

The Gospel of Peter[19] and the attribution to Paul of the Epistle to the Laodiceans are both examples of pseudepigrapha that were not included in the New Testament canon.[20] They are often referred to as New Testament apocrypha. Further examples of New Testament pseudepigrapha include the Gospel of Barnabas[21] and the Gospel of Judas, which begins by presenting itself as "the secret account of the revelation that Jesus spoke in conversation with Judas Iscariot".[22]

Authorship and pseudepigraphy: levels of authenticity

Scholars have identified seven levels of authenticity which they have organized in a hierarchy ranging from literal authorship, meaning written in the author's own hand, to outright forgery:

1. Literal authorship. A church leader writes a letter in his own hand.
2. Dictation. A church leader dictates a letter almost word for word to an amanuensis.
3. Delegated authorship. A church leader describes the basic content of an intended letter to a disciple or to an amanuensis.
4. Posthumous authorship. A church leader dies, and his disciples finish a letter that he had intended to write, sending it posthumously in his name.
5. Apprentice authorship. A church leader dies, and disciples who had been authorized to speak for him while he was alive continue to do so by writing letters in his name years or decades after his death.
6. Honorable pseudepigraphy. A church leader dies, and admirers seek to honor him by writing letters in his name as a tribute to his influence and in a sincere belief that they are responsible bearers of his tradition.
7. Forgery. A church leader obtains sufficient prominence that, either before or after his death, people seek to exploit his legacy by forging letters in his name, presenting him as a supporter of their own ideas.[23]: 224 

Others have questioned the usefulness and accuracy of distinguishing between the final three types. According to this criticism, the idea of "honest forgers" is a later creation of the 19th and 20th centuries for theological reasons to allow that a pseudepigraphic document that was included in the New Testament might have been written by someone other than the claimed author, but for a respectable reason that wouldn't require questioning its canonicity or credibility in other matters. It does not appear that early Christians considered such distinctions valid: works they believed in the authority of they asserted either literal authorship or dictation, while works from non-apostolic authors writing as if they were an apostle were denounced without interest to whether the motive was pure. In disputes between rival camps of Christians in the 2nd and 3rd century, their writings will sometimes accuse the other side of relying on forged works that were not truly from the apostles and their first-century associates. In these cases, the true authors surely believed that they were writing a message the apostles would have approved of, yet other Christians did not consider this honorable; rather, they denounced the documents as false.[24]

The Zohar



The Zohar (Hebrew: זֹהַר, lit. Splendor or Radiance), foundational work in the literature of Jewish mystical thought known as Kabbalah,[25] first appeared in Spain in the 13th century, and was published by a Jewish writer named Moses de León. De León ascribed the work to Shimon bar Yochai ("Rashbi"), a rabbi of the 2nd century during the Roman persecution[26] who, according to Jewish legend,[27][28] hid in a cave for thirteen years studying the Torah and was inspired by the Prophet Elijah to write the Zohar. This accords with the traditional claim by adherents that Kabbalah is the concealed part of the Oral Torah. Modern academic analysis of the Zohar, such as that by the 20th century religious historian Gershom Scholem, has theorized that de León was the actual author, as textual analysis points to Medieval Spanish Jewish writer rather than one living in Roman-ruled Palestine. The view of some Orthodox Jews and Orthodox groups, as well as non-Orthodox Jewish denominations, generally conforms to this latter view, and as such, most such groups have long viewed the Zohar as pseudepigraphy and apocrypha.

Ovid

Conrad Celtes, a noted German humanist scholar and poet of the German Renaissance, collected numerous Greek and Latin manuscripts in his function as librarian of the Imperial Library in Vienna. In a 1504 letter to the Venetian publisher Aldus Manutius[29] Celtes claimed to have discovered the missing books of Ovid’s Fasti. However, it turned out that the purported Ovid verses had actually been composed by an 11th-century monk and were known to the Empire of Nicaea according to William of Rubruck. Even so, many contemporary scholars believed Celtes and continued to write about the existence of the missing books until well into the 17th century.[30]

As literary device

Pseudepigraphy has been employed as a metafictional technique. Authors who have made notable use of this device include James Hogg (The Private Memoirs and Confessions of a Justified Sinner), Jorge Luis Borges ("An Examination of the Works of Herbert Quain"; "Pierre Menard, Author of the Quixote"), Vladimir Nabokov (Pale Fire), Stanislaw Lem (A Perfect Vacuum; Imaginary Magnitude) Roberto Bolaño (Nazi Literature in the Americas) and Stefan Heym (The Lenz Papers).

In a less literary refined genre, Edgar Rice Burroughs presented many of his works – including the most well-known, the Tarzan books – as pseudepigrapha, prefacing each book with a detailed introduction presenting the supposed actual author, with Burroughs himself pretending to be no more than the literary editor. J.R.R. Tolkien in The Lord of the Rings presents that story and The Hobbit as translated from the fictional Red Book of Westmarch written by characters within the novels. A similar device was used by various other writers of popular fiction.

See also

• False attribution
• False document
• Hadith
• Journal for the Study of the Pseudepigrapha
• List of Old Testament pseudepigrapha
• Prophecy of the Popes

Citations

1. Bauckham, Richard; "Pseudo-Apostolic Letters", Journal of Biblical Literature, Vo. 107, No. 3, September 1988, pp. 469–94.
2. Beckwith, Roger T. (2008). The Canon of the Old Testament (PDF). Eugene, OR: Wipf & Stock Pub. pp. 62, 382–83. ISBN 978-1606082492. Retrieved 23 November 2015.
3. Harris, Stephen L. (2010). Understanding The Bible. McGraw-Hill Education. ISBN 978-0-07-340744-9.
4. Ehrman, Bart (2012). Forgery and Counterforgery: The Use of Literary Deceit in Early Christian Polemics. Oxford University Press. p. 83–88. ISBN 9780199928033.
5. Liddell, Henry George; Scott, Robert (1940). "ψευδεπίγραφος". A Greek-English Lexicon. Trustees of Tufts University, Oxford. Retrieved 17 July 2018.
6. Eusebius, Historia Ecclesiae 6,12.
7. Charlesworth, James. Odes of Solomon Archived 2004-04-14 at the Wayback Machine
8. Salvian, Epistle, ix.
9. Collins, John (1999). "Pseudepigraphy and Group Formation in Second Temple Judaism". Pseudepigraphic Perspectives: The Apocrypha and Pseudepigrapha in Light of the Dead Sea Scrolls. doi:10.1163/9789004350328_005.
10. D., Ehrman, Bart (2011). Forged : writing in the name of God : why the Bible's authors are not who we think they are (1st ed.). New York: HarperOne. ISBN 9780062012616. OCLC 639164332.
11. Farley (Archbishop of New York), Imprimatur John Cardinal (1913). Charles George Herbermann; Edward Aloysius Pace; Condé Bénoist Pallen; John Joseph Wynne; Thomas Joseph Shahan (eds.). The Catholic Encyclopedia: An International Work of Reference on the Constitution, Doctrine, and History of the Catholic Church, Volume 6. New York: The Encyclopedia Press. pp. 655–56.
12. D., Ehrman, Bart (2005). Misquoting Jesus : the story behind who changed the Bible and why (1st ed.). New York: HarperSanFrancisco. ISBN 0060738170. OCLC 59011567.
13. Just, Felix. "The Deutero-Pauline Letters"
14. Sanders, E. P. "Saint Paul, the Apostle". Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2013. Web. 20 May 2013.
15. Brown, Raymond Edward (1988). The Gospel and Epistles of John: A Concise Commentary. Liturgical Press. ISBN 978-0-8146-1283-5.
16. Marshall, I. Howard (1978-07-14). The Epistles of John. Wm. B. Eerdmans Publishing. ISBN 978-1-4674-2232-1.
17. Ehrman, Bart D. (2003). Lost Christianities : the battle for Scripture and the faiths we never knew. Internet Archive. New York : Oxford University Press. ISBN 978-0-19-514183-2.
18. Ehrman, Bart D. (2003). Lost Christianities : the battle for Scripture and the faiths we never knew. Internet Archive. New York : Oxford University Press. ISBN 978-0-19-514183-2.
19. Joel Willitts, Michael F. Bird: "Paul and the Gospels: Christologies, Conflicts and Convergences" p. 32
20. Lewis R. Donelson: "Pseudepigraphy and Ethical Argument in the Pastoral Epistles", p. 42
21. Joosten, Jan (January 2002). "The Gospel of Barnabas and the Diatessaron". Harvard Theological Review. 95 (1): 73–96.
22. Kasser, Rodolphe; Meyer, Marvin Meyer; Wurst, Gregor, eds. (2006). The Gospel of Judas. Commentary by Bart D. Ehrman. Washington D.C.: National Geographic Society. pp. 1, 4–5, 7, 43. ISBN 978-1426200427.
23. Powell, Mark A. Introducing the New Testament. Baker Academic, 2009. ISBN 978-0-8010-2868-7
24. Ehrman, Bart (2012). Forgery and Counterforgery: The Use of Literary Deceit in Early Christian Polemics. Oxford University Press. p. 44–56. ISBN 9780199928033.
25. Scholem, Gershom and Melila Hellner-Eshed (2007). "Zohar". In Berenbaum, Michael; Skolnik, Fred (eds.). Encyclopaedia Judaica. 21 (2nd ed.). Detroit: Macmillan Reference. pp. 647–64. ISBN 978-0-02-866097-4.
26. Jacobs, Joseph; Broydé, Isaac. "Zohar". Jewish Encyclopedia. Funk & Wagnalls Company.
27. Scharfstein, Sol (2004). Jewish History and You II. Jewish History and You. Jersey City, NJ: KTAV Publishing House. p. 24. ISBN 9780881258066.
28. "Rabbi Shimon Bar Yochai – Lag BaOmer at". Ou.org. Retrieved 2012-06-06.
29. Wood, Christopher S. (2008). Forgery, Replica, Fiction: Temporalities of German Renaissance Art. University Of Chicago Press. p. 8.
30. Fritsen, Angela (2015). Antiquarian Voices: The Roman Academy and the Commentary Tradition on Ovid's Fasti (Text and Context). Ohio State University Press.

Sources

• Cueva, Edmund P., and Javier Martínez, eds. Splendide Mendax: Rethinking Fakes and Forgeries in Classical, Late Antique, and Early Christian Literature. Groningen: Barkhuis, 2016.
• DiTommaso, Lorenzo. A Bibliography of Pseudepigrapha Research 1850–1999, Sheffield: Sheffield Academic Press, 2001.
• Ehrman, Bart. Forgery and Counterforgery: The Use of Literary Deceit in Early Christian Polemics. Oxford: Oxford University Press, 2013.
• Kiley, Mark. Colossians as Pseudepigraphy (Bible Seminar, 4 Sheffield: JSOT Press 1986). Colossians as a non-deceptive school product.
• Metzger, Bruce M. "Literary forgeries and canonical pseudepigrapha", Journal of Biblical Literature 91 (1972).
• von Fritz, Kurt, (ed.) Pseudepigraphica. 1 (Geneva: Foundation Hardt, 1972). Contributions on pseudopythagorica (the literature ascribed to Pythagoras), the Platonic Epistles, Jewish-Hellenistic literature, and the characteristics particular to religious forgeries.

External links

• Online Critical Pseudepigrapha Online texts of the Pseudepigrapha in their original or extant ancient languages
• Smith, Mahlon H. Pseudepigrapha entry in Into His Own: Perspective on the World of Jesus online historical source book, at VirtualReligion.net
• Journal for the Study of the Pseudepigrapha official website
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Re: Freda Bedi Cont'd (#3)

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Part 1 of 2

Donation of Constantine
by Wikipedia
Accessed: 12/25/21



Ashoka

The trappings of government set up in Calcutta to cope with the sudden acquisition of Bengal included not only a judiciary but also a mint. It was as Assistant Assay-Master at this mint that James Prinsep arrived in India in 1819. The post was an undistinguished one; Prinsep, far from being a celebrity like Jones, could expect nothing better. He was barely 20 and, according to his obituarist, "wanting, perhaps, in the finish of classical scholarship which is conferred at the public schools and universities of England''. As a child, the last in a family of seven sons, his passion had been constructing highly intricate working models; "habits of exactness and minute attention to detail'' would remain his outstanding traits. He studied architecture under Pugin, transferred to the Royal Mint when his eyesight became strained, and thence to Calcutta. ''Well grounded in chemistry, mechanics and the useful sciences", he was not an obvious candidate for the mantle of Jones and the distinction of being India's most successful scholar.

In the quarter century between Jones' death and Prinsep's arrival the British position in India had changed radically. The defeats of Tippu Sultan, ruler of Mysore, of the Marathas, and of the Gurkhas had left the British undisputed masters of as much of India as they cared to digest. Indeed the British raj had begun. The sovereignty of the East India Company was almost as much a political fiction as that of their nominal but now helpless overlord, the Moghul emperor. Both, though they lingered on for another 30 years, had become anachronisms.

From Calcutta a long arm of British territory now reached up the Ganges and the Jumna to Agra, Delhi and beyond. A thumb prodded the Himalayas between Nepal and Kashmir, while several stubby fingers probed into Punjab, Rajasthan and central India. In the west, Bombay had been expanding into the Maratha homeland; Broach and Baroda were under Britfsh control, and Poona, a centre of Hindu orthodoxy and the Maratha capital, was being transformned into the legendary watering place for Anglo-Indian bores. In the south, all that was not British territory was held by friendly feudatories; the French had been obliterated, Mysore settled, and the limits of territorial expansion already reached.

Visitors in search of the real India no longer had to hop around the coastline; they could now march boldly, and safely, across the middle. Bishop Heber of Calcutta (the appointment itself was a sign of the times; in Jones's day there had not been even a church in Calcutta) toured his diocese in the 1820s. The diocese was a big one -- the whole of India -- and ''Reginald Calcutta", as he signed himself, travelled the length of the Ganges to Dehra Dun in the Himalayas, then down through Delhi and Agra into Rajasthan, still largely independent, and came out at Poona and thence down to Bombay.

The acquisition of all this new territory brought the British into contact with the country's architectural heritage. Two centuries earlier Elizabethan envoys had marvelled at the cities of Moghul India ''of which the like is not to be found in all Christendom". The famous buildings of Agra, Fatehpur Sikri and Delhi, ''either of them much greater than London and more populous", they had described in detail. When, therefore, the first generation of British administrators arrived in upper India they showed genuine reverence for the architectural relics of Moghul power. Instead of the landscapes of Hodges and the Daniells their souvenirs of India would be detailed drawings of the Taj Mahal and the Red Fort. Their curiosity also extended to buildings sacred to the non-Mohammedan population; Khajuraho, Abu and many other sites were discovered between 1810 and 1830. The raw materials for a new investigation of India's past were accumulating. But it was another class of monuments, predating the Mohammedan invasions and with unmistakable signs of extreme antiquity, which would become Prinsep's speciality.

The first of these monuments -- one could scarcely call them buildings -- to attract European attention were the cave temples in the vicinity of Bombay. The island of Elephanta in Bombay harbour had been known to the Portuguese and became the subject of one of the earliest archaeological reports received by Jones's new Asiatic Society.
The cave is about three-quarters of a mile from the beach; the path leading to it lies through a valley; the hills on either side beautifully clothed and, except when interrupted by the dove calling to her absent mate, a solemn stillness prevails; the mind is fitted for contemplating the approaching scene.

The approaching scene was not of some natural cave with a few prehistoric scratchings, but of a spacious pillared hall, with delicate sculptural details and colossal stone figures -- an architectural creation in all but name; for the whole thing was hacked, hewn, carved and sculpted out of solid rock.

North of Bombay, the island of Salsette boasted more groups of such caves. In 1806 Lord Valentia, a young Englishman whose greatest claim to fame must be the sheer weight of his travelogue (four quarto volumes of just on half a hundredweight), set out to explore them. He took with him Henry Salt, his companion and artist, to help clear a path through the jungle that surrounded the caves. Outside the Jogeshwar caves they hesitated before the fresh pug marks of a tiger; according to the villagers, tigers actually lived in the caves for part of the year.

Salt found that the other Salsette caves at Kanheri and Montpezir had also been recently occupied. To the Portuguese, the pillared nave and the trahsepts had spelt basilica; there was even a hole in the facade for a rose window. They had just smothered the fine, but pagan, carving in stucco and consecrated the place. Salt chipped away at the stucco and observed how well it had preserved the sculpture.
Though these figures are by no means well proportioned, yet their air, size and general management give an expression of grandeur that the best sculptors have often failed in attaining; the laziness of attitude, the simplicity of drapery, the suitableness of their situation and the plainness of style in which they are executed . . . all contribute towards producing this effect.

He was getting quite a feeling for ancient art treasures. In Lord Valentia's train he would move on to Egypt, stay on there as British consul, and become so successful at appropriating and selling the art treasures of the Pharoahs that he rivalled the great tomb-robber Belzoni.

Meanwhile in India more rock-cut temples had come to light. The free-standing Kailasa temple at Ellora, cut into the rock from above like a gigantic intaglio, was discovered in the late 18th century. It was followed by the famous caves at Ajanta and Bagh. "Few remains of antiquity," wrote William Erskine in 1813, "have excited greater curiosity. History does not record any fact that can guide us in fixing the period of their execution, and many opposite opinions have been formed regarding the religion of the people by whom they were made." From the statuary at Elephanta and Ellora, particularly the figures with several heads and many arms, it was clear that these at least were Hindu.[???] But why were they in such remote locations and why had they been so long neglected? What, too, of the plainer caves like Kanheri and the largest of all, Karli in the Western Ghats? Lord Valentia was pretty sure that the sitting figure, surrounded by devotees, at Karli was ''the Boddh''; he had just come from Ceylon where Buddhism was still a living religion, though it appeared to be almost unknown in India.

Other critics who looked to the west for an explanation of anything they found admirable in Indian art, insisted that the excellence of the sculpture indicated the presence of a Greek, Phoenician or even Jewish colony in western India. Yet others looked to Africa: who but the builders of the pyramids could have achieved such monolithic wonders? These theories, were based on the idea that such monuments were exclusive to western India, which had a long history of maritime contacts with the West. They became less credible with the discovery of the so-called Seven Pagodas at Mahabalipuram near Madras. Here, a thousand miles away and on the other side of the Indian peninsula, were a group of temples cut not out of solid rock, but sculpted out of boulders. At first glance they looked like true buildings, a little rounded like old stone cottages, but well proportioned -- up to 55 feet long and 35 feet high -- with porches, pillars and statuary. It was only on closer inspection that one realised that each was a single gigantic stone sculpted into architecture. "Stupendous," declared William Chambers who twice visited the place in the 1770s (though his report had to wait for the Asiatic Society's first publication in 1789), ''of a style no longer in use, indeed closer to that of Egypt''.

Five years later, a further account of the boulder temples, or raths, was submitted by a man who had also seen Elephanta. To his mind there was no question that in style and technique the two were closely related. Had he also seen the intaglio temple of Ellora he might have been tempted to postulate some theory of architectural development; first the cave temple, then the free-standing excavation, and finally the boulder style, freed at last from solid rock. It was as if India's architecture had somehow evolved out of the earth's crust. Elsewhere, stone buildings have always evolved from wooden ones; but in India it was as if architecture was a development of sculpture. The distinctive characteristic of all truly Indian buildings is their sculptural quality. The great Hindu temples look like mountainous accumulations of figures and friezes; even the Taj Mahal, for all its purity of line, stays in the mind as a masterpiece of sculpture rather than of construction.

There was yet one other type of ancient monument which had intrigued early visitors. Thomas Coryat, an English eccentric who turned up in Delhi in 1616, was probably the first to take notice of it. South of the Moghul city of Delhi (now Old Delhi) lay the abandoned tombs and forts of half a dozen earlier Delhis (now, confusingly, the site of New Delhi). The ruins stretched for ten miles, overgrown, inhabited by bats and monkeys. But in the middle of this jungle of crumbling masonry Coryat saw something that made him stop; it did not belong. A plain circular pillar, 40 feet high, stuck up through the remains of some dying palace and, in the evening light so proper to ruins, it shone. At a distance he took it for brass, closer up for marble; it is in fact polished sandstone. Of a weight later estimated at 27 tons, it is a single, finely tapered stone, another example of highly developed monolithic craftsmanship. But what intrigued Coryat was the discovery that it was inscribed. Of the two principal inscriptions one was in a script consisting of simple erect letters, a bit like pin-men, which Coryat was sure were Greek. The pillar must then, he thought, have been erected by Alexander the Great, probably "in token of his victorie" over the Indian king Porus in 326 BC.

Fifty years later another such pillar was discovered by John Marshall, an East India Company factor who has been called "the first Englishman who really studied Indian antiquities". He was certainly less inclined to jump to wild conclusions. His pillar was "nine yards nine inches high" [27' 9"] and boasted a remarkable capital: ''at the top of this pillar ... is placed a tyger engraven, the neatliest that I have seene in India''.
It was actually a lion. But perhaps the most interesting thing about this pillar was that it was in Bihar, a thousand miles from Delhi and many more from the rock-cut monuments around Bombay and Madras.

Writing similar to that found on the Delhi pillar was also found on some of the cave temples; and at Karli there was actually a small pillar outside the cave. Clearly all these monuments were somehow connected. But it was doubtful whether Alexander had ever reached Delhi, let alone Bihar. The existence of a similar pillar there put paid to Coryat's idea of their commemorating Alexander's victories, although the possibility that the letters were some corrupt form of Greek would linger on for many years.

With the foundation of the Asiatic Society there was at last a forum in which a concerted investigation into all these monuments could take place. Reports of more pillars and caves were soon trickling in. Jones himself was rightly convinced that the mystery of who created them, when and why, could be solved only if the inscriptions could be translated. Some ancient civilisation, some foreign conqueror perhaps, or some master craftsman, seemed to be crying out for recognition. Another breakthrough seemed imminent; and with it another chunk of India's lost history might be restored.

Thanks to Charles Wilkins, the man who preceded Jones as a Sanskritist, progress was at first encouraging. At one of the earliest meetings of the Society he reported on a new pillar, also in Bihar.
Sometime, in the month of November in the year 1780 I discovered in the vicinity of the Town of Buddal, near which the Company has a factory, and which at that time was under my charge, a decapitated monumental pillar which at a little distance had very much the appearance of the trunk of a coconut tree broken off in the middle. It stands in a swamp overgrown with weeds near a small temple .... Upon my getting close enough to the monument to examine it, I took its dimensions and made a drawing of it. ... At a few feet above the ground is an inscription, engrained in the stone, from which I took two reversed impressions with printer's ink. I have lately been so fortunate as to decipher the character.

Though very different from Devanagari, the modern script used for Sanskrit, it was clearly related to it and Wilkins was not surprised to discover that the language was in fact Sanskrit. To historians the translation was a disappointment; the Buddal pillar told them nothing of interest. But the deciphering was an important development. Nowadays it is recognised that the modern Devanagari script has passed through three distinct stages; first the pin-men script that Coryat thought was Greek (Ashoka Brahmi); second a more ornate, chunky script (Gupta Brahmi); and third, a more curved and rounded script (Kutila) from which springs the washing-on-the-line script of Devanagari. The Buddal pillar was Kutila, and once Wilkins had established that it had some connection with Devanagari, the possibility of working backwards to the earlier scripts was dimly perceived.

As if to illustrate this, Wilkins next surprised his colleagues by teasing some sense out of an inscription written in Gupta Brahmi. It came from a cave near Gaya which had been known for some time though never visited; a Mr Hodgekis, who tried, "was assassinated on his way to it''. Encouraged by Warren Hastings, John Harrington, the secretary of the Asiatic Society, was more successful and found the cave hidden behind a tree near the top of a hill. The character of the inscription, according to Wilkins, was ''undoubtedly the most ancient of any that have hitherto come under my inspection. But though the writing is not modern, the language is pure Sanskrit.'' Wilkins, tantalising as ever about how he made his breakthrough, apparently divined that the inscription was in verse. It was the discovery of the metre that somehow helped him to the successful decipherment. But again, there was little in this new translation to satisfy the historian's thirst for facts.

A far more promising approach to the problem, indeed a short cut, seemed to be heralded in a letter to Jones from Lieutenant Francis Wilford, a surveyor and an enthusiastic student of all things oriental, who was based at Benares. Jones had been sent copies of inscriptions found at Ellora and written in Ashoka Brahmi, the still undeciphered pin-men. He had probably sent them to Wilford because Benares, the holy city of the hindus, was the most likely place to find a Brahmin who might be able to read them. In 1793 Wilford announced that he had found just such a man.

I have the honour to return to you the facsimile of several inscriptions with an explanation of them. I despaired at first of ever being able to decipher them ... However, after many fruitless attempts on our part, we were so fortunate as to find at lazst an ancient sage, who gave us the key, and produced a book in Sanskrit, containing a great many ancient alphabets formerly in use in different parts of India. This was really a fortunate discovery, which hereafter may be of great service to us.

According to the ancient sage, most of Wilford's inscriptions related to the wanderings of the five heroic Pandava brothers from the Mahabharata. At the unspecified time in question they were under an obligation not to converse with the rest of mankind; so their friends devised a method of communicating with them by writing short and obscure sentences on rocks and stones in the wilderness and in characters previously agreed upon betwixt them". The sage happened to have the key to these characters in his code book; obligingly he transcribed them into Devanagari Sanskrit and then translated them.

To be fair to Wilford, he was a bit suspicious about this ingenious explanation of how the inscriptions got there. But he had no doubts that the deciphering and translation were genuine. ''Our having been able to decipher them is a great point in my opinion, as it may hereafter lead to further discoveries, that may ultimately crown our labours with success.'' Above all, he had now located the code book, ''a most fortunate circumstance''.

Poor Wilford was the laughing stock of the Benares Brahmins for a whole decade. They had already fobbed him off with Sanskrit texts, later proved spurious, on the source of the Nile and the origin of Mecca. After the code book there was a geographical treatise on The Sacred Isles of the West, which included early Hindu reference to the British Isles. The Brahmins, to whom Sanskrit had so long remained a sacred prerogative, were getting their own back. One wonders how much Wilford paid his "ancient sage".

Jones was already a little suspicious of Wilford's sources, but on the code book, which was as much a fabrication as the translations supposedly based on it, he reserved judgement until he might see it. He never did. In fact it was never heard of again. But in spite of these disappointments Jones continued to believe that in time this oldest script would be deciphered. He had been sent a copy of the writings on the Delhi pillar and told a correspondent that they ''drive me to despair; you are right, I doubt not, in thinking them foreign; I believe them to be Ethiopian and to have been imported a thousand years before Christ". It was not one of his more inspired guesses and at the time of his death the mystery of the inscriptions and of the monoliths was as dark as ever.


And so it remained until the labours of James Prinsep. Jones had given oriental studies a strongly literary bias and his successors continued to concentrate on Sanskrit manuscripts. Archaeological studies were ignored in consequence, and so were inscriptions. Wilkins' few translations had led nowhere and the most intriguing of the scripts remained undeciphered. Indeed even the translation of the Gupta Brahmi script from the cave at Gaya was forgotten in the general waning of interest; it would have to be deciphered all over again.

During his first twelve years in India Prinsep confined his attention to scientific matters. He was sent to Benares to set up a second mint and while there redesigned the city's sewers. He also contributed a few articles to the Asiatic Society's journal (''Descriptions of a Pluviometer and Evaporameter", ''Note on the Magic Mirrors of Japan", etc).

But in 1830 he was recalled to Calcutta as assistant to the Assay-Master, Horace Hayman Wilson, who was also secretary of the Asiatic Society and an eminent Sanskrit scholar. At the time Wilson was puzzling over the significance of various ancient coins that had recently been found in Rajasthan and the Punjab. Prinsep helped to catalogue and describe them, and it was in attempting to decipher their legends that his interest in the whole question of ancient inscriptions was aroused. Although his ignorance of Sanskrit was undoubtedly a handicap, here, in the deciphering of scripts, was a field in which his quite exceptional talent for minute and methodical study could be deployed to brilliant advantage.

Since Jones' day another pillar like that at Delhi had been found at Allahabad; in addition to a Persian inscription of the Moghul period, it displayed a long inscription in each of the two older scripts (Ashoka Brahmi and Gupta Brahmi). A report had also been received of a rock in Orissa covered with the same two scripts. In 1833 Prinsep prevailed on a Lieutenant Burt, one of several enthusiastic engineers and surveyors, to take an exact impression of the Allahabad pillar inscription.

The facsimiles reached Prinsep in early 1834. With an eminent Sanskritist, the Rev W. H. Mill, he soon resolved the problem of the Gupta Brahmi. This was the script that Wilkins had deciphered nearly 50 years before, though his achievement had since been forgotten. The same thing was not likely to happen again; for this time the inscription had something to tell. Evidently it had been engraved on the instructions of a king called Samudragupta. It recorded his extensive conquests and it mentioned that he was the son of Chandragupta. The temptation to assume that this Chandragupta was the same as Jones' Chandragupta, the Sandracottus of the Greeks, was almost irresistible. But not quite. For one thing Jones' Chandragupta had not, according to the Sanskrit king lists, been succeeded by a Samudragupta; they did, however, mention several other Chandraguptas. But if Prinsep and Mill were disappointed at having to deny themselves the simplest and most satisfying of identifications, there would be compensation. They had raised the veil on a dynasty now known as the Imperial Guptas. According to the Allahabad inscriptions Samudragupta had ''violently uprooted'' nine kings and annexed their kingdoms. His rule stretched right across northern India and deep into the Deccan. Politically, here was an empire to rival that of Jones' Chandragupta. But, more important, the Gupta period, about AD 320-460, would soon come to be recognised as the golden age of classical Indian culture. To this period belong many of the frescoes of Ajanta, the finest of the Sarnath and Mathura sculptures, and the plays and poems of Kalidasa, ''the Indian Shakespeare".


But at the time Prinsep and Mill knew no more about these Guptas than what the pillar told them -- and much of that they were inclined to regard as royal hyperbole and therefore unreliable. Prinsep, anyway, was more interested in the scripts than in their historical interpretation. Unlike Jones, he did not indulge in grand theories. He was not a classical scholar, not even a Sanskritist, but a pragmatic, dedicated scientist.

In between experimenting with rust-proof treatments for the new steamboats to be employed on the Ganges, he wrestled next with the Ashoka Brahmi pin-men on the Allahabad column. Coryat's idea that it was some kind of Greek was back in fashion. One scholar claimed to have identified no less than seven letters of the Greek alphabet and another had actually read a Greek name written in this script on an ancient coin. Prinsep was sceptical. The Greek name was only Greek if read upside down. [???!!!] Turn it round and the pinmen letters were just like those on the pillars.

But as yet he had no solution of his own. ''It would require an accurate acquaintance with many of the languages of the East, as well as perfect leisure and abstraction from other pursuits to engage upon the recovery of this lost language.'' He guessed that it must be Sanskrit and thought the script looked simpler than the Egyptian hieroglyphs. It was still beyond him, though, and he could only hope that someone else in India would take up the challenge ''before the indefatigable students of Bonn and Berlin''.

No one reacted directly to this appeal, but in far away Kathmandu the solitary British resident at the Court of Nepal, Brian Houghton Hodgson, read his copy of the Society's journal and immediately dashed off a pained note. No man made more contributions to the discovery of India than Hodgson, or researched in so many different fields. From his outpost in the Himalayas he deluged the Asiatic Society with so many reports that it is hardly surprising some were mislaid. This was a case in point. "Eight or ten years ago" (so some time in the mid 1820s), he had sent in details of two more inscribed pillars. Prinsep could not find them. But Hodgson also disclosed that he had now found yet a third. It was at Bettiah (Lauriya Nandangarh) in northern Bihar and, like the others, very close to the Nepalese frontier. Could they then have been erected as boundary markers?

More intriguing was the facsimile of the inscription on this pillar which Hodgson thoughtfully enclosed. It was Ashoka Brahmi and Prinsep placed it alongside his copies of the Delhi and Allahabad inscriptions. Again he started to look for clues, concentrating this time on separating the shapes of the individual consonants from the vowels which were in the form of little marks festooning them. Darting from one facsimile to the other to verify these, he suddenly experienced that shiver down the spine that comes with the unexpected revelation. "Upon carefully comparing them, [the three inscriptions] with a view to finding any other words that might be common to them ... I was led to a most important discovery; namely that all three inscriptions were identically the same.''

Any surprise that he had not noticed this before must be tempered by the fact that the inscriptions, all of 2,000 years old, were far from perfect. Many letters had been worn away and in one case much of the original inscription had been obliterated by a later one written on top of it. The copies from which Prinsep worked also left much to be desired. Apart from the errors inevitable when someone tried to copy a considerable chunk of writing in totally unfamiliar characters, one copyist working his way round the pillar had managed to transpose the first and second halves of every line.

By correlating all three versions it was now possible to obtain a near perfect fair copy.
At the same time even the cautious Prinsep could not resist offering a few conjectures ''on the origin and nature of these singular columns, erected at places so distant from each other and all bearing the same inscription''.
Whether they mark the conquests of some victorious raja; -- whether they are, as it were, the boundary pillars of his dominions; -- or whether they are of a religious nature ... can only be satisfactorily solved by the discovery of the language.

Clearly this people, this kingdom, this religion, was of significance to the whole of north India. It was altogether too big a subject to be left to chance. Prinsep, well placed now as Secretary of the Asiatic Society to assess the various materials (Wilson had retired to England), resolved to undertake the translation himself. In 1834 he tried the obvious line of relating this script to that of the Gupta Brahmi which he had just deciphered. For each, he drew up a table showing the frequency with which individual letters occurred, the idea being that those which occurred approximately the same number of times in each script might be the same letters.[???!!!] It was worth a try, but obviously would work only if both were in the same language and dealt with the same sort of subject. They did not, in fact they were not even in the same language, and Prinsep soon gave up this approach.[???!!!]

Next he tried relating the individual letters from each of the two scripts which had a similar conformation. This was more encouraging. He tentatively identified a handful of consonants and heard from a correspondent in Bombay, who was working on the cave temple inscriptions, that he too had identified these and five others. Armed with these few identifications, he attempted a translation, hoping that the sense might reveal the rest. But some of his letters were wrongly identified, and anyway he was still barking up the wrong tree in imagining that the language was pure Sanskrit. The attempt was a dismal failure. Discouraged, but far from defeated, Prinsep returned to the drawing board.

For the next four years he pushed himself physically and mentally towards the brink. Outside his office Calcutta was changing. The Governor-General had a new residence modelled on Kedleston Hall, but considerably grander: the dining-room could seat 200 and over 500 sometimes attended the Government House balls. Society was less boorish than in Jones' day. The hookah had gone out and so had most of the ''sooty bibis''; the memsahibs were taking over. But the only innovation Prinsep would have been aware of was the flapping punkah, or fan, above his desk. Now the Assay-Master, he spent all day at the mint and all evening with his coins and inscriptions or conferring with his pandits. By seven in the morning he was back at his desk. There is no record, as with Jones, of an early morning walk or ride, no mention of leisure. Instead he lived vicariously, through the endeavours and successes of his correspondents.

Jones, as president and founder of the Asiatic Society, and the most respected scholar of his age, had both inspired and dominated his fellows. Prinsep was just the opposite. He was the secretary of the Society, not the President, a plain Mr with few pretensions other than his total dedication. But this in itself was enough. His enthusiasm communicated itself to others and was irresistible. When he asked for coins and inscriptions they came flooding in from every corner of India. Painstakingly he acknowledged, translated and commented upon them. By 1837 he had an army of enthusiasts -- officers, engineers, explorers, political agents and administrators -- informally collecting for him. Colonel Stacy at Chitor, Udaipur and Delhi, Lieutenant A. Connolly at Jaipur, Captain Wade at Ludhiana, Captain Cautley at Sahranpur, Lieutenant Cunningham at Benares, Colonel Smith at Patna, Mr Tregear at Jaunpur, Dr Swiney in Upper India .... the list was long.

It was from one of these correspondents, Captain Edward Smith, an engineer at Allahabad, that in 1837 there came the vital clue to the mysterious script. On Prinsep's suggestion, Smith had made the long journey into Central India to visit an archaeological site of exceptional interest at Sanchi near Bhopal. Prinsep wanted accurate drawings of its sculptural wonders and facsimiles of an inscription in Gupta Brahmi which had not yet been translated. Smith obliged with both of these and, noticing some further very short inscriptions on the stone railings round the main shrine, took copies of them just for good measure.

These apparently trivial fragments of rude writing [wrote Prinsep] have led to even more important results than the other inscriptions. They have instructed us in the alphabet and language of these ancient pillars and rock inscriptions which have been the wonder of the learned since the days of Sir William Jones, and I am already nearly prepared to render the Society an account of the writing on the lat [pillar] at Delhi. With no little satisfaction that, as I was the first to analyse these unknown symbols ... so I should now be rewarded with the completion of a discovery I then despaired of accomplishing for want of a competent knowledge of the Sanskrit language.


Typically, Prinsep then launched into a long discussion of the sculpture and other inscriptions, keeping his audience and readers on tenterhooks for another 10 pages. But to Lieutenant Alexander Cunningham, his protege in Benares, he had already announced the discovery in a letter.
23 May 1837.

My dear Cunningham, Hors de department de mes etudes! [Out of my department studies!] [a reference to a Mohammedan coin that Cunningham had sent him]. No, but I can read the Delhi No. 1 which is of more importance; the Sanchi inscriptions have enlightened me. Each line is engraved on a separate pillar or railing. Then thought I, they must be the gifts of private individuals where names will be recorded. All end in danam [in the original characters] -- that must mean 'gift' or 'given'.[???!!!] Let's see ...

Table 1. John Marshall's phasing at Sanchi.
Phase / Date range / Monuments / Inscriptions / Sculptures

I / 3rd century BC / Stupa 1: brick core; Pillar 10; Temple 40 (apsidal); Temple 18 (apsidal) / Ashokan inscription (c. 269-232 BC) / Elephant capital from Temple 40 (?)

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Sanchi Pillar 10

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Sanchi Temple 40

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Sanchi Temple 18

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Elephant capital from East Gate of Stupa 1

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Elephant capital from Sankissa, one of the Pillars of Ashoka, 3rd century BCE


II / 2nd-1st century BC / Stupas 2, 3, 4; Stupa 1: casing and railings; Temples 18 and 40 (enlargements); Building 8 (platformed monastery) / Donative inscriptions on Stupa 1, 2, and 3 railings; reliquary inscriptions from Stupas 2 and 3. / Pillar by Stupa 2; Pillar 25.

III / 1st-3rd century AD / Stupa 1: gateway carvings. / Southern gateway inscription of Shatakarni (c. AD 25)....

-- Sanchi as an archaeological area, by Julia Shaw, 2013

He proved his point by immediately translating four such lines, and then turned to the first line of the famous pillar inscriptions: Devam piya piyadasi raja hevam aha, "the most-particularly-loved-of-the-gods raja declareth thus". He was not quite right; the r should have been l, laja not raja. But he was near enough. Danam giving him the d, the n and the m, all very common and hitherto unidentified, had been just enough to tip the balance.

With the help of a distinguished pandit he immediately set about the long pillar inscriptions. It was June, the most unbearable month of the Calcutta year; to concentrate the mind even for a minute is a major achievement. By now the Governor-General and the rest of Calcutta society were in the habit of taking themselves off to the cool heights of Simla at such a time. Prinsep stayed at his desk. The deciphering was going well but he had at last acknowledged the unexpected difficulty of the language not being Sanskrit.[???] As Hodgson had suggested, it was closer to Pali, the sacred language of Tibet, or in other words it was one of the Prakrit languages, vernacular derivations of the classical Sanskrit. This made it difficult to pin down the precise meaning of many phrases. Prinsep also had, himself, to engrave all the plates for the script that would illustrate his account. Nevertheless, in the incredibly short space of six weeks, his translation was ready and he announced it to the Society. As usual he treated them to a long preamble on the discoveries that had led up to it and on the difficulties it still presented. But, unlike other inscriptions, these had one remarkable feature in their favour. There was an almost un-Indian frankness about the language, no exaggeration, no hyperbole, no long lists of royal qualities. Instead there was a bold and disarming directness:[???!!!]
Thus spake King Devanampiya Piyadasi. In the twenty-seventh year of my annointment I have caused this religious edict to be published in writing. I acknowledge and confess the faults that have been cherished in my heart ...

The king had obviously undergone a religious conversion and, from the nature of the sentiments expressed, it was clearly Buddhism that he had adopted. The purpose of his edicts was to promote this new religion, to encourage right thinking and right behaviour, to discourage killing, to protect animals and birds, and to ordain certain days as holy days and certain men as religious administrators. The inscriptions ended in the same style as they had begun.
In the twenty-seventh year of my reign I have caused this edict to be written; so sayeth Devanampiya; ''Let stone pillars be prepared and let this edict of religion be engraven thereon, that it may endure into the remotest ages."

Something about both the language and the contents was immediately familiar: it was Old Testament. Even Prinsep could not resist the obvious analogy -- "we might easily cite a more ancient and venerable example of thus fixing the law on tablets of stone". Perhaps it was just out of reverence that he called them edicts rather than commandments. But the message was clear enough. Here was an Indian king uncannily imitating Moses[???!!!], indeed going one better; as well as using tablets of stone, he had created these magnificent pillars to bear his message through the ages.

But who was this king? "Devanampiya Piyadasi" could be a proper name but it was not one that appeared in any of the Sanskrit king lists. Equally it could be a royal epithet, "Beloved of the Gods and of gracious mien''. At first Prinsep thought the former. In Ceylon a Mr George Turnour had been working on the Buddhist histories preserved there and ad just sent in a translation that mentioned a king Piyadasi who was the first Ceylon king to adopt Buddhism. This fitted well; but what was a king of Ceylon doing scattering inscriptions all over northern India? One of the edicts actually claimed that the king had planted trees along the highways, dug wells, erected traveller's rest houses etc. How could a Sinhalese king be planting trees along the Ganges?

A few weeks later Turnour himself came up with the answer. Studying another Buddhist work he discovered that Piyadasi was also the normal epithet of a great Indian sovereign, a contemporary of the Ceylon Piyadasi, and that this king was otherwise known as Ashoka. It was further stated that Ashoka was the grandson of Chandragupta and that he was consecrated 218 years after the Buddha's enlightenment.

Suddenly it all began to make sense. Ashoka was already known from the Sanskrit king lists as a descendant of Chandragupta Maurya (Sandracottus) and, from Himalayan Buddhist sources, as a legendary patron of early Buddhism. Now his historicity was dramatically established. Thanks to the inscriptions, from being just a doubtful name, more was suddenly known about Ashoka than about any other Indian sovereign before AD 1100. As heir to Chandragupta it was not surprising that his pillars and inscriptions were so widely scattered. The Mauryan empire was clearly one of the greatest ever known in India, and here was its noblest scion speaking of his life and work through the mists of 2,000 years. It was one of the most exciting moments in the whole story of archaeological discovery.


-- "Ashoka," Excerpt from India Discovered, by John Keay


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A 13th-century fresco of Sylvester I and Constantine the Great, showing the purported Donation (Santi Quattro Coronati, Rome)

The Donation of Constantine (Latin: Donatio Constantini) is a forged Roman imperial decree by which the 4th-century emperor Constantine the Great supposedly transferred authority over Rome and the western part of the Roman Empire to the Pope. Composed probably in the 8th century, it was used, especially in the 13th century, in support of claims of political authority by the papacy.[1] In many of the existing manuscripts (handwritten copies of the document), including the oldest one, the document bears the title Constitutum domini Constantini imperatoris.[2] The Donation of Constantine was included in the 9th-century collection Pseudo-Isidorean Decretals.

Lorenzo Valla, an Italian Catholic priest and Renaissance humanist, is credited with first exposing the forgery with solid philological arguments in 1439–1440,[3] although the document's authenticity had been repeatedly contested since 1001.[1]

The text is purportedly a decree of Roman Emperor Constantine I, dated 30 March—a year mistakenly said to be both that of his fourth consulate (315) and that of the consulate of Gallicanus (317).[4] In it "Constantine" professes Christianity (confessio) and entitles to Pope Sylvester several imperial insignia and privileges (donatio), as well as the Lateran Palace. Rome, the rest of Italy, and the western provinces of the empire are made over to the papacy.[5]

The text recounts a narrative founded on the 5th-century hagiography the Acts of Sylvester. This fictitious tale describes the sainted Pope Sylvester's rescue of the Romans from the depredations of a local dragon and the pontiff's miraculous cure of the emperor's leprosy by the sacrament of baptism.[5] The story was rehearsed by the Liber Pontificalis; by the later 8th century the dragon-slayer Sylvester and his apostolic successors were rewarded in the Donation of Constantine with temporal powers never in fact exercised by the historical Bishops of Rome under Constantine.

In his gratitude, "Constantine" determined to bestow on the seat of Peter "power, and dignity of glory, vigor, and imperial honor," and "supremacy as well over the four principal sees: Alexandria, Antioch, Jerusalem, and Constantinople, as also over all the churches of God in the whole earth". For the upkeep of the church of Saint Peter and that of Saint Paul, he gave landed estates "in Judea, Greece, Asia, Thrace, Africa, Italy and the various islands". To Sylvester and his successors he also granted imperial insignia, the tiara, and "the city of Rome, and all the provinces, places and cities of Italy and the western regions".[6][7]

The Donation sought reduction in the authority of Constantinople; if Constantine had elevated Sylvester to imperial rank before the 330 inauguration of Constantinople, then Rome's patriarch had a lead of some fifteen years in the contest for primacy among the patriarchates. Implicitly, the papacy asserted its supremacy and prerogative to transfer the imperial seat; the papacy had consented to the translatio imperii to Byzantium by Constantine and it could wrest back the authority at will.[5]
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Re: Freda Bedi Cont'd (#3)

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Part 2 of 2

Origin

It has been suggested that an early draft of the Donation of Constantine was made shortly after the middle of the 8th century, in order to assist Pope Stephen II in his negotiations with Pepin the Short, who then held the position of Mayor of the Palace (i.e., the manager of the household of the Frankish king).[8][9] In 754, Pope Stephen II crossed the Alps to anoint Pepin king, thereby enabling the Carolingian family to supplant the old Merovingian royal line. In return for Stephen's support, Pepin gave the pope the lands in Italy which the Lombards had taken from the Byzantine (Eastern Roman) Empire.[10] It is also possible it originated in the chancery of Stephen's immediate successor Paul I.[5] These lands would become the Papal States and would be the basis of the papacy's temporal power for the next eleven centuries.

Another interpretation holds that the Donation was not an official forgery directed at Constantinople, but was instead a ploy in Roman ecclesiastical politics to bolster the status of the Lateran, which does have historical Constantinian connections, against the rising status of the Vatican, and it may have been composed by a Greek monk working in a Roman monastery.[5] In one study, an attempt was made at dating the forgery to the 9th century, and placing its composition at Corbie Abbey, in northern France.[11]

German medievalist Johannes Fried draws a distinction between the Donation of Constantine and an earlier, also forged version, the Constitutum Constantini, which was included in the collection of forged documents, the False Decretals, compiled in the later half of the ninth century. Fried argues the Donation is a later expansion of the much shorter Constitutum.[11] Christopher B. Coleman understands the mention in the Constitutum of a donation of "the western regions" to refer to the regions of Lombardia, Veneto, and Istria.[12]

Medieval use and reception

What may perhaps be the earliest known allusion to the Donation is in a letter of 778, in which Pope Hadrian I exhorts Charlemagne – whose father, Pepin the Younger, had made the Donation of Pepin granting the Popes sovereignty over the Papal States – to follow Constantine's example and endow the Roman Catholic church. Otto III's chancery denied its authenticity.[13]

The first pope to directly invoke the decree was Pope Leo IX, in a letter sent in 1054 to Michael I Cerularius, Patriarch of Constantinople.[2] He cited a large portion of the document, believing it genuine,[14][15] furthering the debate that would ultimately lead to the East–West Schism. In the 11th and 12th centuries, the Donation was often cited in the investiture conflicts between the papacy and the secular powers in the West.[2]

The document's contents contradicted the Byzantines' notion that Constantine's translatio imperii transferred the seat of imperial authority from Rome to his foundation of Constantinople, named the "New Rome". Consequently, the Donation featured in the east–west dispute over ecclesiastical primacy between the patriarchal sees of Rome and New Rome.[5] Cardinal Humbert of Silva Candida also issued a version of the document to support the papacy's claims against the eastern emperors' and patriarchs' primacy.[5]

By the 12th century the text existed in Greek translation, of which a 14th-century manuscript survives, and Byzantine writers were also using the Donation in their polemics; John Kinnamos, writing in the reign of eastern emperor Manuel I Komnenos, criticized western Staufer emperors as usurpers and denied the popes had the right to bestow the imperial office.[5] Theodore Balsamon justified Michael Cerularius's behaviour in 1054 using the Donation as a rationale for his dismissal of the papal legation and the mutual excommunications that followed.[5]

In 1248, the Chapel of St Sylvester in the Basilica of the Santi Quattro Coronati was decorated with fresco showing the story of the Roman baptism and Donation of Constantine.[16]

In his Divine Comedy, written in the early 14th century, the poet Dante Alighieri wrote:[17]

Ahi, Costantin, di quanto mal fu matre,
non la tua conversion, ma quella dote
che da te prese il primo ricco patre!

(Ah, Constantine, how much evil was born,
not from your conversion, but from that donation
that the first wealthy Pope received from you!)

— Dante Alighieri, Inferno, canto 19, lines 115–117.
Investigation


Image
Workshop of Raphael, The Donation of Constantine. Stanze di Raffaello, Vatican City

During the Middle Ages, the Donation was widely accepted as authentic, although Holy Roman Emperor Otto III did possibly raise suspicions of the document "in letters of gold" as a forgery, in making a gift to the See of Rome.[13] It was not until the mid-15th century, with the revival of Classical scholarship and textual criticism, that humanists, and eventually the papal bureaucracy, began to realize that the document could not possibly be genuine. Cardinal Nicholas of Cusa declared it to be a forgery[18][19] and spoke of it as an apocryphal work.

Image
Lorenzo Valla

Later, the Catholic priest Lorenzo Valla argued in his philological study of the text that the language used in manuscript could not be dated to the 4th century.[20] The language of the text suggests that the manuscript can most likely be dated to the 8th century. Valla believed the forgery to be so obvious that he suspected that the Church knew the document to be inauthentic. Valla further argued that papal usurpation of temporal power had corrupted the church, caused the wars of Italy, and reinforced the "overbearing, barbarous, tyrannical priestly domination."[20]

This was the first instance of modern, scientific diplomatics. Independently of both Cusa and Valla, Reginald Pecocke, Bishop of Chichester (1450–57), reached a similar conclusion. Among the indications that the Donation must be a fake are its language and the fact that, while certain imperial-era formulas are used in the text, some of the Latin in the document could not have been written in the 4th century; anachronistic terms such as "fief" were used. Also, the purported date of the document is inconsistent with the content of the document itself, as it refers both to the fourth consulate of Constantine (315) as well as the consulate of Gallicanus (317).

Pope Pius II wrote a tract in 1453, five years before becoming pope, to show that though the Donation was a forgery, the papacy owed its lands to Charlemagne and its powers of the keys to Peter; however, he did not publish it.[21]

Contemporary opponents of papal powers in Italy emphasized the primacy of civil law and civil jurisdiction, now firmly embodied once again in the Justinian Corpus Juris Civilis. The Florentine chronicler Giovanni Cavalcanti reported that, in the very year of Valla's treatise, Filippo Maria Visconti, Duke of Milan, made diplomatic overtures toward Cosimo de' Medici in Florence, proposing an alliance against the pope. In reference to the Donation, Visconti wrote: "It so happens that even if Constantine consigned to Sylvester so many and such rich gifts – which is doubtful, because such a privilege can nowhere be found – he could only have granted them for his lifetime: the empire takes precedence over any lordship."[citation needed]

Later, scholars further demonstrated that other elements, such as Sylvester's curing of Constantine, are legends which originated at a later time. Wolfram Setz, a recent editor of Valla's work, has affirmed that at the time of Valla's refutation, Constantine's alleged "donation" was no longer a matter of contemporary relevance in political theory and that it simply provided an opportunity for an exercise in legal rhetoric.[22]

The bulls of Nicholas V and his successors made no further mention of the Donation, even when partitioning the New World, though the doctrine of "omni-insular" papal fiefdoms, developed out of the Donation's vague references to islands since Pope Nicholas II's grant of Sicily to Robert Guiscard, was deployed after 1492 in papal pronouncements on the overlapping claims of the Iberian kingdoms in the Americas and Moluccas, including Inter caetera, a bull that resulted in the Treaty of Tordesillas and the Treaty of Zaragoza.[16][23] Valla's treatise was taken up vehemently by writers of the Protestant Reformation, such as Ulrich von Hutten and Martin Luther, causing the treatise to be placed on the index of banned books in the mid-16th century.

The Donation continued to be tacitly accepted as authentic until Caesar Baronius in his Annales Ecclesiastici (published 1588–1607) admitted that it was a forgery, after which it was almost universally accepted as such.[2] Some continued to argue for its authenticity; nearly a century after Annales Ecclesiastici, Christian Wolff still alluded to the Donation as undisputed fact.[24]

See also

• Catholicism portal
• Italy portal
• Vatican City portal
• Constantinianism
• Caesaropapism
• Donation of Sutri
• Donation of Pepin
• Investiture Controversy
• Privilegium maius
• Translatio imperii
• Vatican City
• List of late imperial Roman consuls
• Legacy of the Roman Empire
• Inter caetera
• Treaty of Tordesillas and Treaty of Zaragoza

Notes

1. Vauchez, Andre (2001). Encyclopedia of the Middle Ages. Routledge. p. 445. ISBN 9781579582821.
2. "Donation of Constantine". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
3. Whelton, M. (1998). Two Paths: Papal Monarchy – Collegial Tradition. Salisbury, MA: Regina Orthodox Press. p. 113.
4. Select Historical Documents of the Middle Ages.
5. Hollingsworth, Paul A. (1991). "Donation of Constantine". In Kazhdan, Alexander P. (ed.). The Oxford Dictionary of Byzantium (2005 online ed.). Oxford University Press. doi:10.1093/acref/9780195046526.001.0001. ISBN 978-0-19-504652-6.
6. "The Donation of Constantine". Decretum Gratiani. Part 1, Division 96, Chapters 13–14. Quoted in: Coleman, Christopher B. (1922). Discourse on the Forgery of the Alleged Donation of Constantine. New Haven: Yale University Press. (Translation of: Valla, Lorenzo (1440). Declamatio de falso credita et ementita donatione Constantini.) Hosted at the Hanover Historical Texts Project.
7. A slightly more ample summary is given in: Russell, Bertrand (2004). A History of Western Philosophy. Routledge. p. 366. ISBN 9780415325059.
8. Duffy, Eamon (2006). Saints and Sinners: A History of the Popes. Yale University Press. p. 89. ISBN 978-0-300-11597-0.
9. O'Malley, S. W. J. (2009). A History of the Popes: From Peter to the Present. Government Institutes. p. 59. ISBN 978-1-580-51229-9.
10. Schnürer, Gustav (1912). States of the Church. The Catholic Encyclopedia. New York: Robert Appleton Company.
11. Fried, Johannes (2007). "Donation of Constantine" and "Constitutum Constantini": The Misinterpretation of a Fiction and Its Original Meaning. Berlin: Walter de Gruyter. ISBN 978-3-11-018539-3.
12. Coleman, Christopher Bush (1914). Constantine the Great and Christianity: Three Phases : the Historical, the Legendary, and the Spurious. Columbia University Press.
13. Monumenta Germaniae Historica. DD II 820. pp. 13–15.
14. Migne, Jacques-Paul (1891). Patrologia Latina. Volume 143 (cxliii). Col. 744–769.
15. Mansi, Giovanni Domenico. Sacrorum Conciliorum Nova Amplissima Collectio. Volume 19 (xix). Col. 635–656.
16. Curta, Florin (2016). "Donation of Constantine". In Curta, Florin; Holt, Andrew (eds.). Great Events in Religion: An Encyclopedia of Pivotal Events in Religious History [3 volumes]. vol. II. ABC-CLIO. pp. 407–409. ISBN 978-1-61069-566-4.
17. Dante Alighieri. Inferno. Canto 19, lines 115–117.
18. Toulmin, Stephen; Goodfield, June (1982). The Discovery of Time (Phoenix ed.). Chicago: University of Chicago Press. pp. 104–106. ISBN 0-226-80842-4.
19. Nicholas of Cusa, Paul E. Sigmund (editor and translator) (1991). "The properly ordered power of the Western emperor does not depend on the Pope". The Catholic Concordance. Cambridge Texts in the History of Political Thought. Cambridge University Press. pp. 216–222. ISBN 0-521-40207-7.
20. Prosser, Peter E. (2001). "Church history's biggest hoax: Renaissance scholarship proved fatal for one of the medieval papacy's favorite claims". Christian History. 20 (Journal Article): 35–. ISSN 0891-9666. – via General OneFile (subscription required)
21. Pope Pius II (1883). Opera inedita. pp. 571–81. Cited in: Lea, Henry Charles (1895). "The 'Donation of Constantine'". The English Historical Review 10(37). pp. 86–87. doi:10.1093/ehr/X.XXXVII.86
22. Setz, Wolfram (1976). Lorenzo Vallas Schrift gegen die Konstantinische Schenkung. Weimar. (Translation of: Valla, Lorenzo (1440). De Falso Credita et Ementita Constantini Donatione Declamatio).
23. Wilson, Eric Michael (2008). The Savage Republic: De Indis of Hugo Grotius, Republicanism and Dutch Hegemony Within the Early Modern World-System (c.1600-1619). BRILL. pp. 166ff. ISBN 978-90-04-16788-9.
24. Wolff, Christian. "Append. ad Concilium Chalcedonensem". Opere. ii:261. Cited in: Lea, Henry Charles (1895). "The 'Donation of Constantine'". The English Historical Review 10(37). pp. 86–87. doi:10.1093/ehr/X.XXXVII.86

Further reading

• Camporeale, Salvatore I. "Lorenzo Valla's Oratio on the Pseudo-Donation of Constantine: Dissent and Innovation in Early Renaissance Humanism." Journal of the History of Ideas (1996) 57#1 pp: 9-26. online
• Delph, Ronald K. "Valla Grammaticus, Agostino Steuco, and the Donation of Constantine." Journal of the History of Ideas (1996) 57#1 pp: 55–77. online
• Fried, Johannes, ed. Donation of Constantine and Constitutum Constantini: The Misinterpretation of a Fiction and Its Original Meaning (Walter de Gruyter, 2007)
• Levine, Joseph M. "Reginald Pecock and Lorenzo Valla on the Donation of Constantine." Studies in the Renaissance (1973): 118–143. in JSTOR
• McCabe, Joseph (1939). A History Of The Popes. Watts & Co.
• Valla, Lorenzo. On the donation of Constantine (Harvard University Press, 2007), translation by G. W. Bowersock of 1440 version
• Zinkeisen, F. "The Donation of Constantine as applied by the Roman Church." English Historical Review (1894) 9#36 pp: 625–632. in JSTOR
• Luis R. Donat (PhD) (2004). "Para una historia del derecho canónico-político medieval: la donación de constantino". Revista de estudios histórico-jurídicos (in Spanish). Ediciones Universitarias de Valparaíso (24/2004): 337–358. doi:10.4067/S0716-54552004002600010. ISSN 0716-5455. Archived from the original on August 13, 2018. Retrieved Aug 13, 2018.

External links

• Text of the Constitutum Donatio Constantini (Latin) at The Latin Library
• Text of the Constitutum Donatio Constantini (Latin) at the Bibliotheca Augustana
• Text of the Constitutum Constantini (Latin) at The Roman Law Library
• Lorenzo Valla's Discourse on the Forgery of the Alleged Donation of Constantine
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Re: Freda Bedi Cont'd (#3)

Postby admin » Mon Dec 27, 2021 6:23 am

List of all "Maurya Dynasty" fictional kings
Excerpt from "Maurya Empire" and related webpages
by Wikipedia

The first kings of the Dynasty of the Barhadrathas being omitted in the table, are given here from the Harivansa. The famous Uparichara was the sixth in lineal descent from Curu; and his son was
Vrihadratha
Cushagra
Vrishabha
Pushpavan
Satyasahita
Urja
Sambhava
Jara-Sandha.

Jara-Sandha, literally old Sandha or Sandhas, was the lord paramount of India or Maha Raja, and in the spoken dialects Ma-Raj. This word was pronounced Morieis by the Greeks; for Hesychius says, that Morieis signifies king in India, and in another place, that Mai in the language of that country, signified great. Nonnus, in his Dionysiacs, calls the lord paramount of India, Morrheus, and says that his name was Sandes, with the title of Hercules. Old Sandha is considered as a hero to this day in India, and pilgrimages, I am told, are yearly performed to the place of his abode, to the cast of Gaya, in south Bahar, It is called Raja-Griha, or the royal mansion, in the low hills of Raja-giri, or the royal mountains; though their name I suspect to be derived from Raja-Griha The Dionysiacs of Nonnus are really the history of the Maha Bharata, or great war, as we shall see hereafter.

-- Essay III. Of the Kings of Magadha; their Chronology, by Captain Wilford, Asiatic Researches, Volume 9, 1809.

• 322–298 BCE: Chandragupta

Chandragupta's life and accomplishments are described in ancient... Hindu, Buddhist and Jain texts, but they vary significantly....

According to the Jain accounts dated to 800 years after his death, Chandragupta abdicated his throne and became a Jain monk, traveled away from his empire to South India and committed sallekhana or fasting to death....

His main biographical sources in chronological order are:...

• Hindu texts such as the Puranas and Arthashastra; later composed Hindu sources include legends in Vishakhadatta's Mudrarakshasa, Somadeva's Kathasaritsagara and Kshemendra's Brihatkathamanjari.
• Buddhist sources are those dated in 4th-century or after, including the Sri Lankan Pali texts Dipavamsa (Rajavamsa section), Mahavamsa, Mahavamsa tika and Mahabodhivamsa. • 7th to 10th century Jain inscriptions at Shravanabelgola; these are disputed by scholars as well as the Svetambara Jain tradition. The second Digambara text interpreted to be mentioning the Maurya emperor is dated to about the 10th-century such as in the Brhatkathakosa of Harisena (Jain monk), while the complete Jain legend about Chandragupta is found in the 12th-century Parisishtaparvan by Hemachandra.

-- Chandragupta Maurya, by Wikipedia


• 298–272 BCE: Bindusara

Bindusara's life is not documented as well as the lives of these two emperors: much of the information about him comes from legendary accounts written several hundred years after his death....

The 16th century Tibetan Buddhist author Taranatha credits his administration with extensive territorial conquests in southern India, but some historians doubt the historical authenticity of this claim.

Ancient and medieval sources have not documented Bindusara's life in detail. Much of the information about him comes from Jain legends focused on Chandragupta and the Buddhist legends focused on Ashoka. The Jain legends, such as Hemachandra's Parishishta-Parvan were written more than a thousand years after his death. Most of the Buddhist legends about Ashoka's early life also appear to have been composed by Buddhist writers who lived several hundred years after Ashoka's death, and are of little historical value. While these legends can be used to make several inferences about Bindusara's reign, they are not entirely reliable because of the close association between Ashoka and Buddhism.

Buddhist sources that provide information about Bindusara include Divyavadana (including Ashokavadana and Pamsupradanavadana), Dipavamsa, Mahavamsa, Vamsatthappakasini (also known as Mahvamsa Tika or "Mahavamsa commentary"), Samantapasadika, and the 16th century writings of Taranatha. The Jain sources include the 12th century Parishishta-Parvan by Hemachandra and the 19th century Rajavali-Katha by Devachandra. The Hindu Puranas also mention Bindusara in their genealogies of Mauryan rulers. Some Greek sources also mention him by the name "Amitrochates" or its variations.

-- Bindusara, by Wikipedia


• 268–232 BCE: Ashoka

Beyond the Edicts of Ashoka, biographical information about him relies on legends written centuries later, such as the 2nd-century CE Ashokavadana ("Narrative of Ashoka", a part of the Divyavadana), and in the Sri Lankan text Mahavamsa ("Great Chronicle")….

Information about Ashoka comes from ... ancient literature, especially Buddhist texts. These sources often contradict each other… while Ashoka is often attributed with building many hospitals during his time, there is no clear evidence any hospitals existed in ancient India during the 3rd century BC or that Ashoka was responsible for commissioning the construction of any….

Much of the information about Ashoka comes from Buddhist legends, which present him as a great, ideal king. These legends appear in texts that are not contemporary to Ashoka, and were composed by Buddhist authors, who used various stories to illustrate the impact of their faith on Ashoka. This makes it necessary to exercise caution while relying on them for historical information. Among modern scholars, opinions range from downright dismissal of these legends as mythological to acceptance of all historical portions that seem plausible….

All these legends can be traced to two primary traditions:

• the North Indian tradition preserved in the Sanskrit-language texts such as Divyavadana (including its constituent Ashokavadana); and Chinese sources such as A-yü wang chuan and A-yü wang ching.

• the Sri Lankan tradition preserved in Pali-language texts, such as Dipavamsa, Mahavamsa, Vamsatthapakasini (a commentary on Mahavamsa), Buddhaghosha's commentary on the Vinaya, and Samanta-pasadika.

There are several major differences between the two traditions. For example, the Sri Lankan tradition emphasises Ashoka's role in convening the Third Buddhist council, and his dispatch of several missionaries to distant regions, including his son Mahinda to Sri Lanka. However, the North Indian tradition makes no mention of these events, and describes other events not found in the Sri Lankan tradition, such as a story about another son named Kunala.

Even while narrating the common stories, the two traditions diverge in several ways. For example, both Ashokavadana and Mahavamsa mention that Ashoka's queen Tishyarakshita had the Bodhi Tree destroyed. In Ashokavadana, the queen manages to have the tree healed after she realises her mistake. In the Mahavamsa, she permanently destroys the tree, but only after a branch of the tree has been transplanted in Sri Lanka. In another story, both the texts describe Ashoka's unsuccessful attempts to collect a relic of Gautama Buddha from Ramagrama. In Ashokavadana, he fails to do so because he cannot match the devotion of the Nagas who hold the relic; however, in the Mahavamsa, he fails to do so because the Buddha had destined the relic to be enshrined by king Dutthagamani of Sri Lanka. Using such stories, the Mahavamsa glorifies Sri Lanka as the new preserve of Buddhism….

Ashoka's name appears in the lists of Mauryan kings in the various Puranas, but these texts do not provide further details about him…

[Ashoka's] early life, and much of the information on this topic comes from apocryphal legends written hundreds of years after him.… these legends include obviously fictitious details such as narratives of Ashoka's past lives…

The exact date of Ashoka's birth is not certain, as the extant contemporary Indian texts did not record such details….

The Ashokavadana states that Bindusara provided Ashoka with a fourfold-army (comprising cavalry, elephants, chariots and infantry), but refused to provide any weapons for this army. Ashoka declared that weapons would appear before him if he was worthy of being a king, and then, the deities emerged from the earth, and provided weapons to the army…. the gods declared that he would go on to conquer the whole earth….

According to the Mahavamsa, Bindusara appointed Ashoka as the viceroy of present-day Ujjain… This tradition is corroborated by the Saru Maru inscription discovered in central India; this inscription states that he visited the place as a prince….

"The king, who (now after consecration) is called "Piyadasi", (once) came to this place for a pleasure tour while still a (ruling) prince, living together with his unwedded consort." – Saru Mara, by Wikipedia…

According to the Sri Lankan tradition, on his way to Ujjain, Ashoka visited Vidisha, where he fell in love with a beautiful woman. According to the Dipamvamsa and Mahamvamsa, the woman was Devi – the daughter of a merchant. According to the Mahabodhi-vamsa, she was Vidisha-Mahadevi, and belonged to the Shakya clan of Gautama Buddha. The Shakya connection may have been fabricated by the Buddhist chroniclers in an attempt to connect Ashoka's family to Buddha….

Ashoka declared that if the throne was rightfully his, the gods would crown him as the next king. At that instance, the gods did so, Bindusara died, and Ashoka's authority extended to the entire world, including the Yaksha territory located above the earth, and the Naga territory located below the earth….

The Mahavamsa… also states that Ashoka killed ninety-nine of his half-brothers, including Sumana. The Dipavamsa states that he killed a hundred of his brothers, and was crowned four years later….

The figures such as 99 and 100 are exaggerated, and seem to be a way of stating that Ashoka killed several of his brothers. Taranatha states that Ashoka, who was an illegitimate son of his predecessor, killed six legitimate princes to ascend the throne. It is possible that Ashoka was not the rightful heir to the throne, and killed a brother (or brothers) to acquire the throne. However, the story has obviously been exaggerated by the Buddhist sources, which attempt to portray him as an evil person before his conversion to Buddhism….

According to the Sri Lankan texts Mahavamsa and the Dipavamsa, Ashoka ascended the throne 218 years after the death of Gautama Buddha, and ruled for 37 years. The date of the Buddha's death is itself a matter of debate, and the North Indian tradition states that Ashoka ruled a hundred years after the Buddha's death, which has led to further debates about the date….

The Ashokavadana also calls [Ashoka] "Chandashoka", and describes several of his cruel acts:

• The ministers who had helped him ascend the throne started treating him with contempt after his ascension. To test their loyalty, Ashoka gave them the absurd order of cutting down every flower-and fruit-bearing tree. When they failed to carry out this order, Ashoka personally cut off the heads of 500 ministers.

• One day, during a stroll at a park, Ashoka and his concubines came across a beautiful Ashoka tree. The sight put him in a sensual mood, but the women did not enjoy caressing his rough skin. Sometime later, when Ashoka fell asleep, the resentful women chopped the flowers and the branches of his namesake tree. After Ashoka woke up, he burnt 500 of his concubines to death as a punishment….

The 5th century Chinese traveller Faxian states that Ashoka personally visited the underworld to study the methods of torture there, and then invented his own methods.…

Such descriptions of Ashoka as an evil person before his conversion to Buddhism appear to be a fabrication of the Buddhist authors, who attempted to present the change that Buddhism brought to him as a miracle. In an attempt to dramatise this change, such legends exaggerate Ashoka's past wickedness and his piousness after the conversion….

Ashoka's own inscriptions mention that he conquered the Kalinga region during his 8th regnal year…

On the other hand, the Sri Lankan tradition suggests that Ashoka was already a devoted Buddhist by his 8th regnal year, having converted to Buddhism during his 4th regnal year, and having constructed 84,000 viharas during his 5th–7th regnal years. The Buddhist legends make no mention of the Kalinga campaign….

According to Ashoka's Major Rock Edict 13, he conquered Kalinga 8 years after his ascension to the throne. The edict states that during his conquest of Kalinga, 100,000 men and animals were killed in action; many times that number "perished"; and 150,000 men and animals were carried away from Kalinga as captives. Ashoka states that the repentance of these sufferings caused him to devote himself to the practice and propagation of dharma. He proclaims that he now considered the slaughter, death and deportation caused during the conquest of a country painful and deplorable; and that he considered the suffering caused to the religious people and householders even more deplorable.

This edict has been found inscribed at several places, including Erragudi, Girnar, Kalsi, Maneshra, Shahbazgarhi and Kandahar. However, [it] is omitted in Ashoka's inscriptions found in the Kalinga region, where the Rock Edicts 13 and 14 have been replaced by two separate edicts that make no mention of Ashoka's remorse.

Taranatha claims that Ashoka conquered the entire Jambudvipa.

Different sources give different accounts of Ashoka's conversion to Buddhism….

The Dipavamsa states that Ashoka invited several non-Buddhist religious leaders to his palace, and bestowed great gifts upon them in hope that they would be able to answer a question posed by the king. The text does not state what the question was… he met the Buddhist monk Moggaliputta Tissa, and became more devoted to the Buddhist faith. The veracity of this story is not certain. This legend about Ashoka's search for a worthy teacher may be aimed at explaining why Ashoka did not adopt Jainism, another major contemporary faith that advocates non-violence and compassion. The legend suggests that Ashoka was not attracted to Buddhism because he was looking for such a faith, rather, for a competent spiritual teacher….

The A-yu-wang-chuan states that a 7-year-old Buddhist converted Ashoka. Another story claims that the young boy ate 500 Brahmanas who were harassing Ashoka for being interested in Buddhism; these Brahmanas later miraculously turned into Buddhist bhikkus at the Kukkutarama monastery, where Ashoka paid a visit….

Both Mahavamsa and Ashokavadana state that Ashoka constructed 84,000 stupas or viharas….

The Ashokavadana states that Ashoka collected seven out of the eight relics of Gautama Buddha, and had their portions kept in 84,000 boxes made of gold, silver, cat's eye, and crystal. He ordered the construction of 84,000 stupas throughout the earth, in towns that had a population of 100,000 or more. He told Elder Yashas, a monk at the Kukkutarama monastery, that he wanted these stupas to be completed on the same day. Yashas stated that he would signal the completion time by eclipsing the sun with his hand. When he did so, the 84,000 stupas were completed at once.

The Mahavamsa states that Ashoka ordered construction of 84,000 viharas (monasteries) rather than the stupas to house the relics. Like Ashokavadana, the Mahavamsa describes Ashoka's collection of the relics, but does not mention this episode in the context of the construction activities. It states that Ashoka decided to construct the 84,000 viharas when Moggaliputta Tissa told him that there were 84,000 sections of the Buddha's Dhamma. Ashoka himself began the construction of the Ashokarama vihara, and ordered subordinate kings to build the other viharas. Ashokarama was completed by the miraculous power of Thera Indagutta, and the news about the completion of the 84,000 viharas arrived from various cities on the same day.

The number 84,000 is an obvious exaggeration, and it appears that in the later period, the construction of almost every old stupa was attributed to Ashoka….

Ashoka's rock edicts suggest that during his 8th–9th regnal years, he made a pilgrimage to the Bodhi Tree, started propagating dhamma, and performed social welfare activities. The welfare activities included establishment of medical treatment facilities for humans and animals…

The Sri Lankan tradition presents a greater role for Ashoka in the Buddhist community. In this tradition, Ashoka starts feeding monks on a large scale. His lavish patronage to the state patronage leads to many fake monks joining the sangha. The true Buddhist monks refuse to co-operate with these fake monks, and therefore, no uposatha ceremony is held for seven years. The king attempts to eradicate the fake monks, but during this attempt, an over-zealous minister ends up killing some real monks. The king then invites the elder monk Moggaliputta-Tissa, to help him expel non-Buddhists from the monastery founded by him at Pataliputra. 60,000 monks (bhikkhus) convicted of being heretical are de-frocked in the ensuing process. The uposatha ceremony is then held, and Tissa subsequently organises the Third Buddhist council, during the 17th regnal year of Ashoka. Tissa compiles Kathavatthu, a text that reaffirms Theravadin orthodoxy on several points.

The North Indian tradition makes no mention of these events, which has led to doubts about the historicity of the Third Buddhist council….

in his Minor Rock Edict 3, Ashoka recommends the members of the Sangha to study certain texts (most of which remain unidentified)….

In the Sri Lankan tradition, Moggaliputta-Tissa –- who is patronised by Ashoka –- sends out nine Buddhist missions to spread Buddhism in the "border areas" in c. 250 BCE.…

The tradition adds that during his 19th regnal year, Ashoka's daughter Sanghamitta went to Sri Lanka to establish an order of nuns, taking a sapling of the sacred Bodhi Tree with her.

The North Indian tradition makes no mention of these events. Ashoka's own inscriptions also appear to omit any mention of these events…

The Rock Edict XIII states that Ashoka won a "dhamma victory" by sending messengers to five kings and several other kingdoms. Whether these missions correspond to the Buddhist missions recorded in the Buddhist chronicles is debated. Indologist Etienne Lamotte argues that the "dhamma" missionaries mentioned in Ashoka's inscriptions were probably not Buddhist monks, as this "dhamma" was not same as "Buddhism". Moreover, the lists of destinations of the missions and the dates of the missions mentioned in the inscriptions do not tally [with] the ones mentioned in the Buddhist legends….

According to the Ashokavadana, Ashoka resorted to violence even after converting to Buddhism. For example:

• He slowly tortured Chandagirika to death in the "hell" prison.

• He ordered a massacre of 18,000 heretics for a misdeed of one.

• He launched a pogrom against the Jains, announcing a bounty on the head of any heretic; this results in the beheading of his own brother -– Vitashoka.

According to the Ashokavadana, a non-Buddhist in Pundravardhana drew a picture showing the Buddha bowing at the feet of the Nirgrantha leader Jnatiputra. The term nirgrantha ("free from bonds") was originally used for a pre-Jaina ascetic order, but later came to be used for Jaina monks. "Jnatiputra" is identified with Mahavira, 24th Tirthankara of Jainism. The legend states that on complaint from a Buddhist devotee, Ashoka issued an order to arrest the non-Buddhist artist, and subsequently, another order to kill all the Ajivikas in Pundravardhana. Around 18,000 followers of the Ajivika sect were executed as a result of this order. Sometime later, another Nirgrantha follower in Pataliputra drew a similar picture. Ashoka burnt him and his entire family alive in their house…

[T]hese stories of persecutions of rival sects by Ashoka appear to be clear fabrications arising out of sectarian propaganda….

Ashoka's last dated inscription -- the Pillar Edict 4 is from his 26th regnal year. The only source of information about Ashoka's later years are the Buddhist legends….

Both Mahavamsa and Ashokavadana state that Ashoka extended favours and attention to the Bodhi Tree, and a jealous Tissarakkha mistook "Bodhi" to be a mistress of Ashoka. She then used black magic to make the tree wither. According to the Ashokavadana, she hired a sorceress to do the job, and when Ashoka explained that "Bodhi" was the name of a tree, she had the sorceress heal the tree. According to the Mahavamsa, she completely destroyed the tree, during Ashoka's 34th regnal year.

The Ashokavadana states that Tissarakkha (called "Tishyarakshita" here) made sexual advances towards Ashoka's son Kunala, but Kunala rejected her. Subsequently, Ashoka granted Tissarakkha kingship for seven days, and during this period, she tortured and blinded Kunala. Ashoka then threatened to "tear out her eyes, rip open her body with sharp rakes, impale her alive on a spit, cut off her nose with a saw, cut out her tongue with a razor." Kunala regained his eyesight miraculously, and pleaded for mercy on the queen, but Ashoka had her executed anyway. Kshemendra's Avadana-kalpa-lata also narrates this legend, but seeks to improve Ashoka's image by stating that he forgave the queen after Kunala regained his eyesight….

According to the Ashokavadana, the emperor fell severely ill during his last days. He started using state funds to make donations to the Buddhist sangha, prompting his ministers to deny him access to the state treasury. Ashoka then started donating his personal possessions, but was similarly restricted from doing so. On his deathbed, his only possession was the half of a myrobalan fruit, which he offered to the sangha as his final donation….

Various sources mention five consorts of Ashoka: Devi (or Vedisa-Mahadevi-Shakyakumari), Karuvaki, Asandhimitra (Pali: Asandhimitta), Padmavati, and Tishyarakshita (Pali: Tissarakkha).

Kaurvaki is the only queen of Ashoka known from his own inscriptions: she is mentioned in an edict inscribed on a pillar at Allahabad. The inscription names her as the mother of prince Tivara, and orders the royal officers (mahamattas) to record her religious and charitable donations….

According to the Mahavamsa, Ashoka's chief queen was Asandhimitta, who died four years before him. It states that she was born as Ashoka's queen because in a previous life, she directed a pratyekabuddha to a honey merchant (who was later reborn as Ashoka). Some later texts also state that she additionally gave the pratyekabuddha a piece of cloth made by her. These texts include the Dasavatthuppakarana, the so-called Cambodian or Extended Mahavamsa (possibly from 9th–10th centuries), and the Trai Bhumi Katha (15th century). These texts narrate another story: one day, Ashoka mocked Asandhamitta [as she] was enjoying a tasty piece of sugarcane without having earned it through her karma. Asandhamitta replied that all her enjoyments resulted from merit resulting from her own karma. Ashoka then challenged her to prove this by procuring 60,000 robes as an offering for monks. At night, the guardian gods informed her about her past gift to the pratyekabuddha, and next day, she was able to miraculously procure the 60,000 robes. An impressed Ashoka makes her his favourite queen, and even offers to make her a sovereign ruler. Asandhamitta refuses the offer, but still invokes the jealousy of Ashoka's 16,000 other wives. Ashoka proves her superiority by having 16,000 identical cakes baked with his royal seal hidden in only one of them. Each wife is asked to choose a cake, and only Asandhamitta gets the one with the royal seal. The Trai Bhumi Katha claims that it was Asandhamitta who encouraged her husband to become a Buddhist, and to construct 84,000 stupas and 84,000 viharas.

According to Mahavamsa, after Asandhamitta's death, Tissarakkha became the chief queen. The Ashokavadana does not mention Asandhamitta at all, but does mention Tissarakkha as Tishyarakshita. The Divyavadana mentions another queen called Padmavati, who was the mother of the crown-prince Kunala.

As mentioned above, according to the Sri Lankan tradition, Ashoka fell in love with Devi (or Vidisha-Mahadevi), as a prince in central India. After Ashoka's ascension to the throne, Devi chose to remain at Vidisha than move to the royal capital Pataliputra. According to the Mahavamsa, Ashoka's chief queen was Asandhamitta, not Devi: the text does not talk of any connection between the two women, so it is unlikely that Asandhamitta was another name for Devi….

Tivara, the son of Ashoka and Karuvaki, is the only of Ashoka's sons to be mentioned by name in the inscriptions.

According to North Indian tradition, Ashoka had a son named Kunala. Kunala had a son named Samprati.

The Sri Lankan tradition mentions a son called Mahinda, who was sent to Sri Lanka as a Buddhist missionary; this son is not mentioned at all in the North Indian tradition. The Chinese pilgrim Xuanzang states that Mahinda was Ashoka's younger brother (Vitashoka or Vigatashoka) rather than his illegitimate son.

The Divyavadana mentions the crown-prince Kunala alias Dharmavivardhana, who was a son of queen Padmavati. According to Faxian, Dharmavivardhana was appointed as the governor of Gandhara.

The Rajatarangini mentions Jalauka as a son of Ashoka.

According to Sri Lankan tradition, Ashoka had a daughter named Sanghamitta, who became a Buddhist nun. A section of historians, such as Romila Thapar, doubt the historicity of Sanghamitta, based on the following points:

• The name "Sanghamitta", which literally means the friend of the Buddhist Order (sangha), is unusual, and the story of her going to Ceylon so that the Ceylonese queen could be ordained appears to be an exaggeration.

• The Mahavamsa states that she married Ashoka's nephew Agnibrahma, and the couple had a son named Sumana. The contemporary laws regarding exogamy would have forbidden such a marriage between first cousins.

• According to the Mahavamsa, she was 18 years old when she was ordained as a nun. The narrative suggests that she was married two years earlier, and that her husband as well as her child were ordained. It is unlikely that she would have been allowed to become a nun with such a young child.

Another source mentions that Ashoka had a daughter named Charumati, who married a kshatriya named Devapala.

According to the Ashokavadana, Ashoka had an elder half-brother named Susima. According to the Sri Lankan tradition, Ashoka killed his 99 half-brothers.

Various sources mention that one of Ashoka's brothers survived his ascension, and narrate stories about his role in the Buddhist community.

• According to Sri Lankan tradition, this brother was Tissa, who initially lived a luxurious life, without worrying about the world. To teach him a lesson, Ashoka put him on the throne for a few days, then accused him of being an usurper, and sentenced him to die after seven days. During these seven days, Tissa realised that the Buddhist monks gave up pleasure because they were aware of the eventual death. He then left the palace, and became an arhat.

• The Theragatha commentary calls this brother Vitashoka. According to this legend, one day, Vitashoka saw a grey hair on his head, and realised that he had become old. He then retired to a monastery, and became an arhat.

• Faxian calls the younger brother Mahendra, and states that Ashoka shamed him for his immoral behaviour. The brother than retired to a dark cave, where he meditated, and became an arhat. Ashoka invited him to return to the family, but he preferred to live alone on a hill. So, Ashoka had a hill built for him within Pataliputra.

• The Ashoka-vadana states that Ashoka's brother was mistaken for a Nirgrantha, and killed during a massacre of the Nirgranthas ordered by Ashoka....

A legend in the Buddhist text Vamsatthapakasini states that an Ajivika ascetic invited to interpret a dream of Ashoka's mother had predicted that he would patronise Buddhism and destroy 96 heretical sects. However, such assertions are directly contradicted by Ashoka's own inscriptions. Ashoka's edicts, such as the Rock Edicts 6, 7, and 12, emphasise tolerance of all sects. Similarly, in his Rock Edict 12, Ashoka honours people of all faiths. In his inscriptions, Ashoka dedicates caves to non-Buddhist ascetics, and repeatedly states that both Brahmins and shramanas deserved respect. He also tells people "not to denigrate other sects, but to inform themselves about them".

In fact, there is no evidence that Buddhism was a state religion under Ashoka. None of Ashoka's extant edicts record his direct donations to the Buddhists….

Historically, the image of Ashoka in the global Buddhist circles was based on legends (such as those mentioned in the Ashokavadana) rather than his rock edicts. This was because the Brahmi script in which these edicts were written was forgotten soon and remained undeciphered until its study by James Prinsep in the 19th century. The writings of the Chinese Buddhist pilgrims such as Faxian and Xuanzang suggest that Ashoka's inscriptions mark the important sites associated with Gautama Buddha. These writers attribute Buddhism-related content to Ashoka's edicts, but this content does not match with the actual text of the inscriptions as determined by modern scholars after the decipherment of the Brahmi script. It is likely that the script was forgotten by the time of Faxian, who probably relied on local guides; these guides may have made up some Buddhism-related interpretations to gratify him, or may have themselves relied on faulty translations based on oral traditions. Xuanzang may have encountered a similar situation, or may have taken the supposed content of the inscriptions from Faxian's writings. This theory is corroborated by the fact that some Brahmin scholars are known to have similarly come up with a fanciful interpretation of Ashoka pillar inscriptions, when requested to decipher them by the 14th century Muslim king Firuz Shah Tughlaq. According to Shams-i Siraj's Tarikh-i Firoz Shahi, after the king had these pillars transported from Topra and Mirat to Delhi as war trophies, these Brahmins told him that the inscriptions prophesized that nobody would be able to remove the pillars except a king named Firuz. Moreover, by this time, there were local traditions that attributed the erection of these pillars to the legendary hero Bhima….

Buddhist legends mention stories about Ashoka's past lives. According to a Mahavamsa story, Ashoka, Nigrodha and Devnampiya Tissa were brothers in a previous life. In that life, a pratyekabuddha was looking for honey to cure another, sick pratyekabuddha. A woman directed him to a honey shop owned by the three brothers. Ashoka generously donated honey to the pratyekabuddha, and wished to become the sovereign ruler of Jambudvipa for this act of merit. The woman wished to become his queen, and was reborn as Ashoka's wife Asandhamitta….

According to an Ashokavadana story, Ashoka was born as Jaya… he gave the Gautama Buddha dirt imagining it to be food. The Buddha approved of the donation, and Jaya declared that he would become a king by this act of merit. The text also states that Jaya's companion Vijaya was reborn as Ashoka's prime-minister Radhagupta…. The Chinese writer Pao Ch'eng's Shih chia ju lai ying hua lu asserts that an insignificant act like gifting dirt could not have been meritorious enough to cause Ashoka's future greatness. Instead, the text claims that in another past life, Ashoka commissioned a large number of Buddha statues as a king, and this act of merit caused him to become a great emperor in the next life.

The 14th century Pali-language fairy tale Dasavatthuppakarana (possibly from c. 14th century) combines the stories about the merchant's gift of honey, and the boy's gift of dirt. It narrates a slightly different version of the Mahavamsa story, stating that it took place before the birth of the Gautama Buddha. It then states that the merchant was reborn as the boy who gifted dirt to the Buddha; however, in this case, the Buddha [gave it to] his attendant Ānanda to create plaster from the dirt, which is used [to] repair cracks in the monastery walls….

Ashoka's inscriptions have not been found at major cities of the Maurya empire, such as Pataliputra, Vidisha, Ujjayini, and Taxila…. the 7th century Chinese pilgrim Xuanzang refers to some of Ashoka's pillar edicts, which have not been discovered by modern researchers….

Ashoka had almost been forgotten, but in the 19th century James Prinsep contributed in the revelation of historical sources. After deciphering the Brahmi script, Prinsep had originally identified the "Priyadasi" of the inscriptions he found with the King of Ceylon Devanampiya Tissa. However, in 1837, George Turnour discovered an important Sri Lankan manuscript (Dipavamsa, or "Island Chronicle") associating Piyadasi with Ashoka:

"Two hundred and eighteen years after the beatitude of the Buddha, was the inauguration of Piyadassi, .... who, the grandson of Chandragupta, and the son of Bindusara, was at the time Governor of Ujjayani."— Dipavamsa....

After Ashoka's death, the Maurya empire declined rapidly. The various Puranas provide different details about Ashoka's successors, but all agree that they had relatively short reigns. The empire seems to have weakened, fragmented, and suffered an invasion from the Bactrian Greeks….

Romila Thapar, have suggested that the extent and impact of his pacifism have been "grossly exaggeratedf."

-- Ashoka, by Wikipedia


• 232–224 BCE: Dasharatha

Dasharatha was a grandson of the Mauryan ruler Ashoka and the son of Tivala. He is commonly held to have succeeded his grandfather as imperial ruler in India although some sources including the Vayu Purana have given different names and numbers of Mauryan Emperors after Ashoka. Of the grandsons of Ashoka, the two most frequently mentioned are Samprati and Dasharatha. The latter is described in the Vishnu Purana as the son and imperial successor of Suyashas (a son of Ashoka)....

The Vayu and Brahmanda Puranas mention three Mauryan rulers—Bandhupalita, Indrapalita and Dasona— whose identification is rather difficult....

The political unity of the Mauryan Empire did not long survive Ashoka's death....According to Taranatha, another Mauryan prince, Virasena declared himself king in Gandhara. Vidarbha also seceded....Epigraphic evidence indicates that Dasharatha retained imperial power in Magadha. [Kenneth Pletcher; The History of India. pg 70: "Ashoka ruled for 37 years. After his death a political decline set in, and half a century later the empire was reduced to the Ganges valley alone. Tradition asserts that Ashoka's son Kunala ruled in Gandhara. Epigraphic evidence indicates that his grandsom Dasharatha ruled in Magadha. [NO CITATION!]]...

According to a Jain text, the provinces of Surashtra, Maharashtra, Andhra, and the Mysore region broke away from the empire shortly after Ashoka's death, but were reconquered by Dasharatha's successor, Samprati (who supposedly deployed soldiers disguised as Jain monks)....

Samprati, who succeeded Dasharatha, was according to the Hindu Puranas, the latter's son and according to the Buddhist and Jain sources, Kunala's son (making him possibly a brother of Dasharatha). The familial relationship between the two is thus not clear although evidently they were closely related members of the imperial family.

-- Dasharatha Maurya, by Wikipedia


• 224–215 BCE: Samprati

According to the Jain tradition he ruled for 53 years. [citation needed] The Jaina text Pariśiṣṭaparvan mentions that he ruled both from Pataliputra and Ujjain. According to a Jain text, the provinces of Surashtra, Maharashtra, Andhra, and the Mysore region broke away from the empire shortly after Ashoka's death (i.e., during Dasharatha's reign), but were reconquered by Samprati, who later deployed soldiers disguised as Jain monks....

While in one source, he is described as nominally a Jain from birth (Sthaviravali 9.53), most accounts emphasize his conversion at the hands of the Jain monk Shri Suhastisuri, the eighth leader of the congregation established by Lord Mahavira Swami....

-- Samprati, by Wikipedia


• 215–202 BCE: Shalishuka

While the Yuga Purana section of the Gargi Samhita mentions him as a quarrelsome, unrighteous ruler, he is also noted as being of "righteous words".

According to the Puranas he was succeeded by Devavarman.

-- Shalishuka, by Wikipedia


• 202–195 BCE: Devavarman

According to the Puranas, he was the successor of Shalishuka Maurya and reigned for a short period of seven years. He was not unrighteous, quarrelsome, very weak, and cruel like his predecessor, Shalishuka. But he was a bit weak, like all the Mauryan emperors who reigned after Ashoka. He was succeeded by Shatadhanvan.

-- Devavarman, by Wikipedia


• 195–187 BCE: Shatadhanvan

According to the Puranas, he was the successor of Devavarman Maurya and reigned for eight years. He was succeeded by Brihadratha Maurya.

-- Shatadhanvan, by Wikipedia


• 187–180 BCE: Brihadratha

According to the Puranas, Brihadratha succeeded his father Shatadhanvan to the throne and ruled for seven years....

Bāṇabhaṭṭa's Harshacharita says that Pushyamitra, while parading the entire Mauryan army before Brihadratha on the pretext of showing him the strength of the army, crushed his master. Pushyamitra killed the former emperor in front of his military and established himself as the new ruler....

A key detail is mentioned by Ceylonese Buddhist monk Badra, pointing that Brihadratha married Demetrius' daughter, Berenisa (Suvarnnaksi in Pali texts)....

The hypothesized Yavana invasion of Pataliputra is based in the Yuga Purana.

-- Brihadratha Maurya, by Wikipedia


-- Maurya Empire, by Wikipedia
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