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Consideration of the Aorist form as an Aspectual Function: Pūrvayogaparivarta (Chapter 7) of the Saddharmapuṇḍarīkasūtra
No full textChapter 7 of Saddharmapuṇḍarīkasūtram (SP), Pūrvayogaparivarta, contains several stories, the first of which is about a Tathāgata—one worthy of reverence, a fully enlightened one—whose name is mahābhijñājñānāvibhū [MTH]. The chapter begins as a recollection by the Buddha Śākyamuni, and the characters in the story are MTH and sixteen śrāmaṇeras who begged him to roll a wheel of the Dharma. The main storyline is that these śrāmaṇeras became buddhas, and one of them was, in fact, Śākyamuni Buddha. If this story is considered as a single event, the Instructive part of the story begins in the future—after Śākyamuni Buddha’s parinirvāṇa—as a teaching to śrāvakas who have desired to ask him for Bodhi (i.e. Buddha-Knowledge).1 The chapter ends with the famous metaphor (Vehicle: 能喩) of the Apparitional City being used to convey the teaching (Tenor: 所喩)2 that “the ‘parinirvāṇa of Tathagatas’ is only one. There is no other ‘second nirvāṇa’ for Tathāgatas” (ekam eva tathāgatānāṃ parinirvāṇam nāsty anyadvitīyaṃ ito bahir nirvāṇaṃ tathāgatānām). Thus, Śākyamuni’s recollection of MTH’s methods (yoga3) in times in the long ago past (pūrva) is occurring in the ‘present time’ in which Śākyamuni and the śrāvakas are the central figures. The ‘time’ layered from the ‘past’ to the ‘present’ is expressed as one of Śākyamuni’s methods. This paper examines: 1) the viewpoint of the Dutch Indologist Jan Gonda4 with regard to the aorist form, 2) the aorist form used in the main events of the first story through its aspectual function, and 3) additional use of the aorist in Chapter 7.departmental bulletin pape
A Study of The Bloody Chamber by Angela Carter: Exploring the Themes of Enclosure and Escape
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