[423] Episodes of the Indian epics have also been used as the subjects of Javanese dramas. See Juynboll, Indonesische en achterindische tooneelvoorstellingen uit het Râmâyana, and Hinloopen Labberton, Pepakem Sapanti Sakoentala, 1912.
[424] Juynboll, Drie Boeken van het Oudjavaansche Mahâbhârata, p. 28.
[425] Archaeol. Onderzoek, I. p. 98. This statement is abundantly confirmed by Krom's index of the proper names in the Nâgarakrĕtâgama in Tijdschrift, LVI. 1914, pp. 495 ff.
[426] Edited with transl. and notes by J. Kat, 's Gravenhage, 1910.
[427] Edited with transl. by H. Kern in Verh. der K. Akademie van Wetenschappen te Amsterdam. Afd. Lett. N.R. III. 3. 1901.
[428] But this probably represents nizbâṇa and is not a Pali form. Cf. Bajra, Bâyu for Vajra, Vâyu.
[429] Adyâbhishiktâyushmanta, p. 30. Prâptam buddhatvam bhavadbhir, ib. and Esha mârga varah śrîmân mahâyâna mahodayah Yena yûyam gamishyanto bhavishyatha Tathâgatâh.
[430] Dâna, śîla, kshânti, vîrya, dhyâna, prajñâ.
[431] Maitrî, karunâ, muditâ, upekshâ.
[432] The Kâraṇḍavyûha teaches a somewhat similar doctrine of creative emanations. Avalokita, Brahmâ, Śiva, Vishṇu and others all are evolved from the original Buddha spirit and proceed to evolve the world.