brought to Japan in the Bun-mei
period 1469-1486.]

[Footnote 756: A supplement to the Tripitaka containing non-canonical
works in 750 volumes (Dai Nippon Zoku-Zokyo) was published in
1911.]

[Footnote 757: The Peking Tripitaka catalogued by Forke appears to be
a set of 1223 works represented by copies taken from four editions
published in 1578, 1592, 1598 and 1735 A.D., all of which are editions
of the collections numbered 11 and 12 above.]

[Footnote 758: For two interesting lives of translators see the
_T'oung Pao_, 1909, p. 199, and 1905, p. 332, where will be found the
biographies of Seng Hui, a Sogdian who died in 280 and Jinagupta a
native of Gandhara (528-605).]

[Footnote 759: But between 266 and 313 Dharmaraksha translated the
Saddharmapundarika (including the additional chapters 21-26) and the
Lalitavistara. His translation of the Prajnaparamita is incomplete.]

[Footnote 760: In the translations of Lokakshi 147-186, Chih-Ch'ien
223-243, Dharmaraksha 266-313.]

[Footnote 761: But his translation of the Lotus won admiration for its
literary style. See Anesaki Nichiren, p. 17. Wieger (_Croyances_, p.
367) says that the works of An-shih-kao illustrate the various methods
of translation: absolutely literal renderings which have hardly any
meaning in Chinese: word for word translations to which is added a
paraphrase of each sentence in Chinese idiom: and elegant renderings
by a native in which the original text obviously suffers.]

[Footnote 762: Yet it must have been intended as such. The title
expressly describes the work as composed by the Bodhisattva Ma-Ming
(Asvaghosha) and translated by Dharmaraksha. Though his idea of a
translation was at best an amplified metrical paraphrase, yet he
coincides verbally with the original so often that his work can hardly
be described as an independent poem inspired by it.]

[Footnote 763: [Chinese: ] No. 203.]

[Footnote 764: See Sukhavativyuha, ed. Max Muller and Bunyiu Nanjio,
Oxford, 1883. In the preface, pp. vii-ix, is a detailed comparison of
several translations and in an appendix, pp. 79 ff., a rendering of
Sanghavarman's Chinese version of verses which occur in the work.
Chinese critics say that Tao-an in the third century was the first to
introduce a sound style of translation. He made no translations
himself which have survived but was a scholar and commentator who
influenced others.]

[Footnote 765: This is an anthology (edited by Beckh, 1911: transla