wanyu/IteraTeR_full_sent huggingface dataset:
Original:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " , prati- each, eka-one , buddha-enlightened).
Revised:  ) is a Buddhist term for the mode or vehicle of enlightenment of a pratyekabuddha or paccekabuddha (Sanskrit and Pali respectively), a term which literally means "solitary awakened one " , prati- each, eka-one , buddha-enlightened).
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Original:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " , prati- each, eka-one , buddha-enlightened).
Revised:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary buddha " , prati- each, eka-one , buddha-enlightened).
Edit intent: meaning-changed
Original:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " , prati- each, eka-one , buddha-enlightened).
Revised:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " or "a buddha on their own" ( prati- each, eka-one , buddha-enlightened).
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Original:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " , prati- each, eka-one , buddha-enlightened). This term was used in Indian Buddhism by early Buddhist schools, and is also used by the Mahāyāna tradition.
Revised:  ) is a Buddhist term for the path, or vehicle , of a pratyekabuddha ( "solitary awakened one " , prati- each, eka-one ). The pratyekabuddha is an individual who independently achieves liberation without the aid of teachers or guides and without teaching others to do the same. Pratyekabuddhas may give moral teachings but do not bring others to enlightenment. They leave no sangha as a legacy to carry on the Dhamma.
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In Theravāda teaching Pratyekabuddhas are said to achieve enlightenment on their own, without the use of teachers or guides, according to some traditions by seeing and understanding dependent origination. They are said to arise only in ages where there is no Buddha and the Buddhist teachings (Sanskrit: dharma; Pāli: dhamma) are lost. "The idea of a Paccekabuddha … is interesting, as much as it implies that even when the four truths are not preached they still exist and can be discovered by anyone who makes the necessary mental and moral effort".Charles Eliot, Hinduism and Buddhism, 3 Volumes, London, 1922, I 344–5 Many may arise at a single time. Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In According to the Theravada school, paccekabuddhas ("one who has attained to supreme and perfect insight, but who dies without proclaiming the truth to the URL are unable to teach the Dhamma, which requiresKloppenborg , Ria (1983). The Paccekabuddha: A Buddhist Ascetic - A Study of the Concept of the Paccekabuddha in Pali Canonical and Commentarial Literature, The Wheel Publication No. 305–7, Kandy, Sri Lanka: Buddhist Publication Society the omniscience and supreme compassion of a sammāsambuddha, and even he hesitates to attempt to teach.Ayacana Sutta: The Request (SN 6.1) translated from the Pali by Thanissaro Bhikkhu @ Access to Insight Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In In the Jātakas Pratyekabuddhas (e.g. Darīmukha J.378, Sonaka J.529) appear as teachers of Buddhist doctrine in pre-Buddhist times in several of the Jataka tales. Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In In Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In Mahayana teachings In the fourth-century Mahayana abhidharma work, the Abhidharma-samuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Edit intent: clarity
Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) .
Revised:  In Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes followers of the Pratyekabuddhayāna as those who dwell alone like a rhinoceros or as solitary conquerors (Skt. śrāvakayanika) .
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Original:  In     Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. śrāvakayanika) . These people are described as having weak faculties, following the Śrāvaka Dharma, utilizing the Śrāvaka Piṭaka, being set on their own liberation, and cultivating detachment in order to attain liberation .
Revised:  In Mahayana teachings In the 4th century Mahāyāna abhidharma workAbhidharmasamuccaya, Asaṅga describes those who follow the Śrāvaka Vehicle (Skt. pratyekajina) living in small groups .
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Original:  2001. p . 199-200 While those in the Pratyekabuddha Vehicle (Skt. pratyekabuddhayānika) are portrayed as also utilizing the Śrāvaka Piṭaka, they are said to have medium faculties, to follow the Pratyekabuddha Dharma, and to be set on their own personal enlightenment.
Revised:  2001. pp . 199-200 While those in the Pratyekabuddha Vehicle (Skt. pratyekabuddhayānika) are portrayed as also utilizing the Śrāvaka Piṭaka, they are said to have medium faculties, to follow the Pratyekabuddha Dharma, and to be set on their own personal enlightenment.
Edit intent: fluency
Original:  2001. p . 199-200 While those in the Pratyekabuddha Vehicle (Skt. pratyekabuddhayānika) are portrayed as also utilizing the Śrāvaka Piṭaka, they are said to have medium faculties, to follow the Pratyekabuddha Dharma, and to be set on their own personal enlightenment.
Revised:  2001. p . 199-200 Here they are characterized as utilizing the same canon of texts as the śrāvakas, the Śrāvaka Piṭaka, they are said to have medium faculties, to follow the Pratyekabuddha Dharma, and to be set on their own personal enlightenment.
Edit intent: clarity
Original:  2001. p . 199-200 While those in the Pratyekabuddha Vehicle (Skt. pratyekabuddhayānika) are portrayed as also utilizing the Śrāvaka Piṭaka, they are said to have medium faculties, to follow the Pratyekabuddha Dharma, and to be set on their own personal enlightenment.
Revised:  2001. p . 199-200 While those in the Pratyekabuddha Vehicle (Skt. pratyekabuddhayānika) are portrayed as also utilizing the Śrāvaka Piṭaka, but having a different set of teachings, the "Pratyekabuddha Dharma", and are said to be set on their own personal enlightenment.
Edit intent: clarity
Original:  Finally, those in the Mahāyāna (Skt. mahāyānika)are portrayed as utilizing the Bodhisattva Piṭaka, as having sharp faculties, following the Bodhisattva Dharma, and set on the perfection and liberation of all beings, and  the attainment of complete enlightenment.
Revised:  A very early sutra, the Rhinoceros Sutra, uses the exact metaphor of Asaṅga. The Rhinoceros Sutra is one of the Gandhāran Buddhist texts, which are the oldest Buddhist texts known. This text is also present in the Pāli Canon; in the Sutta Pitaka, a Pali Rhinoceros Sutta is the third sutta in the Khuddaka Nikaya's Sutta Nipata's first chapter (Sn 1.3). the attainment of complete enlightenment.
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Original:  Finally, those in the Mahāyāna (Skt. mahāyānika)are portrayed as utilizing the Bodhisattva Piṭaka, as having sharp faculties, following the Bodhisattva Dharma, and set on the perfection and liberation of all beings, and  the attainment of complete enlightenment.
Revised:  Finally, those in the Mahāyāna (Skt. mahāyānika)are portrayed as utilizing the Bodhisattva Piṭaka, as having sharp faculties, following the Bodhisattva Dharma, and set on the perfection and liberation of all beings, and In Tibetan Buddhism In the work written by Gampopa (1074-1153 C.E.), "The Jewel Ornament of Liberation, The Wish-fulfilling Gem of the Noble Teachings", the attainment of complete enlightenment.
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Original:  Finally, those in the Mahāyāna (Skt. mahāyānika)are portrayed as utilizing the Bodhisattva Piṭaka, as having sharp faculties, following the Bodhisattva Dharma, and set on the perfection and liberation of all beings, and  the attainment of complete enlightenment.
Revised:  Finally, those in the Mahāyāna (Skt. mahāyānika)are portrayed as utilizing the Bodhisattva Piṭaka, as having sharp faculties, following the Bodhisattva Dharma, and set on the perfection and liberation of all beings, and the ‘Pratyekabuddha family’ are characterized as secretive about their teachers, live in solitude, are afraid of Samsara, yearn for Nirvana and have little compassion. They are also characterized as arrogant.
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Original:  Notes    &  Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
Revised:  They cling to the idea that the unsullied meditative absorption they experience is Nirvana, when it's more like an island to find rest on the way to their actual goal. Rather than let them feel discouraged, the Buddha taught the Sravaka and Pratyekabuddha paths for rest and recuperation. After finding rest in states of meditative absorption, they are encouraged and awakened by the Buddha's body, speech, and mind to reach final Nirvana. Inspired by the Buddha, they then cultivate Bodhicitta and practice the Bodhisattva path.Khenpo Konchog Gyaltsen Rinpoche, "Jewel Ornament of Liberation." 1998, pp. 51-53 & Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
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Original:  Notes    &  Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
Revised:  Notes Further reading Kloppenborg, Ria (1974). The Paccekabuddha: A Buddhist Ascetic, Brill, Leiden, Netherlands Anālayo, B. (2010). Paccekabuddhas in the Isigili-sutta and its Ekottarika-àgama Parallel, Canadian Journal of Buddhist Studies 6, 5-36 & Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
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Original:  Notes    &  Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
Revised:  Notes External Links The Paccekabuddha: A Buddhist Ascetic A Study of the Concept of the Paccekabuddha in Pali Canonical and Commentarial Literature by Ria Kloppenborg Solitary& Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
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Original:  Notes    &  Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
Revised:  Notes & silenced is the Pacceka-Buddha! by Samahita Thera @ What-Buddha-Said.net Pacceka Buddha in Dictionary of Pali Proper Names Piyadassi Thera (1999–2012), MN 116: Isigili Sutta "The Discourse at Isigili", as published on Access to Insight Category:Mahayana Category:Buddhist philosophical concepts Category:Early Buddhis
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Original: The Jhukar Phase was a Late Bronze Age culture that existed in the lower Indus Valley , i.e. Sindh, during the 2nd millennium BC.
Revised: The Jhukar Phase was a phase of the Late Harappan culture in Sindh that continued after the decline of the mature Indus Valley Civilisation in the lower Indus Valley , i.e. Sindh, during the 2nd millennium BC.
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Original: The Jhukar Phase  was a phase of the Late Harappan culture in Sindh that continued after the decline of the mature Indus Valley Civilisation in the 2nd millennium BC.
Revised: The Jhukar Phase , was a phase of the Late Harappan culture in Sindh that continued after the decline of the mature Indus Valley Civilisation in the 2nd millennium BC.
Edit intent: fluency
Original:   The pottery of this phase is described as "showing some continuity with mature Harappan pottery traditions.
Revised:  Jhukar and Jhangar phases are collectively called Jhukar and Jhangar culture (1900 - 1500 BCE). Cemetery H culture (subculture of Late Harrapan IVC Phase) in Punjab was contemporaneous to Jhukar-Jhangar culture (subculture of Late Harrapan IVC Phase) in Sindh, both have evidence of continuity and change. Jhukar culture is associated with the sites excavated at Jhukar, Chanchudaro and Amri (Amri also as an earlier and distinct Amri culture belonging to earlier phases of IVC).Upinder Singh, 2008, A History of Ancient and Early Medieval India: From the Stone Age to the 12th century, Pearson Education, p. 211.. Rangpur culture in Gujarat, also part of Late Phase of IVC, was also contemporaneous to both. The pottery of this phase is described as "showing some continuity with mature Harappan pottery traditions.
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Original:  References See also Cemetery H culture Ahar-Banas culture  Pottery in the Indian subcontinent    
Revised:  References See also Cemetery H culture Ahar-Banas culture Pottery in the Indian subcontinent Periodisation of the Indus Valley Civilisation Ahar-Banas culture Late Harappan Phase of IVC (1900 - 1500 BCE) Cemetery H culture in Punjab Jhukar-Jhangar culture in Punjab Rangpur culture in Gujarat 
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Original:  References See also Cemetery H culture Ahar-Banas culture  Pottery in the Indian subcontinent    
Revised:  References See also Cemetery H culture Ahar-Banas culture Pottery in the Indian subcontinent Vedic period Kuru Kingdom (1200 – c. 500 BCE) OCP (2000-1500 BCE) Copper Hoard Culture (2800-1500 BCE), may or may not be independent of vedic culture 
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Original: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ]  that they were Dravidian .
Revised: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. They lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ] that they were Dravidian .
Edit intent: coherence
Original: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ]  that they were Dravidian .
Revised: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area were the Brahui live today and also looking at the style in which their metal ] that they were Dravidian .
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Original: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ]  that they were Dravidian .
Revised: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume bronze and iron] that they were Dravidian .
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Original: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ]  that they were Dravidian .
Revised: It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE. F.R. Allchin (ed.),but they lived in and around the area where the mordern Brahui live and due to the high degree of continuity between them and the Harrapans so it is safe to assume ] tools were made was distinctlly Harrapan though we also have some Vedic tools as well due to this we can safely conclude that they were Dravidian .
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Original: They lived in and around the area were the Brahui live today and also looking at the style in which their metal[bronze and iron] tools were made was distinctlly Harrapan though we also have some Vedic tools as well due to this we can safely conclude that they were Dravidian .they had ,horses, camels , sheep ,goats and cattle they also had bronze and iron tools  . .F.R. Allchin (ed.)
Revised: They lived in and around the area were the Brahui live today and also looking at the style in which their metal[bronze and iron] tools were made was distinctlly Harrapan though we also have some Vedic tools as well . They were proabbly Dravidian .they had ,horses, camels , sheep ,goats and cattle they also had bronze and iron tools . .F.R. Allchin (ed.)
Edit intent: coherence
Original: They lived in and around the area were the Brahui live today and also looking at the style in which their metal[bronze and iron] tools were made was distinctlly Harrapan though we also have some Vedic tools as well due to this we can safely conclude that they were Dravidian .they had ,horses, camels , sheep ,goats and cattle they also had bronze and iron tools  . .F.R. Allchin (ed.)
Revised: They lived in and around the area were the Brahui live today and also looking at the style in which their metal[bronze and iron] tools were made was distinctlly Harrapan though we also have some Vedic tools as well due to this we can safely conclude that they were Dravidian .they had ,horses, camels , sheep ,goats and cattle they also had bronze and iron tools . Though we also find that some were farmers and grey wheat , barley etc . .F.R. Allchin (ed.)
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Original:  It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE.F.R. Allchin (ed.)
Revised: Jhukar and Jhangar phases are collectively called Jhukar and Jhangar culture (1900 - 1500 BCE). Cemetery H culture (subculture of Late Harrapan IVC Phase) in Punjab was contemporaneous to Jhukar-Jhangar culture (subculture of Late Harrapan IVC Phase) in Sindh, both have evidence of continuity and change.Upinder Singh, 2008, A History of Ancient and Early Medieval India: From the Stone Age to the 12th century, Pearson Education, p. 211.. Rangpur culture in Gujarat, also part of Late Phase of IVC, was also contemporaneous to both. It is a non-urban culture, characterised by "crude handmade pottery" and "campsites of a population which was nomadic and mainly pastoralist," and is dated to approximately the late second millennium BCE and early first millennium BCE.F.R. Allchin (ed.)
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Original:  The Princeton Theologians followed McCosh to adopt a stance of theistic evolution . They tried to persuade John Gresham Machen (1881–1937), a leader of the Fundamentalists in the 1920s, but he would not stand with McCosh, nor could he stand for the shift the school was making. Therefore, he and a number of other Princeton faculty members left and started Westminster Theological Seminary in Philadelphia in 1929. This, however, did not stop McCosh from moving forward .
Revised:  The Princeton Theologians followed McCosh to adopt a stance of theistic evolution .
Edit intent: coherence
Original: Aerial silk performer Aerial silk Performance Aerial silks ( also known as aerial contortion, aerial ribbons, aerial tissues, fabric, ribbon, or tissu, depending on personal preference) is a type of performance in which one or more artists perform aerial acrobatics while hanging from a fabric.
Revised: Aerial silk performer Aerial silk is also known as aerial contortion, aerial ribbons, aerial tissues, fabric, ribbon, or tissu, depending on personal preference) is a type of performance in which one or more artists perform aerial acrobatics while hanging from a fabric.
Edit intent: clarity
Original: Aerial silk performer Aerial silk Performance Aerial silks ( also known as aerial contortion, aerial ribbons, aerial tissues, fabric, ribbon, or tissu, depending on personal preference) is a type of performance in which one or more artists perform aerial acrobatics while hanging from a fabric. The fabric may be hung as two pieces, or a single piece, folded to make a loop, classified as hammocksilks. Performers climb the suspended fabric without the use of safety lines and rely only on their training and skill to ensure safety. They use the fabric to wrap, suspend, drop, swing, and spiral their bodies into and out of various positions. Aerial silks may be used to fly through the air, striking poses and figures while flying. Some performers use dried or spray rosin on their hands and feet to increase the friction and grip on the fabric.
Revised: Aerial silk performer Aerial silk Performance Aerial silks ( also known as aerial hammock. the poeple who do it are the smartest poeple ever, and flute players. there smart too!
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Original:  The dances Five to 500 dancers stand in a circle  often around a leader and musicians , with acoustic instruments , in the center , All dances are participatory and spectatorship is somewhat discouraged because joy is the goal, not technical performance of specified dance steps or forms.
Revised:  The dances Five to 500 dancers stand in a circle , often around a leader and musicians , with acoustic instruments , in the center , All dances are participatory and spectatorship is somewhat discouraged because joy is the goal, not technical performance of specified dance steps or forms.
Edit intent: fluency