Dighanikaya 31.250

31.250

Kva naccanti ‘‘kasmiṃ ṭhāne naṭanāṭakādinaccaṃ atthī’’ti pucchitvā yasmiṃ gāme vā nigame vā taṃ atthi, tattha gantabbaṃ hoti, tassa ‘‘sve naccadassanaṃ gamissāmī’’ti ajja vatthagandhamālādīni paṭiyādentasseva sakaladivasampi kammacchedo hoti, naccadassanena ekāhampi dvīhampi tīhampi tattheva hoti, atha vuṭṭhisampattiyādīni labhitvāpi vappādikāle vappādīni akarontassa anuppannā bhogā nuppajjanti, tassa bahi gatabhāvaṃ ñatvā anārakkhe gehe corā yaṃ icchanti, taṃ karonti, tenassa uppannāpi bhogā vinassanti. Kva gītantiādīsupi eseva nayo. Tesaṃ nānākaraṇaṃ brahmajāle vuttameva.

"Where is the dancing?": having asked, "In what place is there dancing such as mime and theatrical shows?", he must go wherever it is, in a village or a town. Thinking, "Tomorrow I will go to see the dancing," while preparing his clothes, scents, garlands, and so forth today itself, there is an interruption of work for the entire day. Seeing the dancing keeps him right there for one day, two days, or three days. Then, even if he gets the fortune of rain and so on, when he does not do sowing and the like at the time of sowing and so on, unarisen wealth does not arise; and knowing he has gone outside, thieves do as they wish in the unprotected house, whereby even his arisen wealth is destroyed. In "Where is the singing?" and so forth, this is the method as well. Their distinction was indeed explained in the Brahmajāla.