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Catukka ### [1.11.1](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.1) Atthi kho, āvuso, tena bhagavatā jānatā passatā arahatā sammāsambuddhena cattāro dhammā sammadakkhātā. > There are teachings grouped by four that have been rightly explained by the Buddha. > — Reciting in Concert ### [1.11.2](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.2) Tattha sabbeheva saṅgāyitabbaṃ, na vivaditabbaṃ …pe… atthāya hitāya sukhāya devamanussānaṃ. > You should all recite these in concert. > — Reciting in Concert ### [1.11.3](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.3) Katame cattāro? > What are the teachings grouped by four? > — Reciting in Concert ### [1.11.4](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.4) Cattāro satipaṭṭhānā. > Four kinds of mindfulness meditation: > — Reciting in Concert ### [1.11.5](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.5) Idhāvuso, bhikkhu kāye kāyānupassī viharati ātāpī sampajāno satimā, vineyya loke abhijjhādomanassaṃ. > It’s when a mendicant meditates by observing an aspect of the body—keen, aware, and mindful, rid of covetousness and displeasure for the world. > — Reciting in Concert ### [1.11.6](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.6) Vedanāsu vedanānupassī …pe… > They meditate observing an aspect of feelings … > — Reciting in Concert ### [1.11.7](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.7) citte cittānupassī …pe… > mind … > — Reciting in Concert ### [1.11.8](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.8) dhammesu dhammānupassī viharati ātāpī sampajāno satimā vineyya loke abhijjhādomanassaṃ. > principles—keen, aware, and mindful, rid of covetousness and displeasure for the world. > — Reciting in Concert ### [1.11.9](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.9) Cattāro sammappadhānā. > Four right efforts: > — Reciting in Concert ### [1.11.10](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.10) Idhāvuso, bhikkhu anuppannānaṃ pāpakānaṃ akusalānaṃ dhammānaṃ anuppādāya chandaṃ janeti vāyamati vīriyaṃ ārabhati cittaṃ paggaṇhāti padahati. > A mendicant generates enthusiasm, tries, makes an effort, exerts the mind, and strives so that bad, unskillful qualities don’t arise. > — Reciting in Concert ### [1.11.11](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.11) Uppannānaṃ pāpakānaṃ akusalānaṃ dhammānaṃ pahānāya chandaṃ janeti vāyamati vīriyaṃ ārabhati cittaṃ paggaṇhāti padahati. > They generate enthusiasm, try, make an effort, exert the mind, and strive so that bad, unskillful qualities that have arisen are given up. > — Reciting in Concert ### [1.11.12](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.12) Anuppannānaṃ kusalānaṃ dhammānaṃ uppādāya chandaṃ janeti vāyamati vīriyaṃ ārabhati cittaṃ paggaṇhāti padahati. > They generate enthusiasm, try, make an effort, exert the mind, and strive so that skillful qualities arise. > — Reciting in Concert ### [1.11.13](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.13) Uppannānaṃ kusalānaṃ dhammānaṃ ṭhitiyā asammosāya bhiyyobhāvāya vepullāya bhāvanāya pāripūriyā chandaṃ janeti vāyamati vīriyaṃ ārabhati cittaṃ paggaṇhāti padahati. > They generate enthusiasm, try, make an effort, exert the mind, and strive so that skillful qualities that have arisen remain, are not lost, but increase, mature, and are fully developed. > — Reciting in Concert ### [1.11.14](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.14) Cattāro iddhipādā. > Four bases of psychic power: > — Reciting in Concert ### [1.11.15](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.15) Idhāvuso, bhikkhu chandasamādhipadhānasaṅkhārasamannāgataṃ iddhipādaṃ bhāveti. > A mendicant develops the basis of psychic power that has immersion due to enthusiasm, and active effort. > — Reciting in Concert ### [1.11.16](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.16) Cittasamādhipadhānasaṅkhārasamannāgataṃ iddhipādaṃ bhāveti. > They develop the basis of psychic power that has immersion due to mental development, and active effort. > — Reciting in Concert ### [1.11.17](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.17) Vīriyasamādhipadhānasaṅkhārasamannāgataṃ iddhipādaṃ bhāveti. > They develop the basis of psychic power that has immersion due to energy, and active effort. > — Reciting in Concert ### [1.11.18](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.18) Vīmaṃsāsamādhipadhānasaṅkhārasamannāgataṃ iddhipādaṃ bhāveti. > They develop the basis of psychic power that has immersion due to inquiry, and active effort. > — Reciting in Concert ### [1.11.19](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.19) Cattāri jhānāni. > Four absorptions: > — Reciting in Concert ### [1.11.20](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.20) Idhāvuso, bhikkhu vivicceva kāmehi vivicca akusalehi dhammehi savitakkaṃ savicāraṃ vivekajaṃ pītisukhaṃ paṭhamaṃ jhānaṃ upasampajja viharati. > A mendicant, quite secluded from sensual pleasures, secluded from unskillful qualities, enters and remains in the first absorption, which has the rapture and bliss born of seclusion, while placing the mind and keeping it connected. > — Reciting in Concert ### [1.11.21](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.21) Vitakkavicārānaṃ vūpasamā ajjhattaṃ sampasādanaṃ cetaso ekodibhāvaṃ avitakkaṃ avicāraṃ samādhijaṃ pītisukhaṃ dutiyaṃ jhānaṃ upasampajja viharati. > As the placing of the mind and keeping it connected are stilled, they enter and remain in the second absorption, which has the rapture and bliss born of immersion, with internal clarity and mind at one, without placing the mind and keeping it connected. > — Reciting in Concert ### [1.11.22](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.22) Pītiyā ca virāgā upekkhako ca viharati sato ca sampajāno, sukhañca kāyena paṭisaṃvedeti, yaṃ taṃ ariyā ācikkhanti: ‘upekkhako satimā sukhavihārī’ti tatiyaṃ jhānaṃ upasampajja viharati. > And with the fading away of rapture, they enter and remain in the third absorption, where they meditate with equanimity, mindful and aware, experiencing for themselves the bliss of which the noble ones declare, ‘Equanimous and mindful, one meditates in bliss.’ > — Reciting in Concert ### [1.11.23](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.23) Sukhassa ca pahānā dukkhassa ca pahānā, pubbeva somanassadomanassānaṃ atthaṅgamā, adukkhamasukhaṃ upekkhāsatipārisuddhiṃ catutthaṃ jhānaṃ upasampajja viharati. > With the giving up of pleasure and pain and the disappearance of former happiness and sadness, they enter and remain in the fourth absorption, without pleasure or pain, with pure equanimity and mindfulness. > — Reciting in Concert ### [1.11.24](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.24) Catasso samādhibhāvanā. > Four ways of developing immersion further: > — Reciting in Concert ### [1.11.25](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.25) Atthāvuso, samādhibhāvanā bhāvitā bahulīkatā diṭṭhadhammasukhavihārāya saṃvattati. > There is a way of developing immersion further that leads to blissful meditation in this life. > — Reciting in Concert ### [1.11.26](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.26) Atthāvuso, samādhibhāvanā bhāvitā bahulīkatā ñāṇadassanapaṭilābhāya saṃvattati. > There is a way of developing immersion further that leads to gaining knowledge and vision. > — Reciting in Concert ### [1.11.27](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.27) Atthāvuso samādhibhāvanā bhāvitā bahulīkatā satisampajaññāya saṃvattati. > There is a way of developing immersion further that leads to mindfulness and awareness. > — Reciting in Concert ### [1.11.28](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.28) Atthāvuso samādhibhāvanā bhāvitā bahulīkatā āsavānaṃ khayāya saṃvattati. > There is a way of developing immersion further that leads to the ending of defilements. > — Reciting in Concert ### [1.11.29](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.29) Katamā cāvuso, samādhibhāvanā bhāvitā bahulīkatā diṭṭhadhammasukhavihārāya saṃvattati? > And what is the way of developing immersion further that leads to blissful meditation in this life? > — Reciting in Concert ### [1.11.30](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.30) Idhāvuso, bhikkhu vivicceva kāmehi vivicca akusalehi dhammehi savitakkaṃ … > It’s when a mendicant, quite secluded from sensual pleasures, secluded from unskillful qualities, enters and remains in the first absorption … > — Reciting in Concert ### [1.11.31](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.31) pe… > second absorption … > — Reciting in Concert ### [1.11.32](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.32) catutthaṃ jhānaṃ upasampajja viharati. > fourth absorption. > — Reciting in Concert ### [1.11.33](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.33) Ayaṃ, āvuso, samādhibhāvanā bhāvitā bahulīkatā diṭṭhadhammasukhavihārāya saṃvattati. > This is the way of developing immersion further that leads to blissful meditation in this life. > — Reciting in Concert ### [1.11.34](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.34) Katamā cāvuso, samādhibhāvanā bhāvitā bahulīkatā ñāṇadassanapaṭilābhāya saṃvattati? > And what is the way of developing immersion further that leads to gaining knowledge and vision? > — Reciting in Concert ### [1.11.35](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.35) Idhāvuso, bhikkhu ālokasaññaṃ manasi karoti, divāsaññaṃ adhiṭṭhāti yathā divā tathā rattiṃ, yathā rattiṃ tathā divā. > A mendicant applies their mind to the perception of light, focusing on the perception of day regardless of whether it’s night or day. > — Reciting in Concert ### [1.11.36](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.36) Iti vivaṭena cetasā apariyonaddhena sappabhāsaṃ cittaṃ bhāveti. > And so, with an open and unenveloped heart, they develop a mind that’s full of radiance. > — Reciting in Concert ### [1.11.37](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.37) Ayaṃ, āvuso, samādhibhāvanā bhāvitā bahulīkatā ñāṇadassanapaṭilābhāya saṃvattati. > This is the way of developing immersion further that leads to gaining knowledge and vision. > — Reciting in Concert ### [1.11.38](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.38) Katamā cāvuso, samādhibhāvanā bhāvitā bahulīkatā satisampajaññāya saṃvattati? > And what is the way of developing immersion further that leads to mindfulness and awareness? > — Reciting in Concert ### [1.11.39](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.39) Idhāvuso, bhikkhuno viditā vedanā uppajjanti, viditā upaṭṭhahanti, viditā abbhatthaṃ gacchanti. > A mendicant knows feelings as they arise, as they remain, and as they go away. > — Reciting in Concert ### [1.11.40](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.40) Viditā saññā uppajjanti, viditā upaṭṭhahanti, viditā abbhatthaṃ gacchanti. > They know perceptions as they arise, as they remain, and as they go away. > — Reciting in Concert ### [1.11.41](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.41) Viditā vitakkā uppajjanti, viditā upaṭṭhahanti, viditā abbhatthaṃ gacchanti. > They know thoughts as they arise, as they remain, and as they go away. > — Reciting in Concert ### [1.11.42](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.42) Ayaṃ, āvuso, samādhibhāvanā bhāvitā bahulīkatā satisampajaññāya saṃvattati. > This is the way of developing immersion further that leads to mindfulness and awareness. > — Reciting in Concert ### [1.11.43](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.43) Katamā cāvuso, samādhibhāvanā bhāvitā bahulīkatā āsavānaṃ khayāya saṃvattati? > And what is the way of developing immersion further that leads to the ending of defilements? > — Reciting in Concert ### [1.11.44](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.44) Idhāvuso, bhikkhu pañcasu upādānakkhandhesu udayabbayānupassī viharati. > A mendicant meditates observing rise and fall in the five grasping aggregates. > — Reciting in Concert ### [1.11.45](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.45) Iti rūpaṃ, iti rūpassa samudayo, iti rūpassa atthaṅgamo. > ‘Such is form, such is the origin of form, such is the disappearance of form. > — Reciting in Concert ### [1.11.46](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.46) Iti vedanā …pe… > Such are feelings … > — Reciting in Concert ### [1.11.47](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.47) iti saññā … > perceptions … > — Reciting in Concert ### [1.11.48](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.48) iti saṅkhārā … > choices … > — Reciting in Concert ### [1.11.49](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.49) iti viññāṇaṃ, iti viññāṇassa samudayo, iti viññāṇassa atthaṅgamo. > consciousness, such is the origin of consciousness, such is the disappearance of consciousness.’ > — Reciting in Concert ### [1.11.50](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.50) Ayaṃ, āvuso, samādhibhāvanā bhāvitā bahulīkatā āsavānaṃ khayāya saṃvattati. > This is the way of developing immersion further that leads to the ending of defilements. > — Reciting in Concert ### [1.11.51](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.51) Catasso appamaññā. > Four limitless states: > — Reciting in Concert ### [1.11.52](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.52) Idhāvuso, bhikkhu mettāsahagatena cetasā ekaṃ disaṃ pharitvā viharati. Tathā dutiyaṃ. Tathā tatiyaṃ. Tathā catutthaṃ. Iti uddhamadho tiriyaṃ sabbadhi sabbattatāya sabbāvantaṃ lokaṃ mettāsahagatena cetasā vipulena mahaggatena appamāṇena averena abyāpajjena pharitvā viharati. > A mendicant meditates spreading a heart full of love to one direction, and to the second, and to the third, and to the fourth. In the same way above, below, across, everywhere, all around, they spread a heart full of love to the whole world—abundant, expansive, limitless, free of enmity and ill will. > — Reciting in Concert ### [1.11.53](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.53) Karuṇāsahagatena cetasā …pe… > They meditate spreading a heart full of compassion … > — Reciting in Concert ### [1.11.54](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.54) muditāsahagatena cetasā …pe… > rejoicing … > — Reciting in Concert ### [1.11.55](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.55) upekkhāsahagatena cetasā ekaṃ disaṃ pharitvā viharati. Tathā dutiyaṃ. Tathā tatiyaṃ. Tathā catutthaṃ. Iti uddhamadho tiriyaṃ sabbadhi sabbattatāya sabbāvantaṃ lokaṃ upekkhāsahagatena cetasā vipulena mahaggatena appamāṇena averena abyāpajjena pharitvā viharati. > equanimity to one direction, and to the second, and to the third, and to the fourth. In the same way above, below, across, everywhere, all around, they spread a heart full of equanimity to the whole world—abundant, expansive, limitless, free of enmity and ill will. > — Reciting in Concert ### [1.11.56](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.56) Cattāro āruppā. > Four formless states: > — Reciting in Concert ### [1.11.57](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.57) Idhāvuso, bhikkhu sabbaso rūpasaññānaṃ samatikkamā paṭighasaññānaṃ atthaṅgamā nānattasaññānaṃ amanasikārā ‘ananto ākāso’ti ākāsānañcāyatanaṃ upasampajja viharati. > A mendicant, going totally beyond perceptions of form, with the disappearance of perceptions of impingement, not focusing on perceptions of diversity, aware that ‘space is infinite’, enters and remains in the dimension of infinite space. > — Reciting in Concert ### [1.11.58](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.58) Sabbaso ākāsānañcāyatanaṃ samatikkamma ‘anantaṃ viññāṇan’ti viññāṇañcāyatanaṃ upasampajja viharati. > Going totally beyond the dimension of infinite space, aware that ‘consciousness is infinite’, they enter and remain in the dimension of infinite consciousness. > — Reciting in Concert ### [1.11.59](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.59) Sabbaso viññāṇañcāyatanaṃ samatikkamma ‘natthi kiñcī’ti ākiñcaññāyatanaṃ upasampajja viharati. > Going totally beyond the dimension of infinite consciousness, aware that ‘there is nothing at all’, they enter and remain in the dimension of nothingness. > — Reciting in Concert ### [1.11.60](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.60) Sabbaso ākiñcaññāyatanaṃ samatikkamma nevasaññānāsaññāyatanaṃ upasampajja viharati. > Going totally beyond the dimension of nothingness, they enter and remain in the dimension of neither perception nor non-perception. > — Reciting in Concert ### [1.11.61](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.61) Cattāri apassenāni. > Four supports: > — Reciting in Concert ### [1.11.62](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.62) Idhāvuso, bhikkhu saṅkhāyekaṃ paṭisevati, saṅkhāyekaṃ adhivāseti, saṅkhāyekaṃ parivajjeti, saṅkhāyekaṃ vinodeti. > After appraisal, a mendicant uses some things, endures some things, avoids some things, and dispels some things. > — Reciting in Concert ### [1.11.63](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.63) Cattāro ariyavaṃsā. > Four noble customs: > — Reciting in Concert ### [1.11.64](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.64) Idhāvuso, bhikkhu santuṭṭho hoti itarītarena cīvarena, itarītaracīvarasantuṭṭhiyā ca vaṇṇavādī, na ca cīvarahetu anesanaṃ appatirūpaṃ āpajjati; aladdhā ca cīvaraṃ na paritassati, laddhā ca cīvaraṃ agadhito amucchito anajjhāpanno ādīnavadassāvī nissaraṇapañño paribhuñjati; tāya ca pana itarītaracīvarasantuṭṭhiyā nevattānukkaṃseti na paraṃ vambheti. > A mendicant is content with any kind of robe, and praises such contentment. They don’t employ improper solicitation for the sake of a robe. They don’t worry if they don’t get a robe. And if they do get a robe, they use it untied, uninfatuated, unattached, seeing the drawback, and understanding the escape. And on account of that they don’t glorify themselves or put others down. > — Reciting in Concert ### [1.11.65](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.65) Yo hi tattha dakkho analaso sampajāno paṭissato, ayaṃ vuccatāvuso: ‘bhikkhu porāṇe aggaññe ariyavaṃse ṭhito’. > A mendicant who is deft, tireless, aware, and mindful in this is said to stand in the ancient, primordial noble custom. > — Reciting in Concert ### [1.11.66](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.66) Puna caparaṃ, āvuso, bhikkhu santuṭṭho hoti itarītarena piṇḍapātena, itarītarapiṇḍapātasantuṭṭhiyā ca vaṇṇavādī, na ca piṇḍapātahetu anesanaṃ appatirūpaṃ āpajjati; aladdhā ca piṇḍapātaṃ na paritassati, laddhā ca piṇḍapātaṃ agadhito amucchito anajjhāpanno ādīnavadassāvī nissaraṇapañño paribhuñjati; tāya ca pana itarītarapiṇḍapātasantuṭṭhiyā nevattānukkaṃseti na paraṃ vambheti. > Furthermore, a mendicant is content with any kind of almsfood … > — Reciting in Concert ### [1.11.67](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.67) Yo hi tattha dakkho analaso sampajāno paṭissato, ayaṃ vuccatāvuso: ‘bhikkhu porāṇe aggaññe ariyavaṃse ṭhito’. ### [1.11.68](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.68) Puna caparaṃ, āvuso, bhikkhu santuṭṭho hoti itarītarena senāsanena, itarītarasenāsanasantuṭṭhiyā ca vaṇṇavādī, na ca senāsanahetu anesanaṃ appatirūpaṃ āpajjati; aladdhā ca senāsanaṃ na paritassati, laddhā ca senāsanaṃ agadhito amucchito anajjhāpanno ādīnavadassāvī nissaraṇapañño paribhuñjati; tāya ca pana itarītarasenāsanasantuṭṭhiyā nevattānukkaṃseti na paraṃ vambheti. > Furthermore, a mendicant is content with any kind of lodgings … > — Reciting in Concert ### [1.11.69](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.69) Yo hi tattha dakkho analaso sampajāno paṭissato, ayaṃ vuccatāvuso: ‘bhikkhu porāṇe aggaññe ariyavaṃse ṭhito’. ### [1.11.70](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.70) Puna caparaṃ, āvuso, bhikkhu pahānārāmo hoti pahānarato, bhāvanārāmo hoti bhāvanārato; tāya ca pana pahānārāmatāya pahānaratiyā bhāvanārāmatāya bhāvanāratiyā nevattānukkaṃseti na paraṃ vambheti. > Furthermore, a mendicant enjoys giving up and loves to give up. They enjoy meditation and love to meditate. But they don’t glorify themselves or put down others on account of their love for giving up and meditation. > — Reciting in Concert ### [1.11.71](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.71) Yo hi tattha dakkho analaso sampajāno paṭissato ayaṃ vuccatāvuso: ‘bhikkhu porāṇe aggaññe ariyavaṃse ṭhito’. > A mendicant who is deft, tireless, aware, and mindful in this is said to stand in the ancient, primordial noble custom. > — Reciting in Concert ### [1.11.72](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.72) Cattāri padhānāni. > Four efforts: > — Reciting in Concert ### [1.11.73](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.73) Saṃvarapadhānaṃ pahānapadhānaṃ bhāvanāpadhānaṃ anurakkhaṇāpadhānaṃ. > The efforts to restrain, to give up, to develop, and to preserve. > — Reciting in Concert ### [1.11.74](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.74) Katamañcāvuso, saṃvarapadhānaṃ? > And what is the effort to restrain? > — Reciting in Concert ### [1.11.75](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.75) Idhāvuso, bhikkhu cakkhunā rūpaṃ disvā na nimittaggāhī hoti nānubyañjanaggāhī. > When a mendicant sees a sight with their eyes, they don’t get caught up in the features and details. > — Reciting in Concert ### [1.11.76](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.76) Yatvādhikaraṇamenaṃ cakkhundriyaṃ asaṃvutaṃ viharantaṃ abhijjhādomanassā pāpakā akusalā dhammā anvāssaveyyuṃ, tassa saṃvarāya paṭipajjati, rakkhati cakkhundriyaṃ, cakkhundriye saṃvaraṃ āpajjati. > If the faculty of sight were left unrestrained, bad unskillful qualities of covetousness and displeasure would become overwhelming. For this reason, they practice restraint, protecting the faculty of sight, and achieving its restraint. > — Reciting in Concert ### [1.11.77](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.77) Sotena saddaṃ sutvā … > When they hear a sound with their ears … > — Reciting in Concert ### [1.11.78](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.78) ghānena gandhaṃ ghāyitvā … > When they smell an odor with their nose … > — Reciting in Concert ### [1.11.79](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.79) jivhāya rasaṃ sāyitvā … > When they taste a flavor with their tongue … > — Reciting in Concert ### [1.11.80](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.80) kāyena phoṭṭhabbaṃ phusitvā … > When they feel a touch with their body … > — Reciting in Concert ### [1.11.81](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.81) manasā dhammaṃ viññāya na nimittaggāhī hoti nānubyañjanaggāhī. > When they know an idea with their mind, they don’t get caught up in the features and details. > — Reciting in Concert ### [1.11.82](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.82) Yatvādhikaraṇamenaṃ manindriyaṃ asaṃvutaṃ viharantaṃ abhijjhādomanassā pāpakā akusalā dhammā anvāssaveyyuṃ, tassa saṃvarāya paṭipajjati, rakkhati manindriyaṃ, manindriye saṃvaraṃ āpajjati. > If the faculty of mind were left unrestrained, bad unskillful qualities of covetousness and displeasure would become overwhelming. For this reason, they practice restraint, protecting the faculty of mind, and achieving its restraint. > — Reciting in Concert ### [1.11.83](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.83) Idaṃ vuccatāvuso, saṃvarapadhānaṃ. > This is called the effort to restrain. > — Reciting in Concert ### [1.11.84](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.84) Katamañcāvuso, pahānapadhānaṃ? > And what is the effort to give up? > — Reciting in Concert ### [1.11.85](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.85) Idha, bhikkhave, bhikkhu uppannaṃ kāmavitakkaṃ nādhivāseti pajahati vinodeti byantiṃ karoti anabhāvaṃ gameti; > It’s when a mendicant doesn’t tolerate a sensual, > — Reciting in Concert ### [1.11.86](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.86) uppannaṃ byāpādavitakkaṃ …pe… > malicious, > — Reciting in Concert ### [1.11.87](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.87) uppannaṃ vihiṃsāvitakkaṃ …pe… > or cruel thought that’s arisen, but gives it up, dispels it, eliminates it, and obliterates it. > — Reciting in Concert ### [1.11.88](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.88) uppannuppanne pāpake akusale dhamme nādhivāseti pajahati vinodeti byantiṃ karoti anabhāvaṃ gameti. > They don’t tolerate any bad, unskillful qualities that have arisen, but give them up, dispel them, eliminate them, and obliterate them. > — Reciting in Concert ### [1.11.89](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.89) Idaṃ vuccatāvuso, pahānapadhānaṃ. > This is called the effort to give up. > — Reciting in Concert ### [1.11.90](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.90) Katamañcāvuso, bhāvanāpadhānaṃ? > And what is the effort to develop? > — Reciting in Concert ### [1.11.91](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.91) Idha, bhikkhave, bhikkhu satisambojjhaṅgaṃ bhāveti vivekanissitaṃ virāganissitaṃ nirodhanissitaṃ vossaggapariṇāmiṃ, > It’s when a mendicant develops the awakening factors of mindfulness, > — Reciting in Concert ### [1.11.92](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.92) dhammavicayasambojjhaṅgaṃ bhāveti … > investigation of principles, > — Reciting in Concert ### [1.11.93](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.93) vīriyasambojjhaṅgaṃ bhāveti … > energy, > — Reciting in Concert ### [1.11.94](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.94) pītisambojjhaṅgaṃ bhāveti … > rapture, > — Reciting in Concert ### [1.11.95](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.95) passaddhisambojjhaṅgaṃ bhāveti … > tranquility, > — Reciting in Concert ### [1.11.96](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.96) samādhisambojjhaṅgaṃ bhāveti … > immersion, > — Reciting in Concert ### [1.11.97](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.97) upekkhāsambojjhaṅgaṃ bhāveti vivekanissitaṃ virāganissitaṃ nirodhanissitaṃ vossaggapariṇāmiṃ. > and equanimity, which rely on seclusion, fading away, and cessation, and ripen as letting go. > — Reciting in Concert ### [1.11.98](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.98) Idaṃ vuccatāvuso, bhāvanāpadhānaṃ. > This is called the effort to develop. > — Reciting in Concert ### [1.11.99](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.99) Katamañcāvuso, anurakkhaṇāpadhānaṃ? > And what is the effort to preserve? > — Reciting in Concert ### [1.11.100](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.100) Idhāvuso, bhikkhu uppannaṃ bhadrakaṃ samādhinimittaṃ anurakkhati—aṭṭhikasaññaṃ, puḷuvakasaññaṃ, vinīlakasaññaṃ, vicchiddakasaññaṃ, uddhumātakasaññaṃ. > It’s when a mendicant preserves a meditation subject that’s a fine basis of immersion: the perception of a skeleton, a worm-infested corpse, a livid corpse, a split open corpse, or a bloated corpse. > — Reciting in Concert ### [1.11.101](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.101) Idaṃ vuccatāvuso, anurakkhaṇāpadhānaṃ. > This is called the effort to preserve. > — Reciting in Concert ### [1.11.102](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.102) Cattāri ñāṇāni— > Four knowledges: > — Reciting in Concert ### [1.11.103](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.103) dhamme ñāṇaṃ, anvaye ñāṇaṃ, pariye ñāṇaṃ, sammutiyā ñāṇaṃ. > knowledge of the teaching, inferential knowledge, knowledge of encompassing, and conventional knowledge. > — Reciting in Concert ### [1.11.104](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.104) Aparānipi cattāri ñāṇāni— > Another four knowledges: > — Reciting in Concert ### [1.11.105](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.105) dukkhe ñāṇaṃ, dukkhasamudaye ñāṇaṃ, dukkhanirodhe ñāṇaṃ, dukkhanirodhagāminiyā paṭipadāya ñāṇaṃ. > knowing about suffering, the origin of suffering, the cessation of suffering, and the practice that leads to the cessation of suffering. > — Reciting in Concert ### [1.11.106](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.106) Cattāri sotāpattiyaṅgāni— > Four factors for stream-entry: > — Reciting in Concert ### [1.11.107](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.107) sappurisasaṃsevo, saddhammassavanaṃ, yonisomanasikāro, dhammānudhammappaṭipatti. > associating with true persons, listening to the true teaching, rational application of mind, and practicing in line with the teaching. > — Reciting in Concert ### [1.11.108](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.108) Cattāri sotāpannassa aṅgāni. > Four factors of a stream-enterer: > — Reciting in Concert ### [1.11.109](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.109) Idhāvuso, ariyasāvako buddhe aveccappasādena samannāgato hoti: > A noble disciple has experiential confidence in the Buddha: > — Reciting in Concert ### [1.11.110](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.110) ‘itipi so bhagavā arahaṃ sammāsambuddho vijjācaraṇasampanno sugato lokavidū anuttaro purisadammasārathi satthā devamanussānaṃ buddho, bhagavā’ti. > ‘That Blessed One is perfected, a fully awakened Buddha, accomplished in knowledge and conduct, holy, knower of the world, supreme guide for those fit for training, teacher of gods and humans, awakened, blessed.’ > — Reciting in Concert ### [1.11.111](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.111) Dhamme aveccappasādena samannāgato hoti: > They have experiential confidence in the teaching: > — Reciting in Concert ### [1.11.112](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.112) ‘svākkhāto bhagavatā dhammo sandiṭṭhiko akāliko ehipassiko opaneyyiko paccattaṃ veditabbo viññūhī’ti. > ‘The teaching is well explained by the Buddha—apparent in the present life, immediately effective, inviting inspection, relevant, so that sensible people can know it for themselves.’ > — Reciting in Concert ### [1.11.113](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.113) Saṅghe aveccappasādena samannāgato hoti: > They have experiential confidence in the Saṅgha: > — Reciting in Concert ### [1.11.114](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.114) ‘suppaṭipanno bhagavato sāvakasaṅgho ujuppaṭipanno bhagavato sāvakasaṅgho ñāyappaṭipanno bhagavato sāvakasaṅgho sāmīcippaṭipanno bhagavato sāvakasaṅgho yadidaṃ cattāri purisayugāni aṭṭha purisapuggalā, esa bhagavato sāvakasaṅgho āhuneyyo pāhuneyyo dakkhiṇeyyo añjalikaraṇīyo anuttaraṃ puññakkhettaṃ lokassā’ti. > ‘The Saṅgha of the Buddha’s disciples is practicing the way that’s good, direct, systematic, and proper. It consists of the four pairs, the eight individual persons. This is the Saṅgha of the Buddha’s disciples that is worthy of offerings dedicated to the gods, worthy of hospitality, worthy of a religious donation, worthy of greeting with cupped palms, and is the supreme field of merit for the world.’ > — Reciting in Concert ### [1.11.115](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.115) Ariyakantehi sīlehi samannāgato hoti akhaṇḍehi acchiddehi asabalehi akammāsehi bhujissehi viññuppasatthehi aparāmaṭṭhehi samādhisaṃvattanikehi. > And a noble disciple’s ethical conduct is loved by the noble ones, unbroken, impeccable, spotless, and unmarred, liberating, praised by sensible people, not mistaken, and leading to immersion. > — Reciting in Concert ### [1.11.116](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.116) Cattāri sāmaññaphalāni— > Four fruits of the ascetic life: > — Reciting in Concert ### [1.11.117](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.117) sotāpattiphalaṃ, sakadāgāmiphalaṃ, anāgāmiphalaṃ, arahattaphalaṃ. > stream-entry, once-return, non-return, and perfection. > — Reciting in Concert ### [1.11.118](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.118) Catasso dhātuyo— > Four elements: > — Reciting in Concert ### [1.11.119](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.119) pathavīdhātu, āpodhātu, tejodhātu, vāyodhātu. > earth, water, fire, and air. > — Reciting in Concert ### [1.11.120](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.120) Cattāro āhārā— > Four foods: > — Reciting in Concert ### [1.11.121](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.121) kabaḷīkāro āhāro oḷāriko vā sukhumo vā, phasso dutiyo, manosañcetanā tatiyā, viññāṇaṃ catutthaṃ. > edible food, whether solid or subtle; contact is the second, mental intention the third, and consciousness the fourth. > — Reciting in Concert ### [1.11.122](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.122) Catasso viññāṇaṭṭhitiyo. > Four establishings of consciousness: > — Reciting in Concert ### [1.11.123](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.123) Rūpūpāyaṃ vā, āvuso, viññāṇaṃ tiṭṭhamānaṃ tiṭṭhati rūpārammaṇaṃ rūpappatiṭṭhaṃ nandūpasecanaṃ vuddhiṃ virūḷhiṃ vepullaṃ āpajjati; > As long as consciousness continues, it gets involved with form, supported by form, established on form. And with a sprinkle of relishing, it grows, increases, and matures. > — Reciting in Concert ### [1.11.124](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.124) vedanūpāyaṃ vā āvuso … > Or consciousness gets involved with feeling … > — Reciting in Concert ### [1.11.125](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.125) saññūpāyaṃ vā, āvuso …pe… > Or consciousness gets involved with perception … > — Reciting in Concert ### [1.11.126](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.126) saṅkhārūpāyaṃ vā, āvuso, viññāṇaṃ tiṭṭhamānaṃ tiṭṭhati saṅkhārārammaṇaṃ saṅkhārappatiṭṭhaṃ nandūpasecanaṃ vuddhiṃ virūḷhiṃ vepullaṃ āpajjati. > Or as long as consciousness continues, it gets involved with choices, supported by choices, established on choices. And with a sprinkle of relishing, it grows, increases, and matures. > — Reciting in Concert ### [1.11.127](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.127) Cattāri agatigamanāni— > Four prejudices: > — Reciting in Concert ### [1.11.128](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.128) chandāgatiṃ gacchati, dosāgatiṃ gacchati, mohāgatiṃ gacchati, bhayāgatiṃ gacchati. > making decisions prejudiced by favoritism, hostility, stupidity, and cowardice. > — Reciting in Concert ### [1.11.129](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.129) Cattāro taṇhuppādā— > Four things that give rise to craving: > — Reciting in Concert ### [1.11.130](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.130) cīvarahetu vā, āvuso, bhikkhuno taṇhā uppajjamānā uppajjati; > Craving arises in a mendicant for the sake of robes, > — Reciting in Concert ### [1.11.131](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.131) piṇḍapātahetu vā, āvuso, bhikkhuno taṇhā uppajjamānā uppajjati; > almsfood, > — Reciting in Concert ### [1.11.132](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.132) senāsanahetu vā, āvuso, bhikkhuno taṇhā uppajjamānā uppajjati; > lodgings, > — Reciting in Concert ### [1.11.133](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.133) itibhavābhavahetu vā, āvuso, bhikkhuno taṇhā uppajjamānā uppajjati. > or rebirth in this or that state. > — Reciting in Concert ### [1.11.134](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.134) Catasso paṭipadā— > Four ways of practice: > — Reciting in Concert ### [1.11.135](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.135) dukkhā paṭipadā dandhābhiññā, dukkhā paṭipadā khippābhiññā, sukhā paṭipadā dandhābhiññā, sukhā paṭipadā khippābhiññā. > painful practice with slow insight, painful practice with swift insight, pleasant practice with slow insight, and pleasant practice with swift insight. > — Reciting in Concert ### [1.11.136](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.136) Aparāpi catasso paṭipadā— > Another four ways of practice: > — Reciting in Concert ### [1.11.137](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.137) akkhamā paṭipadā, khamā paṭipadā, damā paṭipadā, samā paṭipadā. > impatient practice, patient practice, taming practice, and calming practice. > — Reciting in Concert ### [1.11.138](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.138) Cattāri dhammapadāni— > Four footprints of the Dhamma: > — Reciting in Concert ### [1.11.139](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.139) anabhijjhā dhammapadaṃ, abyāpādo dhammapadaṃ, sammāsati dhammapadaṃ, sammāsamādhi dhammapadaṃ. > contentment, good will, right mindfulness, and right immersion. > — Reciting in Concert ### [1.11.140](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.140) Cattāri dhammasamādānāni— > Four ways of taking up practices: > — Reciting in Concert ### [1.11.141](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.141) atthāvuso, dhammasamādānaṃ paccuppannadukkhañceva āyatiñca dukkhavipākaṃ. > There is a way of taking up practices that is painful now and results in future pain. > — Reciting in Concert ### [1.11.142](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.142) Atthāvuso, dhammasamādānaṃ paccuppannadukkhaṃ āyatiṃ sukhavipākaṃ. > There is a way of taking up practices that is painful now but results in future pleasure. > — Reciting in Concert ### [1.11.143](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.143) Atthāvuso, dhammasamādānaṃ paccuppannasukhaṃ āyatiṃ dukkhavipākaṃ. > There is a way of taking up practices that is pleasant now but results in future pain. > — Reciting in Concert ### [1.11.144](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.144) Atthāvuso, dhammasamādānaṃ paccuppannasukhañceva āyatiñca sukhavipākaṃ. > There is a way of taking up practices that is pleasant now and results in future pleasure. > — Reciting in Concert ### [1.11.145](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.145) Cattāro dhammakkhandhā— > Four spectrums of the teaching: > — Reciting in Concert ### [1.11.146](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.146) sīlakkhandho, samādhikkhandho, paññākkhandho, vimuttikkhandho. > ethics, immersion, wisdom, and freedom. > — Reciting in Concert ### [1.11.147](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.147) Cattāri balāni— > Four powers: > — Reciting in Concert ### [1.11.148](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.148) vīriyabalaṃ, satibalaṃ, samādhibalaṃ, paññābalaṃ. > energy, mindfulness, immersion, and wisdom. > — Reciting in Concert ### [1.11.149](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.149) Cattāri adhiṭṭhānāni— > Four foundations: > — Reciting in Concert ### [1.11.150](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.150) paññādhiṭṭhānaṃ, saccādhiṭṭhānaṃ, cāgādhiṭṭhānaṃ, upasamādhiṭṭhānaṃ. > the foundations of wisdom, truth, generosity, and peace. > — Reciting in Concert ### [1.11.151](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.151) Cattāri pañhabyākaraṇāni— > Four ways of answering questions: > — Reciting in Concert ### [1.11.152](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.152) ekaṃsabyākaraṇīyo pañho, paṭipucchābyākaraṇīyo pañho, vibhajjabyākaraṇīyo pañho, ṭhapanīyo pañho. > There is a question that should be answered categorically. There is a question that should be answered analytically. There is a question that should be answered with a counter-question. There is a question that should be set aside. > — Reciting in Concert ### [1.11.153](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.153) Cattāri kammāni— > Four deeds: > — Reciting in Concert ### [1.11.154](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.154) atthāvuso, kammaṃ kaṇhaṃ kaṇhavipākaṃ. > There are deeds that are dark with dark result. > — Reciting in Concert ### [1.11.155](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.155) Atthāvuso, kammaṃ sukkaṃ sukkavipākaṃ. > There are deeds that are bright with bright result. > — Reciting in Concert ### [1.11.156](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.156) Atthāvuso, kammaṃ kaṇhasukkaṃ kaṇhasukkavipākaṃ. > There are deeds that are dark and bright with dark and bright result. > — Reciting in Concert ### [1.11.157](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.157) Atthāvuso, kammaṃ akaṇhaasukkaṃ akaṇhaasukkavipākaṃ kammakkhayāya saṃvattati. > There are neither dark nor bright deeds with neither dark nor bright results, which lead to the ending of deeds. > — Reciting in Concert ### [1.11.158](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.158) Cattāro sacchikaraṇīyā dhammā— > Four things to be realized: > — Reciting in Concert ### [1.11.159](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.159) pubbenivāso satiyā sacchikaraṇīyo; > Past lives are to be realized with recollection. > — Reciting in Concert ### [1.11.160](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.160) sattānaṃ cutūpapāto cakkhunā sacchikaraṇīyo; > The passing away and rebirth of sentient beings is to be realized with vision. > — Reciting in Concert ### [1.11.161](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.161) aṭṭha vimokkhā kāyena sacchikaraṇīyā; > The eight liberations are to be realized with direct meditative experience. > — Reciting in Concert ### [1.11.162](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.162) āsavānaṃ khayo paññāya sacchikaraṇīyo. > The ending of defilements is to be realized with wisdom. > — Reciting in Concert ### [1.11.163](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.163) Cattāro oghā— > Four floods: > — Reciting in Concert ### [1.11.164](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.164) kāmogho, bhavogho, diṭṭhogho, avijjogho. > the floods of sensuality, desire for rebirth, views, and ignorance. > — Reciting in Concert ### [1.11.165](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.165) Cattāro yogā— > Four yokes: > — Reciting in Concert ### [1.11.166](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.166) kāmayogo, bhavayogo, diṭṭhiyogo, avijjāyogo. > the yokes of sensuality, desire for rebirth, views, and ignorance. > — Reciting in Concert ### [1.11.167](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.167) Cattāro visaññogā— > Four unyokings: > — Reciting in Concert ### [1.11.168](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.168) kāmayogavisaññogo, bhavayogavisaññogo, diṭṭhiyogavisaññogo, avijjāyogavisaññogo. > unyoking from the yokes of sensuality, desire for rebirth, views, and ignorance. > — Reciting in Concert ### [1.11.169](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.169) Cattāro ganthā— > Four ties: > — Reciting in Concert ### [1.11.170](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.170) abhijjhā kāyagantho, byāpādo kāyagantho, sīlabbataparāmāso kāyagantho, idaṃsaccābhiniveso kāyagantho. > the personal ties to covetousness, ill will, misapprehension of precepts and observances, and the insistence that this is the only truth. > — Reciting in Concert ### [1.11.171](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.171) Cattāri upādānāni— > Four kinds of grasping: > — Reciting in Concert ### [1.11.172](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.172) kāmupādānaṃ, diṭṭhupādānaṃ, sīlabbatupādānaṃ, attavādupādānaṃ. > grasping at sensual pleasures, views, precepts and observances, and theories of a self. > — Reciting in Concert ### [1.11.173](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.173) Catasso yoniyo— > Four kinds of reproduction: > — Reciting in Concert ### [1.11.174](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.174) aṇḍajayoni, jalābujayoni, saṃsedajayoni, opapātikayoni. > reproduction for creatures born from an egg, from a womb, from moisture, or spontaneously. > — Reciting in Concert ### [1.11.175](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.175) Catasso gabbhāvakkantiyo. > Four kinds of conception: > — Reciting in Concert ### [1.11.176](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.176) Idhāvuso, ekacco asampajāno mātukucchiṃ okkamati, asampajāno mātukucchismiṃ ṭhāti, asampajāno mātukucchimhā nikkhamati, ayaṃ paṭhamā gabbhāvakkanti. > Someone is unaware when conceived in their mother’s womb, unaware as they remain there, and unaware as they emerge. This is the first kind of conception. > — Reciting in Concert ### [1.11.177](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.177) Puna caparaṃ, āvuso, idhekacco sampajāno mātukucchiṃ okkamati, asampajāno mātukucchismiṃ ṭhāti, asampajāno mātukucchimhā nikkhamati, ayaṃ dutiyā gabbhāvakkanti. > Furthermore, someone is aware when conceived in their mother’s womb, but unaware as they remain there, and unaware as they emerge. This is the second kind of conception. > — Reciting in Concert ### [1.11.178](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.178) Puna caparaṃ, āvuso, idhekacco sampajāno mātukucchiṃ okkamati, sampajāno mātukucchismiṃ ṭhāti, asampajāno mātukucchimhā nikkhamati, ayaṃ tatiyā gabbhāvakkanti. > Furthermore, someone is aware when conceived in their mother’s womb, aware as they remain there, but unaware as they emerge. This is the third kind of conception. > — Reciting in Concert ### [1.11.179](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.179) Puna caparaṃ, āvuso, idhekacco sampajāno mātukucchiṃ okkamati, sampajāno mātukucchismiṃ ṭhāti, sampajāno mātukucchimhā nikkhamati, ayaṃ catutthā gabbhāvakkanti. > Furthermore, someone is aware when conceived in their mother’s womb, aware as they remain there, and aware as they emerge. This is the fourth kind of conception. > — Reciting in Concert ### [1.11.180](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.180) Cattāro attabhāvapaṭilābhā. > Four kinds of incarnation: > — Reciting in Concert ### [1.11.181](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.181) Atthāvuso, attabhāvapaṭilābho, yasmiṃ attabhāvapaṭilābhe attasañcetanāyeva kamati, no parasañcetanā. > There is an incarnation where only one’s own intention is effective, not that of others. > — Reciting in Concert ### [1.11.182](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.182) Atthāvuso, attabhāvapaṭilābho, yasmiṃ attabhāvapaṭilābhe parasañcetanāyeva kamati, no attasañcetanā. > There is an incarnation where only the intention of others is effective, not one’s own. > — Reciting in Concert ### [1.11.183](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.183) Atthāvuso, attabhāvapaṭilābho, yasmiṃ attabhāvapaṭilābhe attasañcetanā ceva kamati parasañcetanā ca. > There is an incarnation where both one’s own and others’ intentions are effective. > — Reciting in Concert ### [1.11.184](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.184) Atthāvuso, attabhāvapaṭilābho, yasmiṃ attabhāvapaṭilābhe neva attasañcetanā kamati, no parasañcetanā. > There is an incarnation where neither one’s own nor others’ intentions are effective. > — Reciting in Concert ### [1.11.185](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.185) Catasso dakkhiṇāvisuddhiyo. > Four ways of purifying a religious donation: > — Reciting in Concert ### [1.11.186](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.186) Atthāvuso, dakkhiṇā dāyakato visujjhati no paṭiggāhakato. > There’s a religious donation that’s purified by the giver, not the recipient. > — Reciting in Concert ### [1.11.187](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.187) Atthāvuso, dakkhiṇā paṭiggāhakato visujjhati no dāyakato. > There’s a religious donation that’s purified by the recipient, not the giver. > — Reciting in Concert ### [1.11.188](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.188) Atthāvuso, dakkhiṇā neva dāyakato visujjhati no paṭiggāhakato. > There’s a religious donation that’s purified by neither the giver nor the recipient. > — Reciting in Concert ### [1.11.189](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.189) Atthāvuso, dakkhiṇā dāyakato ceva visujjhati paṭiggāhakato ca. > There’s a religious donation that’s purified by both the giver and the recipient. > — Reciting in Concert ### [1.11.190](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.190) Cattāri saṅgahavatthūni— > Four ways of being inclusive: > — Reciting in Concert ### [1.11.191](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.191) dānaṃ, peyyavajjaṃ, atthacariyā, samānattatā. > giving, kindly words, taking care, and equality. > — Reciting in Concert ### [1.11.192](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.192) Cattāro anariyavohārā— > Four ignoble expressions: > — Reciting in Concert ### [1.11.193](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.193) musāvādo, pisuṇāvācā, pharusāvācā, samphappalāpo. > speech that’s false, backbiting, harsh, or nonsensical. > — Reciting in Concert ### [1.11.194](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.194) Cattāro ariyavohārā— > Four noble expressions: > — Reciting in Concert ### [1.11.195](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.195) musāvādā veramaṇī, pisuṇāya vācāya veramaṇī, pharusāya vācāya veramaṇī, samphappalāpā veramaṇī. > refraining from speech that’s false, backbiting, harsh, or nonsensical. > — Reciting in Concert ### [1.11.196](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.196) Aparepi cattāro anariyavohārā— > Another four ignoble expressions: > — Reciting in Concert ### [1.11.197](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.197) adiṭṭhe diṭṭhavāditā, assute sutavāditā, amute mutavāditā, aviññāte viññātavāditā. > saying you’ve seen, heard, thought, or known something, but you haven’t. > — Reciting in Concert ### [1.11.198](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.198) Aparepi cattāro ariyavohārā— > Another four noble expressions: > — Reciting in Concert ### [1.11.199](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.199) adiṭṭhe adiṭṭhavāditā, assute assutavāditā, amute amutavāditā, aviññāte aviññātavāditā. > saying you haven’t seen, heard, thought, or known something, and you haven’t. > — Reciting in Concert ### [1.11.200](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11.200) Aparepi cattāro anariyavohārā— > Another four ignoble expressions: > — Reciting in Concert _First 200 of 222 passages. [Read on](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11)_ ## Translations (3) - [Zajedničko recitovanje](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~sr-brankokovacevic.1.11.1) — sr - [Im Chor aufsagen](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~de-sabbamitta.1.11.1) — German - [Reciting in Concert](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~en-sujato.1.11.1) — English ## Commentaries (1) - [Sumaṅgalavilāsinī](https://indike.org/pramana/in.bauddha.theravada.sp.digha!sumangalavilasini.33.306) — Buddhaghosa, Pāli ## Linked texts (21) - [Sampasādanīyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.digha.28.5.3) — Pāli - [Parivāra](https://indike.org/pramana/in.bauddha.theravada.vp.parivara.7.47.2) — Pāli - [Chaṭṭhasaṅgāyana-pucchāvissajjanā](https://indike.org/pramana/in.bauddha.theravada_postcanon.modern.sangayana-puccha.11.6.512) — Pāli - [Nettippakaraṇa](https://indike.org/pramana/in.bauddha.theravada.sp.khuddaka.nettippakarana.36.59.45) — Mahākaccāna, Pāli - [Vibhaṅga](https://indike.org/pramana/in.bauddha.theravada.ap.vibhanga.17.225.2) — Pāli - [長阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirghagama*zh-buddhayasas.9.14) — Classical Chinese - [Apaṇṇakasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.60.35.1) — Pāli - [Kandarakasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.51.5.1) — Pāli - [大集法門經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirgha.sangitisutra*zh-danapala.1.45) — Classical Chinese - [Kukkuravatikasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.57.7.1) — Pāli - [Dutiyahatthakasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.8.24.1.1) — Pāli - [Ariyavaṃsasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.28.1.1) — Pāli - [Saṅgahasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.32.1.1) — Pāli - [Paṭhamaagatisutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.17.1.1) — Pāli - [Paṭhamavohārasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.250.1.1) — Pāli - [Mahāniddesa](https://indike.org/pramana/in.bauddha.theravada.sp.khuddaka.mahaniddesa) — Pāli - [Cūḷaniddesa](https://indike.org/pramana/in.bauddha.theravada.sp.khuddaka.culaniddesa) — Pāli - [Puggalapaññatti](https://indike.org/pramana/in.bauddha.theravada.ap.puggalapannati) — Pāli - [Arthaviniścayasūtra](https://indike.org/pramana/in.bauddha.sanskrit.agama.arthaviniscayasutra) — Sanskrit - [Saṃkhittasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.232) — Pāli - [Saṅgahavatthusutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.4.256) — Pāli --- Source: [https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.1.11) · Pramāṇa