[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [The Pāli Canon](https://indike.org/pramana/in.bauddha.theravada) › [Basket of Discourses](https://indike.org/pramana/in.bauddha.theravada.sp) › [Dīghanikāya](https://indike.org/pramana/in.bauddha.theravada.sp.digha) › [Sangitisutta](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33) › 2.1 # Sangitisutta 2.1: 5. Pañcaka Saṅgītisutta 2.1 - **Language:** Pāli ### 5. Pañcaka ### [2.1.1](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.1) Atthi kho, āvuso, tena bhagavatā jānatā passatā arahatā sammāsambuddhena pañca dhammā sammadakkhātā. > There are teachings grouped by five that have been rightly explained by the Buddha. > — Reciting in Concert ### [2.1.2](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.2) Tattha sabbeheva saṅgāyitabbaṃ …pe… atthāya hitāya sukhāya devamanussānaṃ. > You should all recite these in concert. > — Reciting in Concert ### [2.1.3](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.3) Katame pañca? > What are the teachings grouped by five? > — Reciting in Concert ### [2.1.4](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.4) Pañcakkhandhā. > Five aggregates: > — Reciting in Concert ### [2.1.5](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.5) Rūpakkhandho vedanākkhandho saññākkhandho saṅkhārakkhandho viññāṇakkhandho. > form, feeling, perception, choices, and consciousness. > — Reciting in Concert ### [2.1.6](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.6) Pañcupādānakkhandhā. > Five grasping aggregates: > — Reciting in Concert ### [2.1.7](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.7) Rūpupādānakkhandho vedanupādānakkhandho saññupādānakkhandho saṅkhārupādānakkhandho viññāṇupādānakkhandho. > form, feeling, perception, choices, and consciousness. > — Reciting in Concert ### [2.1.8](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.8) Pañca kāmaguṇā. > Five kinds of sensual stimulation: > — Reciting in Concert ### [2.1.9](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.9) Cakkhuviññeyyā rūpā iṭṭhā kantā manāpā piyarūpā kāmūpasañhitā rajanīyā, > Sights known by the eye, which are likable, desirable, agreeable, pleasant, sensual, and arousing. > — Reciting in Concert ### [2.1.10](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.10) sotaviññeyyā saddā … > Sounds known by the ear … > — Reciting in Concert ### [2.1.11](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.11) ghānaviññeyyā gandhā … > Smells known by the nose … > — Reciting in Concert ### [2.1.12](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.12) jivhāviññeyyā rasā … > Tastes known by the tongue … > — Reciting in Concert ### [2.1.13](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.13) kāyaviññeyyā phoṭṭhabbā iṭṭhā kantā manāpā piyarūpā kāmūpasañhitā rajanīyā. > Touches known by the body, which are likable, desirable, agreeable, pleasant, sensual, and arousing. > — Reciting in Concert ### [2.1.14](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.14) Pañca gatiyo— > Five destinations: > — Reciting in Concert ### [2.1.15](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.15) nirayo, tiracchānayoni, pettivisayo, manussā, devā. > hell, the animal realm, the ghost realm, humanity, and the gods. > — Reciting in Concert ### [2.1.16](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.16) Pañca macchariyāni— > Five kinds of stinginess: > — Reciting in Concert ### [2.1.17](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.17) āvāsamacchariyaṃ, kulamacchariyaṃ, lābhamacchariyaṃ, vaṇṇamacchariyaṃ, dhammamacchariyaṃ. > stinginess with dwellings, families, material things, praise, and the teachings. > — Reciting in Concert ### [2.1.18](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.18) Pañca nīvaraṇāni— > Five hindrances: > — Reciting in Concert ### [2.1.19](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.19) kāmacchandanīvaraṇaṃ, byāpādanīvaraṇaṃ, thinamiddhanīvaraṇaṃ, uddhaccakukkuccanīvaraṇaṃ, vicikicchānīvaraṇaṃ. > sensual desire, ill will, dullness and drowsiness, restlessness and remorse, and doubt. > — Reciting in Concert ### [2.1.20](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.20) Pañca orambhāgiyāni saṃyojanāni— > Five lower fetters: > — Reciting in Concert ### [2.1.21](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.21) sakkāyadiṭṭhi, vicikicchā, sīlabbataparāmāso, kāmacchando, byāpādo. > substantialist view, doubt, misapprehension of precepts and observances, sensual desire, and ill will. > — Reciting in Concert ### [2.1.22](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.22) Pañca uddhambhāgiyāni saṃyojanāni— > Five higher fetters: > — Reciting in Concert ### [2.1.23](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.23) rūparāgo, arūparāgo, māno, uddhaccaṃ, avijjā. > desire for rebirth in the realm of luminous form, desire for rebirth in the formless realm, conceit, restlessness, and ignorance. > — Reciting in Concert ### [2.1.24](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.24) Pañca sikkhāpadāni— > Five precepts: > — Reciting in Concert ### [2.1.25](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.25) pāṇātipātā veramaṇī, adinnādānā veramaṇī, kāmesumicchācārā veramaṇī, musāvādā veramaṇī, surāmerayamajjappamādaṭṭhānā veramaṇī. > refraining from killing living creatures, stealing, sexual misconduct, lying, and intoxicants of beer, wine, and liquor. > — Reciting in Concert ### [2.1.26](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.26) Pañca abhabbaṭṭhānāni. > Five things that can’t be done: > — Reciting in Concert ### [2.1.27](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.27) Abhabbo, āvuso, khīṇāsavo bhikkhu sañcicca pāṇaṃ jīvitā voropetuṃ. Abhabbo khīṇāsavo bhikkhu adinnaṃ theyyasaṅkhātaṃ ādiyituṃ. Abhabbo khīṇāsavo bhikkhu methunaṃ dhammaṃ paṭisevituṃ. Abhabbo khīṇāsavo bhikkhu sampajānamusā bhāsituṃ. Abhabbo khīṇāsavo bhikkhu sannidhikārakaṃ kāme paribhuñjituṃ, seyyathāpi pubbe āgārikabhūto. > A mendicant with defilements ended can’t deliberately take the life of a living creature, take something with the intention to steal, have sex, tell a deliberate lie, or store up goods for their own enjoyment like they used to as a layperson. > — Reciting in Concert ### [2.1.28](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.28) Pañca byasanāni— > Five losses: > — Reciting in Concert ### [2.1.29](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.29) ñātibyasanaṃ, bhogabyasanaṃ, rogabyasanaṃ, sīlabyasanaṃ, diṭṭhibyasanaṃ. > loss of relatives, wealth, health, ethics, and view. > — Reciting in Concert ### [2.1.30](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.30) Nāvuso, sattā ñātibyasanahetu vā bhogabyasanahetu vā rogabyasanahetu vā kāyassa bhedā paraṃ maraṇā apāyaṃ duggatiṃ vinipātaṃ nirayaṃ upapajjanti. > It is not because of loss of relatives, wealth, or health that sentient beings, when their body breaks up, after death, are reborn in a place of loss, a bad place, the underworld, hell. > — Reciting in Concert ### [2.1.31](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.31) Sīlabyasanahetu vā, āvuso, sattā diṭṭhibyasanahetu vā kāyassa bhedā paraṃ maraṇā apāyaṃ duggatiṃ vinipātaṃ nirayaṃ upapajjanti. > It is because of loss of ethics or view that sentient beings, when their body breaks up, after death, are reborn in a place of loss, a bad place, the underworld, hell. > — Reciting in Concert ### [2.1.32](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.32) Pañca sampadā— > Five endowments: > — Reciting in Concert ### [2.1.33](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.33) ñātisampadā, bhogasampadā, ārogyasampadā, sīlasampadā, diṭṭhisampadā. > endowment with relatives, wealth, health, ethics, and view. > — Reciting in Concert ### [2.1.34](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.34) Nāvuso, sattā ñātisampadāhetu vā bhogasampadāhetu vā ārogyasampadāhetu vā kāyassa bhedā paraṃ maraṇā sugatiṃ saggaṃ lokaṃ upapajjanti. > It is not because of endowment with family, wealth, or health that sentient beings, when their body breaks up, after death, are reborn in a good place, a heavenly realm. > — Reciting in Concert ### [2.1.35](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.35) Sīlasampadāhetu vā, āvuso, sattā diṭṭhisampadāhetu vā kāyassa bhedā paraṃ maraṇā sugatiṃ saggaṃ lokaṃ upapajjanti. > It is because of endowment with ethics or view that sentient beings, when their body breaks up, after death, are reborn in a good place, a heavenly realm. > — Reciting in Concert ### [2.1.36](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.36) Pañca ādīnavā dussīlassa sīlavipattiyā. > Five drawbacks for an unethical person because of their failure in ethics: > — Reciting in Concert ### [2.1.37](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.37) Idhāvuso, dussīlo sīlavipanno pamādādhikaraṇaṃ mahatiṃ bhogajāniṃ nigacchati, > Firstly, an unethical person loses great wealth on account of negligence. > — Reciting in Concert ### [2.1.38](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.38) ayaṃ paṭhamo ādīnavo dussīlassa sīlavipattiyā. > This is the first drawback. > — Reciting in Concert ### [2.1.39](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.39) Puna caparaṃ, āvuso, dussīlassa sīlavipannassa pāpako kittisaddo abbhuggacchati, > Furthermore, an unethical person gets a bad reputation. > — Reciting in Concert ### [2.1.40](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.40) ayaṃ dutiyo ādīnavo dussīlassa sīlavipattiyā. > This is the second drawback. > — Reciting in Concert ### [2.1.41](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.41) Puna caparaṃ, āvuso, dussīlo sīlavipanno yaññadeva parisaṃ upasaṅkamati yadi khattiyaparisaṃ yadi brāhmaṇaparisaṃ yadi gahapatiparisaṃ yadi samaṇaparisaṃ, avisārado upasaṅkamati maṅkubhūto, > Furthermore, an unethical person enters any kind of assembly unconfident and embarrassed, whether it’s an assembly of aristocrats, brahmins, householders, or ascetics. > — Reciting in Concert ### [2.1.42](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.42) ayaṃ tatiyo ādīnavo dussīlassa sīlavipattiyā. > This is the third drawback. > — Reciting in Concert ### [2.1.43](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.43) Puna caparaṃ, āvuso, dussīlo sīlavipanno sammūḷho kālaṃ karoti, > Furthermore, an unethical person feels lost when they die. > — Reciting in Concert ### [2.1.44](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.44) ayaṃ catuttho ādīnavo dussīlassa sīlavipattiyā. > This is the fourth drawback. > — Reciting in Concert ### [2.1.45](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.45) Puna caparaṃ, āvuso, dussīlo sīlavipanno kāyassa bhedā paraṃ maraṇā apāyaṃ duggatiṃ vinipātaṃ nirayaṃ upapajjati, > Furthermore, an unethical person, when their body breaks up, after death, is reborn in a place of loss, a bad place, the underworld, hell. > — Reciting in Concert ### [2.1.46](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.46) ayaṃ pañcamo ādīnavo dussīlassa sīlavipattiyā. > This is the fifth drawback. > — Reciting in Concert ### [2.1.47](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.47) Pañca ānisaṃsā sīlavato sīlasampadāya. > Five benefits for an ethical person because of their accomplishment in ethics: > — Reciting in Concert ### [2.1.48](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.48) Idhāvuso, sīlavā sīlasampanno appamādādhikaraṇaṃ mahantaṃ bhogakkhandhaṃ adhigacchati, > Firstly, an ethical person gains great wealth on account of diligence. > — Reciting in Concert ### [2.1.49](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.49) ayaṃ paṭhamo ānisaṃso sīlavato sīlasampadāya. > This is the first benefit. > — Reciting in Concert ### [2.1.50](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.50) Puna caparaṃ, āvuso, sīlavato sīlasampannassa kalyāṇo kittisaddo abbhuggacchati, > Furthermore, an ethical person gets a good reputation. > — Reciting in Concert ### [2.1.51](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.51) ayaṃ dutiyo ānisaṃso sīlavato sīlasampadāya. > This is the second benefit. > — Reciting in Concert ### [2.1.52](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.52) Puna caparaṃ, āvuso, sīlavā sīlasampanno yaññadeva parisaṃ upasaṅkamati yadi khattiyaparisaṃ yadi brāhmaṇaparisaṃ yadi gahapatiparisaṃ yadi samaṇaparisaṃ, visārado upasaṅkamati amaṅkubhūto, > Furthermore, an ethical person enters any kind of assembly bold and self-assured, whether it’s an assembly of aristocrats, brahmins, householders, or ascetics. > — Reciting in Concert ### [2.1.53](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.53) ayaṃ tatiyo ānisaṃso sīlavato sīlasampadāya. > This is the third benefit. > — Reciting in Concert ### [2.1.54](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.54) Puna caparaṃ, āvuso, sīlavā sīlasampanno asammūḷho kālaṃ karoti, > Furthermore, an ethical person dies not feeling lost. > — Reciting in Concert ### [2.1.55](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.55) ayaṃ catuttho ānisaṃso sīlavato sīlasampadāya. > This is the fourth benefit. > — Reciting in Concert ### [2.1.56](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.56) Puna caparaṃ, āvuso, sīlavā sīlasampanno kāyassa bhedā paraṃ maraṇā sugatiṃ saggaṃ lokaṃ upapajjati, > Furthermore, when an ethical person’s body breaks up, after death, they’re reborn in a good place, a heavenly realm. > — Reciting in Concert ### [2.1.57](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.57) ayaṃ pañcamo ānisaṃso sīlavato sīlasampadāya. > This is the fifth benefit. > — Reciting in Concert ### [2.1.58](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.58) Codakena, āvuso, bhikkhunā paraṃ codetukāmena pañca dhamme ajjhattaṃ upaṭṭhapetvā paro codetabbo. > A mendicant who wants to accuse another should first establish five things in themselves: > — Reciting in Concert ### [2.1.59](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.59) Kālena vakkhāmi no akālena, > I will speak at the right time, not at the wrong time. > — Reciting in Concert ### [2.1.60](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.60) bhūtena vakkhāmi no abhūtena, > I will speak truthfully, not falsely. > — Reciting in Concert ### [2.1.61](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.61) saṇhena vakkhāmi no pharusena, > I will speak gently, not harshly. > — Reciting in Concert ### [2.1.62](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.62) atthasaṃhitena vakkhāmi no anatthasaṃhitena, > I will speak beneficially, not harmfully. > — Reciting in Concert ### [2.1.63](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.63) mettacittena vakkhāmi no dosantarenāti. > I will speak lovingly, not from secret hate. > — Reciting in Concert ### [2.1.64](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.64) Codakena, āvuso, bhikkhunā paraṃ codetukāmena ime pañca dhamme ajjhattaṃ upaṭṭhapetvā paro codetabbo. > A mendicant who wants to accuse another should first establish these five things in themselves. > — Reciting in Concert ### [2.1.65](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.65) Pañca padhāniyaṅgāni. > Five factors that support meditation: > — Reciting in Concert ### [2.1.66](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.66) Idhāvuso, bhikkhu saddho hoti, saddahati tathāgatassa bodhiṃ: > A mendicant has faith in the Realized One’s awakening: > — Reciting in Concert ### [2.1.67](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.67) ‘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 ### [2.1.68](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.68) Appābādho hoti appātaṅko, samavepākiniyā gahaṇiyā samannāgato nātisītāya nāccuṇhāya majjhimāya padhānakkhamāya. > They are rarely ill or unwell. Their stomach digests well, being neither too hot nor too cold, but just right, and fit for meditation. > — Reciting in Concert ### [2.1.69](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.69) Asaṭho hoti amāyāvī, yathābhūtaṃ attānaṃ āvikattā satthari vā viññūsu vā sabrahmacārīsu. > They’re not devious or deceitful. They reveal themselves honestly to the Teacher or sensible spiritual companions. > — Reciting in Concert ### [2.1.70](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.70) Āraddhavīriyo viharati akusalānaṃ dhammānaṃ pahānāya kusalānaṃ dhammānaṃ upasampadāya thāmavā daḷhaparakkamo anikkhittadhuro kusalesu dhammesu. > They live with energy roused up for giving up unskillful qualities and embracing skillful qualities. They’re strong, staunchly vigorous, not slacking off when it comes to developing skillful qualities. > — Reciting in Concert ### [2.1.71](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.71) Paññavā hoti udayatthagāminiyā paññāya samannāgato ariyāya nibbedhikāya sammādukkhakkhayagāminiyā. > They’re wise. They have the wisdom of arising and passing away which is noble, penetrative, and leads to the complete ending of suffering. > — Reciting in Concert ### [2.1.72](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.72) Pañca suddhāvāsā— > Five pure abodes: > — Reciting in Concert ### [2.1.73](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.73) avihā, atappā, sudassā, sudassī, akaniṭṭhā. > Aviha, Atappa, the gods fair to see, the fair seeing gods, and Akaniṭṭha. > — Reciting in Concert ### [2.1.74](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.74) Pañca anāgāmino— > Five non-returners: > — Reciting in Concert ### [2.1.75](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.75) antarāparinibbāyī, upahaccaparinibbāyī, asaṅkhāraparinibbāyī, sasaṅkhāraparinibbāyī, uddhaṃsotoakaniṭṭhagāmī. > one who is extinguished between one life and the next, one who is extinguished upon landing, one who is extinguished without extra effort, one who is extinguished with extra effort, and one who heads upstream, going to the Akaniṭṭha realm. > — Reciting in Concert ### [2.1.76](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.76) Pañca cetokhilā. > Five kinds of hard-heartedness: > — Reciting in Concert ### [2.1.77](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.77) Idhāvuso, bhikkhu satthari kaṅkhati vicikicchati nādhimuccati na sampasīdati. > Firstly, a mendicant has doubts about the Teacher. They’re uncertain, undecided, and lacking confidence. > — Reciting in Concert ### [2.1.78](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.78) Yo so, āvuso, bhikkhu satthari kaṅkhati vicikicchati nādhimuccati na sampasīdati, tassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya, yassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya, ayaṃ paṭhamo cetokhilo. > This being so, their mind doesn’t incline toward keenness, commitment, persistence, and striving. This is the first kind of hard-heartedness. > — Reciting in Concert ### [2.1.79](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.79) Puna caparaṃ, āvuso, bhikkhu dhamme kaṅkhati vicikicchati …pe… > Furthermore, a mendicant has doubts about the teaching … > — Reciting in Concert ### [2.1.80](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.80) saṅghe kaṅkhati vicikicchati … > the Saṅgha … > — Reciting in Concert ### [2.1.81](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.81) sikkhāya kaṅkhati vicikicchati … > the training … > — Reciting in Concert ### [2.1.82](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.82) sabrahmacārīsu kupito hoti anattamano āhatacitto khilajāto. > A mendicant is angry and upset with their spiritual companions, resentful and closed off. > — Reciting in Concert ### [2.1.83](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.83) Yo so, āvuso, bhikkhu sabrahmacārīsu kupito hoti anattamano āhatacitto khilajāto, tassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya, yassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya, ayaṃ pañcamo cetokhilo. > This being so, their mind doesn’t incline toward keenness, commitment, persistence, and striving. This is the fifth kind of hard-heartedness. > — Reciting in Concert ### [2.1.84](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.84) Pañca cetasovinibandhā. > Five shackles of the heart: > — Reciting in Concert ### [2.1.85](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.85) Idhāvuso, bhikkhu kāmesu avītarāgo hoti avigatacchando avigatapemo avigatapipāso avigatapariḷāho avigatataṇho. > Firstly, a mendicant isn’t free of greed, desire, fondness, thirst, passion, and craving for sensual pleasures. > — Reciting in Concert ### [2.1.86](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.86) Yo so, āvuso, bhikkhu kāmesu avītarāgo hoti avigatacchando avigatapemo avigatapipāso avigatapariḷāho avigatataṇho, tassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya. ### [2.1.87](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.87) Yassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya. > This being so, their mind doesn’t incline toward keenness, commitment, persistence, and striving. > — Reciting in Concert ### [2.1.88](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.88) Ayaṃ paṭhamo cetaso vinibandho. > This is the first shackle of the heart. > — Reciting in Concert ### [2.1.89](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.89) Puna caparaṃ, āvuso, bhikkhu kāye avītarāgo hoti …pe… > Furthermore, a mendicant isn’t free of greed for the body … > — Reciting in Concert ### [2.1.90](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.90) rūpe avītarāgo hoti …pe… > They’re not free of greed for form … > — Reciting in Concert ### [2.1.91](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.91) puna caparaṃ, āvuso, bhikkhu yāvadatthaṃ udarāvadehakaṃ bhuñjitvā seyyasukhaṃ passasukhaṃ middhasukhaṃ anuyutto viharati …pe… > They eat as much as they like until their bellies are full, then indulge in the pleasures of sleeping, lying down, and drowsing … > — Reciting in Concert ### [2.1.92](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.92) puna caparaṃ, āvuso, bhikkhu aññataraṃ devanikāyaṃ paṇidhāya brahmacariyaṃ carati: ‘imināhaṃ sīlena vā vatena vā tapena vā brahmacariyena vā devo vā bhavissāmi devaññataro vā’ti. > They lead the spiritual life hoping to be reborn in one of the orders of gods, thinking: ‘By this precept or observance or fervent austerity or spiritual practice, may I become one of the gods!’ > — Reciting in Concert ### [2.1.93](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.93) Yo so, āvuso, bhikkhu aññataraṃ devanikāyaṃ paṇidhāya brahmacariyaṃ carati: ‘imināhaṃ sīlena vā vatena vā tapena vā brahmacariyena vā devo vā bhavissāmi devaññataro vā’ti, tassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya. Yassa cittaṃ na namati ātappāya anuyogāya sātaccāya padhānāya. > This being so, their mind doesn’t incline toward keenness, commitment, persistence, and striving. > — Reciting in Concert ### [2.1.94](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.94) Ayaṃ pañcamo cetaso vinibandho. > This is the fifth shackle of the heart. > — Reciting in Concert ### [2.1.95](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.95) Pañcindriyāni— > Five faculties: > — Reciting in Concert ### [2.1.96](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.96) cakkhundriyaṃ, sotindriyaṃ, ghānindriyaṃ, jivhindriyaṃ, kāyindriyaṃ. > eye, ear, nose, tongue, and body. > — Reciting in Concert ### [2.1.97](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.97) Aparānipi pañcindriyāni— > Another five faculties: > — Reciting in Concert ### [2.1.98](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.98) sukhindriyaṃ, dukkhindriyaṃ, somanassindriyaṃ, domanassindriyaṃ, upekkhindriyaṃ. > pleasure, pain, happiness, sadness, and equanimity. > — Reciting in Concert ### [2.1.99](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.99) Aparānipi pañcindriyāni— > Another five faculties: > — Reciting in Concert ### [2.1.100](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.100) saddhindriyaṃ, vīriyindriyaṃ, satindriyaṃ, samādhindriyaṃ, paññindriyaṃ. > faith, energy, mindfulness, immersion, and wisdom. > — Reciting in Concert ### [2.1.101](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.101) Pañca nissaraṇiyā dhātuyo. > Five elements of escape: > — Reciting in Concert ### [2.1.102](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.102) Idhāvuso, bhikkhuno kāme manasikaroto kāmesu cittaṃ na pakkhandati na pasīdati na santiṭṭhati na vimuccati. > Take a case where a mendicant focuses on sensual pleasures, but on that their mind does not leap forth, gain confidence, settle down, and become decided. > — Reciting in Concert ### [2.1.103](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.103) Nekkhammaṃ kho panassa manasikaroto nekkhamme cittaṃ pakkhandati pasīdati santiṭṭhati vimuccati. > But when they focus on renunciation, on that their mind leaps forth, gains confidence, settles down, and becomes decided. > — Reciting in Concert ### [2.1.104](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.104) Tassa taṃ cittaṃ sugataṃ subhāvitaṃ suvuṭṭhitaṃ suvimuttaṃ visaṃyuttaṃ kāmehi. > Their mind is in a good state, well developed, well risen, well freed, and well detached from sensual pleasures. > — Reciting in Concert ### [2.1.105](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.105) Ye ca kāmapaccayā uppajjanti āsavā vighātā pariḷāhā, mutto so tehi, na so taṃ vedanaṃ vedeti. > They’re freed from the distressing and feverish defilements that arise because of sensual pleasures, so they don’t experience that kind of feeling. > — Reciting in Concert ### [2.1.106](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.106) Idamakkhātaṃ kāmānaṃ nissaraṇaṃ. > This is how the escape from sensual pleasures is explained. > — Reciting in Concert ### [2.1.107](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.107) Puna caparaṃ, āvuso, bhikkhuno byāpādaṃ manasikaroto byāpāde cittaṃ na pakkhandati na pasīdati na santiṭṭhati na vimuccati. > Take another case where a mendicant focuses on ill will, but their mind does not leap forth … > — Reciting in Concert ### [2.1.108](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.108) Abyāpādaṃ kho panassa manasikaroto abyāpāde cittaṃ pakkhandati pasīdati santiṭṭhati vimuccati. > But when they focus on good will, their mind leaps forth … > — Reciting in Concert ### [2.1.109](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.109) Tassa taṃ cittaṃ sugataṃ subhāvitaṃ suvuṭṭhitaṃ suvimuttaṃ visaṃyuttaṃ byāpādena. > Their mind is in a good state … well detached from ill will. > — Reciting in Concert ### [2.1.110](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.110) Ye ca byāpādapaccayā uppajjanti āsavā vighātā pariḷāhā, mutto so tehi, na so taṃ vedanaṃ vedeti. > They’re freed from the distressing and feverish defilements that arise because of ill will, so they don’t experience that kind of feeling. > — Reciting in Concert ### [2.1.111](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.111) Idamakkhātaṃ byāpādassa nissaraṇaṃ. > This is how the escape from ill will is explained. > — Reciting in Concert ### [2.1.112](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.112) Puna caparaṃ, āvuso, bhikkhuno vihesaṃ manasikaroto vihesāya cittaṃ na pakkhandati na pasīdati na santiṭṭhati na vimuccati. > Take another case where a mendicant focuses on harming, but their mind does not leap forth … > — Reciting in Concert ### [2.1.113](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.113) Avihesaṃ kho panassa manasikaroto avihesāya cittaṃ pakkhandati pasīdati santiṭṭhati vimuccati. > But when they focus on compassion, their mind leaps forth … > — Reciting in Concert ### [2.1.114](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.114) Tassa taṃ cittaṃ sugataṃ subhāvitaṃ suvuṭṭhitaṃ suvimuttaṃ visaṃyuttaṃ vihesāya. > Their mind is in a good state … well detached from harming. > — Reciting in Concert ### [2.1.115](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.115) Ye ca vihesāpaccayā uppajjanti āsavā vighātā pariḷāhā, mutto so tehi, na so taṃ vedanaṃ vedeti. > They’re freed from the distressing and feverish defilements that arise because of harming, so they don’t experience that kind of feeling. > — Reciting in Concert ### [2.1.116](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.116) Idamakkhātaṃ vihesāya nissaraṇaṃ. > This is how the escape from harming is explained. > — Reciting in Concert ### [2.1.117](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.117) Puna caparaṃ, āvuso, bhikkhuno rūpe manasikaroto rūpesu cittaṃ na pakkhandati na pasīdati na santiṭṭhati na vimuccati. > Take another case where a mendicant focuses on form, but their mind does not leap forth … > — Reciting in Concert ### [2.1.118](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.118) Arūpaṃ kho panassa manasikaroto arūpe cittaṃ pakkhandati pasīdati santiṭṭhati vimuccati. > But when they focus on the formless, their mind leaps forth … > — Reciting in Concert ### [2.1.119](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.119) Tassa taṃ cittaṃ sugataṃ subhāvitaṃ suvuṭṭhitaṃ suvimuttaṃ visaṃyuttaṃ rūpehi. > Their mind is in a good state … well detached from forms. > — Reciting in Concert ### [2.1.120](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.120) Ye ca rūpapaccayā uppajjanti āsavā vighātā pariḷāhā, mutto so tehi, na so taṃ vedanaṃ vedeti. > They’re freed from the distressing and feverish defilements that arise because of form, so they don’t experience that kind of feeling. > — Reciting in Concert ### [2.1.121](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.121) Idamakkhātaṃ rūpānaṃ nissaraṇaṃ. > This is how the escape from forms is explained. > — Reciting in Concert ### [2.1.122](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.122) Puna caparaṃ, āvuso, bhikkhuno sakkāyaṃ manasikaroto sakkāye cittaṃ na pakkhandati na pasīdati na santiṭṭhati na vimuccati. > Take a case where a mendicant focuses on substantial reality, but their mind does not leap forth, gain confidence, settle down, and become decided. > — Reciting in Concert ### [2.1.123](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.123) Sakkāyanirodhaṃ kho panassa manasikaroto sakkāyanirodhe cittaṃ pakkhandati pasīdati santiṭṭhati vimuccati. > But when they focus on the cessation of substantial reality, their mind leaps forth, gains confidence, settles down, and becomes decided. > — Reciting in Concert ### [2.1.124](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.124) Tassa taṃ cittaṃ sugataṃ subhāvitaṃ suvuṭṭhitaṃ suvimuttaṃ visaṃyuttaṃ sakkāyena. > Their mind is in a good state, well developed, well risen, well freed, and well detached from substantial reality. > — Reciting in Concert ### [2.1.125](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.125) Ye ca sakkāyapaccayā uppajjanti āsavā vighātā pariḷāhā, mutto so tehi, na so taṃ vedanaṃ vedeti. > They’re freed from the distressing and feverish defilements that arise because of substantial reality, so they don’t experience that kind of feeling. > — Reciting in Concert ### [2.1.126](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.126) Idamakkhātaṃ sakkāyassa nissaraṇaṃ. > This is how the escape from substantial reality is explained. > — Reciting in Concert ### [2.1.127](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.127) Pañca vimuttāyatanāni. > Five opportunities for freedom: > — Reciting in Concert ### [2.1.128](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.128) Idhāvuso, bhikkhuno satthā dhammaṃ deseti aññataro vā garuṭṭhāniyo sabrahmacārī. > Firstly, the Teacher or a respected spiritual companion teaches Dhamma to a mendicant. > — Reciting in Concert ### [2.1.129](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.129) Yathā yathā, āvuso, bhikkhuno satthā dhammaṃ deseti aññataro vā garuṭṭhāniyo sabrahmacārī tathā tathā so tasmiṃ dhamme atthapaṭisaṃvedī ca hoti dhammapaṭisaṃvedī ca. > That mendicant feels inspired by the meaning and the teaching in that Dhamma, no matter how the Teacher or a respected spiritual companion teaches it. > — Reciting in Concert ### [2.1.130](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.130) Tassa atthapaṭisaṃvedino dhammapaṭisaṃvedino pāmojjaṃ jāyati, pamuditassa pīti jāyati, pītimanassa kāyo passambhati, passaddhakāyo sukhaṃ vedeti, sukhino cittaṃ samādhiyati. > Feeling inspired, joy springs up. Being joyful, rapture springs up. When the mind is full of rapture, the body becomes tranquil. When the body is tranquil, one feels bliss. And when blissful, the mind becomes immersed. > — Reciting in Concert ### [2.1.131](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.131) Idaṃ paṭhamaṃ vimuttāyatanaṃ. > This is the first opportunity for freedom. > — Reciting in Concert ### [2.1.132](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.132) Puna caparaṃ, āvuso, bhikkhuno na heva kho satthā dhammaṃ deseti aññataro vā garuṭṭhāniyo sabrahmacārī, api ca kho yathāsutaṃ yathāpariyattaṃ dhammaṃ vitthārena paresaṃ deseti …pe… > Furthermore, it may be that neither the Teacher nor a respected spiritual companion teaches Dhamma to a mendicant. But the mendicant teaches Dhamma in detail to others as they learned and memorized it. … > — Reciting in Concert ### [2.1.133](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.133) api ca kho yathāsutaṃ yathāpariyattaṃ dhammaṃ vitthārena sajjhāyaṃ karoti …pe… > Or the mendicant rehearses the teaching in detail as they learned and memorized it. … > — Reciting in Concert ### [2.1.134](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.134) api ca kho yathāsutaṃ yathāpariyattaṃ dhammaṃ cetasā anuvitakketi anuvicāreti manasānupekkhati …pe… > Or the mendicant thinks about and considers the teaching in their heart, examining it with the mind as they learned and memorized it. … > — Reciting in Concert ### [2.1.135](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.135) api ca khvassa aññataraṃ samādhinimittaṃ suggahitaṃ hoti sumanasikataṃ sūpadhāritaṃ suppaṭividdhaṃ paññāya. > Or a meditation subject as a basis of immersion is properly grasped, focused on, borne in mind, and penetrated with wisdom. > — Reciting in Concert ### [2.1.136](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.136) Yathā yathā, āvuso, bhikkhuno aññataraṃ samādhinimittaṃ suggahitaṃ hoti sumanasikataṃ sūpadhāritaṃ suppaṭividdhaṃ paññāya tathā tathā so tasmiṃ dhamme atthapaṭisaṃvedī ca hoti dhammapaṭisaṃvedī ca. > That mendicant feels inspired by the meaning and the teaching in that Dhamma, no matter how a meditation subject as a basis of immersion is properly grasped, focused on, borne in mind, and penetrated with wisdom. > — Reciting in Concert ### [2.1.137](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.137) Tassa atthapaṭisaṃvedino dhammapaṭisaṃvedino pāmojjaṃ jāyati, pamuditassa pīti jāyati, pītimanassa kāyo passambhati, passaddhakāyo sukhaṃ vedeti, sukhino cittaṃ samādhiyati. > Feeling inspired, joy springs up. Being joyful, rapture springs up. When the mind is full of rapture, the body becomes tranquil. When the body is tranquil, one feels bliss. And when blissful, the mind becomes immersed. > — Reciting in Concert ### [2.1.138](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.138) Idaṃ pañcamaṃ vimuttāyatanaṃ. > This is the fifth opportunity for freedom. > — Reciting in Concert ### [2.1.139](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.139) Pañca vimuttiparipācanīyā saññā— > Five perceptions that ripen in freedom: > — Reciting in Concert ### [2.1.140](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.140) aniccasaññā, anicce dukkhasaññā, dukkhe anattasaññā, pahānasaññā, virāgasaññā. > the perception of impermanence, the perception of suffering in impermanence, the perception of not-self in suffering, the perception of giving up, and the perception of fading away. > — Reciting in Concert ### [2.1.141](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.141) Ime kho, āvuso, tena bhagavatā jānatā passatā arahatā sammāsambuddhena pañca dhammā sammadakkhātā; > These are the teachings grouped by five that have been rightly explained by the Buddha. > — Reciting in Concert ### [2.1.142](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1.142) tattha sabbeheva saṅgāyitabbaṃ …pe… atthāya hitāya sukhāya devamanussānaṃ. > You should all recite these in concert. > — Reciting in Concert ## Translations (3) - [Im Chor aufsagen](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~de-sabbamitta.2.1.1) — German - [Reciting in Concert](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~en-sujato.2.1.1) — English - [Zajedničko recitovanje](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~sr-brankokovacevic.2.1.1) — sr ## Commentaries (1) - [Sumaṅgalavilāsinī](https://indike.org/pramana/in.bauddha.theravada.sp.digha!sumangalavilasini.33.315) — Buddhaghosa, Pāli ## Linked texts (23) - [Dasuttarasutta](https://indike.org/pramana/in.bauddha.theravada.sp.digha.34.1.6.7) — Pāli - [Mahāvagga](https://indike.org/pramana/in.bauddha.theravada.vp.khandhaka.mahavagga.6.28.4.2) — Pāli - [Udāna](https://indike.org/pramana/in.bauddha.theravada.sp.khuddaka.udana.8.6.4.1) — Pāli - [Byasanasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.5.130.1.3) — Pāli - [Vibhaṅga](https://indike.org/pramana/in.bauddha.theravada.ap.vibhanga.17.246.2) — Pāli - [Mahāparinibbānasutta](https://indike.org/pramana/in.bauddha.theravada.sp.digha.16.1.23.12) — Pāli - [Parivāra](https://indike.org/pramana/in.bauddha.theravada.vp.parivara.17.141.4) — Pāli - [增壹阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.ekottaragama*zh-sanghadeva.51.4) — Classical Chinese - [中阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.madhyamagama*zh-sanghadeva.206) — Classical Chinese - [Cetokhilasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.16.3.1) — Pāli - [Cetokhilasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.10.14.2.1) — Pāli - [Chaṭṭhasaṅgāyana-pucchāvissajjanā](https://indike.org/pramana/in.bauddha.theravada_postcanon.modern.sangayana-puccha.11.6.719) — Pāli - [長阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirghagama*zh-buddhayasas.9.21) — Classical Chinese - [大集法門經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirgha.sangitisutra*zh-danapala.2.2) — Classical Chinese - [阿毘達磨集異門足論](https://indike.org/pramana/in.bauddha.sanskrit.darsana.abhidharma.sarvastivada.sangitiparyaya*zh-xuanzang) — Classical Chinese - [Arthaviniścayasūtra](https://indike.org/pramana/in.bauddha.sanskrit.agama.arthaviniscayasutra) — Sanskrit - [Sīlasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.5.213) — Pāli - [Cetasovinibandhasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.9.72) — Pāli - [Cetasovinibandhasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.9.92) — Pāli - [Cetokhilasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.9.71) — Pāli - [Cetasovinibandhasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.9.82) — Pāli - [Cetokhilasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.5.205) — Pāli - [Vinibandhasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.5.206) — Pāli --- Source: [https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.1) · Pramāṇa