[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) › 2.2.1-130 # Sangitisutta 2.2.1-130 Saṅgītisutta 2.2.1-130 - **Language:** Pāli ### [2.2.1](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.1) Atthi kho, āvuso, tena bhagavatā jānatā passatā arahatā sammāsambuddhena cha dhammā sammadakkhātā; > There are teachings grouped by six that have been rightly explained by the Buddha. > — Reciting in Concert ### [2.2.2](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.2) tattha sabbeheva saṅgāyitabbaṃ …pe… atthāya hitāya sukhāya devamanussānaṃ. > You should all recite these in concert. > — Reciting in Concert ### [2.2.3](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.3) Katame cha? > What are the teachings grouped by six? > — Reciting in Concert ### [2.2.4](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.4) Cha ajjhattikāni āyatanāni— > Six interior sense fields: > — Reciting in Concert ### [2.2.5](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.5) cakkhāyatanaṃ, sotāyatanaṃ, ghānāyatanaṃ, jivhāyatanaṃ, kāyāyatanaṃ, manāyatanaṃ. > eye, ear, nose, tongue, body, and mind. > — Reciting in Concert ### [2.2.6](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.6) Cha bāhirāni āyatanāni— > Six exterior sense fields: > — Reciting in Concert ### [2.2.7](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.7) rūpāyatanaṃ, saddāyatanaṃ, gandhāyatanaṃ, rasāyatanaṃ, phoṭṭhabbāyatanaṃ, dhammāyatanaṃ. > sights, sounds, smells, tastes, touches, and ideas. > — Reciting in Concert ### [2.2.8](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.8) Cha viññāṇakāyā— > Six classes of consciousness: > — Reciting in Concert ### [2.2.9](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.9) cakkhuviññāṇaṃ, sotaviññāṇaṃ, ghānaviññāṇaṃ, jivhāviññāṇaṃ, kāyaviññāṇaṃ, manoviññāṇaṃ. > eye, ear, nose, tongue, body, and mind consciousness. > — Reciting in Concert ### [2.2.10](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.10) Cha phassakāyā— > Six classes of contact: > — Reciting in Concert ### [2.2.11](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.11) cakkhusamphasso, sotasamphasso, ghānasamphasso, jivhāsamphasso, kāyasamphasso, manosamphasso. > contact through the eye, ear, nose, tongue, body, and mind. > — Reciting in Concert ### [2.2.12](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.12) Cha vedanākāyā— > Six classes of feeling: > — Reciting in Concert ### [2.2.13](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.13) cakkhusamphassajā vedanā, sotasamphassajā vedanā, ghānasamphassajā vedanā, jivhāsamphassajā vedanā, kāyasamphassajā vedanā, manosamphassajā vedanā. > feeling born of contact through the eye, ear, nose, tongue, body, and mind. > — Reciting in Concert ### [2.2.14](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.14) Cha saññākāyā— > Six classes of perception: > — Reciting in Concert ### [2.2.15](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.15) rūpasaññā, saddasaññā, gandhasaññā, rasasaññā, phoṭṭhabbasaññā, dhammasaññā. > perceptions of sights, sounds, smells, tastes, touches, and ideas. > — Reciting in Concert ### [2.2.16](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.16) Cha sañcetanākāyā— > Six bodies of intention: > — Reciting in Concert ### [2.2.17](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.17) rūpasañcetanā, saddasañcetanā, gandhasañcetanā, rasasañcetanā, phoṭṭhabbasañcetanā, dhammasañcetanā. > intention regarding sights, sounds, smells, tastes, touches, and ideas. > — Reciting in Concert ### [2.2.18](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.18) Cha taṇhākāyā— > Six classes of craving: > — Reciting in Concert ### [2.2.19](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.19) rūpataṇhā, saddataṇhā, gandhataṇhā, rasataṇhā, phoṭṭhabbataṇhā, dhammataṇhā. > craving for sights, sounds, smells, tastes, touches, and ideas. > — Reciting in Concert ### [2.2.20](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.20) Cha agāravā. > Six kinds of disrespect: > — Reciting in Concert ### [2.2.21](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.21) Idhāvuso, bhikkhu satthari agāravo viharati appatisso; dhamme agāravo viharati appatisso; saṅghe agāravo viharati appatisso; sikkhāya agāravo viharati appatisso; appamāde agāravo viharati appatisso; paṭisanthāre agāravo viharati appatisso. > A mendicant lacks respect and reverence for the Teacher, the teaching, and the Saṅgha, the training, diligence, and hospitality. > — Reciting in Concert ### [2.2.22](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.22) Cha gāravā. > Six kinds of respect: > — Reciting in Concert ### [2.2.23](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.23) Idhāvuso, bhikkhu satthari sagāravo viharati sappatisso; dhamme sagāravo viharati sappatisso; saṅghe sagāravo viharati sappatisso; sikkhāya sagāravo viharati sappatisso; appamāde sagāravo viharati sappatisso; paṭisanthāre sagāravo viharati sappatisso. > A mendicant has respect and reverence for the Teacher, the teaching, and the Saṅgha, the training, diligence, and hospitality. > — Reciting in Concert ### [2.2.24](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.24) Cha somanassūpavicārā. > Six preoccupations with happiness: > — Reciting in Concert ### [2.2.25](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.25) Cakkhunā rūpaṃ disvā somanassaṭṭhāniyaṃ rūpaṃ upavicarati; > Seeing a sight with their eyes, one is preoccupied with a sight that’s a basis for happiness. > — Reciting in Concert ### [2.2.26](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.26) sotena saddaṃ sutvā … > Hearing a sound with their ears … > — Reciting in Concert ### [2.2.27](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.27) ghānena gandhaṃ ghāyitvā … > Smelling an odor with their nose … > — Reciting in Concert ### [2.2.28](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.28) jivhāya rasaṃ sāyitvā … > Tasting a flavor with their tongue … > — Reciting in Concert ### [2.2.29](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.29) kāyena phoṭṭhabbaṃ phusitvā. > Encountering a touch with their body … > — Reciting in Concert ### [2.2.30](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.30) Manasā dhammaṃ viññāya somanassaṭṭhāniyaṃ dhammaṃ upavicarati. > Knowing an idea with their mind, one is preoccupied with an idea that’s a basis for happiness. > — Reciting in Concert ### [2.2.31](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.31) Cha domanassūpavicārā. > Six preoccupations with sadness: > — Reciting in Concert ### [2.2.32](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.32) Cakkhunā rūpaṃ disvā domanassaṭṭhāniyaṃ rūpaṃ upavicarati …pe… > Seeing a sight with their eyes, one is preoccupied with a sight that’s a basis for sadness. … > — Reciting in Concert ### [2.2.33](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.33) manasā dhammaṃ viññāya domanassaṭṭhāniyaṃ dhammaṃ upavicarati. > Knowing an idea with their mind, one is preoccupied with an idea that’s a basis for sadness. > — Reciting in Concert ### [2.2.34](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.34) Cha upekkhūpavicārā. > Six preoccupations with equanimity: > — Reciting in Concert ### [2.2.35](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.35) Cakkhunā rūpaṃ disvā upekkhāṭṭhāniyaṃ rūpaṃ upavicarati …pe… > Seeing a sight with their eyes, one is preoccupied with a sight that’s a basis for equanimity. … > — Reciting in Concert ### [2.2.36](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.36) manasā dhammaṃ viññāya upekkhāṭṭhāniyaṃ dhammaṃ upavicarati. > Knowing an idea with their mind, one is preoccupied with an idea that’s a basis for equanimity. > — Reciting in Concert ### [2.2.37](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.37) Cha sāraṇīyā dhammā. > Six warm-hearted qualities: > — Reciting in Concert ### [2.2.38](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.38) Idhāvuso, bhikkhuno mettaṃ kāyakammaṃ paccupaṭṭhitaṃ hoti sabrahmacārīsu āvi ceva raho ca. > Firstly, a mendicant consistently treats their spiritual companions with bodily kindness, both in public and in private. > — Reciting in Concert ### [2.2.39](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.39) Ayampi dhammo sāraṇīyo piyakaraṇo garukaraṇo saṅgahāya avivādāya sāmaggiyā ekībhāvāya saṃvattati. > This warm-hearted quality makes for fondness and respect, conducing to inclusion, harmony, and unity, without quarreling. > — Reciting in Concert ### [2.2.40](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.40) Puna caparaṃ, āvuso, bhikkhuno mettaṃ vacīkammaṃ paccupaṭṭhitaṃ hoti sabrahmacārīsu āvi ceva raho ca. > Furthermore, a mendicant consistently treats their spiritual companions with verbal kindness, both in public and in private. > — Reciting in Concert ### [2.2.41](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.41) Ayampi dhammo sāraṇīyo …pe… ekībhāvāya saṃvattati. > This too is a warm-hearted quality. > — Reciting in Concert ### [2.2.42](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.42) Puna caparaṃ, āvuso, bhikkhuno mettaṃ manokammaṃ paccupaṭṭhitaṃ hoti sabrahmacārīsu āvi ceva raho ca. > Furthermore, a mendicant consistently treats their spiritual companions with mental kindness, both in public and in private. > — Reciting in Concert ### [2.2.43](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.43) Ayampi dhammo sāraṇīyo …pe… ekībhāvāya saṃvattati. > This too is a warm-hearted quality. > — Reciting in Concert ### [2.2.44](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.44) Puna caparaṃ, āvuso, bhikkhu ye te lābhā dhammikā dhammaladdhā antamaso pattapariyāpannamattampi, tathārūpehi lābhehi appaṭivibhattabhogī hoti sīlavantehi sabrahmacārīhi sādhāraṇabhogī. > Furthermore, a mendicant shares without reservation any material things they have gained by legitimate means, even the food placed in the alms-bowl, using them in common with their ethical spiritual companions. > — Reciting in Concert ### [2.2.45](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.45) Ayampi dhammo sāraṇīyo …pe… ekībhāvāya saṃvattati. > This too is a warm-hearted quality. > — Reciting in Concert ### [2.2.46](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.46) Puna caparaṃ, āvuso, bhikkhu yāni tāni sīlāni akhaṇḍāni acchiddāni asabalāni akammāsāni bhujissāni viññuppasatthāni aparāmaṭṭhāni samādhisaṃvattanikāni, tathārūpesu sīlesu sīlasāmaññagato viharati sabrahmacārīhi āvi ceva raho ca. > Furthermore, a mendicant lives according to the precepts shared with their spiritual companions, both in public and in private. Those precepts are intact, impeccable, spotless, and unmarred, liberating, praised by sensible people, not mistaken, and leading to immersion. > — Reciting in Concert ### [2.2.47](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.47) Ayampi dhammo sāraṇīyo …pe… ekībhāvāya saṃvattati. > This too is a warm-hearted quality. > — Reciting in Concert ### [2.2.48](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.48) Puna caparaṃ, āvuso, bhikkhu yāyaṃ diṭṭhi ariyā niyyānikā niyyāti takkarassa sammā dukkhakkhayāya, tathārūpāya diṭṭhiyā diṭṭhisāmaññagato viharati sabrahmacārīhi āvi ceva raho ca. > They live according to the view shared with their spiritual companions, both in public and in private. That view is noble and emancipating, and delivers one who applies it to the complete ending of suffering. > — Reciting in Concert ### [2.2.49](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.49) Ayampi dhammo sāraṇīyo piyakaraṇo garukaraṇo saṅgahāya avivādāya sāmaggiyā ekībhāvāya saṃvattati. > This warm-hearted quality too makes for fondness and respect, conducing to inclusion, harmony, and unity, without quarreling. > — Reciting in Concert ### [2.2.50](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.50) Cha vivādamūlāni. > Six roots of dispute: > — Reciting in Concert ### [2.2.51](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.51) Idhāvuso, bhikkhu kodhano hoti upanāhī. > Firstly, a mendicant is irritable and acrimonious. > — Reciting in Concert ### [2.2.52](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.52) Yo so, āvuso, bhikkhu kodhano hoti upanāhī, so sattharipi agāravo viharati appatisso, dhammepi agāravo viharati appatisso, saṅghepi agāravo viharati appatisso, sikkhāyapi na paripūrakārī hoti. > Such a mendicant lacks respect and reverence for the Teacher, the teaching, and the Saṅgha, and they don’t fulfill the training. > — Reciting in Concert ### [2.2.53](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.53) Yo so, āvuso, bhikkhu satthari agāravo viharati appatisso, dhamme agāravo viharati appatisso, saṅghe agāravo viharati appatisso, sikkhāya na paripūrakārī, so saṅghe vivādaṃ janeti. Yo hoti vivādo bahujanāhitāya bahujanāsukhāya anatthāya ahitāya dukkhāya devamanussānaṃ. > They create a dispute in the Saṅgha, which is for the detriment and unhappiness of the people, for the harm, detriment, and suffering of gods and humans. > — Reciting in Concert ### [2.2.54](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.54) Evarūpañce tumhe, āvuso, vivādamūlaṃ ajjhattaṃ vā bahiddhā vā samanupasseyyātha. Tatra tumhe, āvuso, tasseva pāpakassa vivādamūlassa pahānāya vāyameyyātha. > If you see such a root of dispute in yourselves or others, you should try to give up this bad thing. > — Reciting in Concert ### [2.2.55](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.55) Evarūpañce tumhe, āvuso, vivādamūlaṃ ajjhattaṃ vā bahiddhā vā na samanupasseyyātha. Tatra tumhe, āvuso, tasseva pāpakassa vivādamūlassa āyatiṃ anavassavāya paṭipajjeyyātha. > If you don’t see it, you should practice so that it doesn’t come up in the future. > — Reciting in Concert ### [2.2.56](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.56) Evametassa pāpakassa vivādamūlassa pahānaṃ hoti. Evametassa pāpakassa vivādamūlassa āyatiṃ anavassavo hoti. > That’s how to give up this bad root of dispute, so it doesn’t come up in the future. > — Reciting in Concert ### [2.2.57](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.57) Puna caparaṃ, āvuso, bhikkhu makkhī hoti paḷāsī …pe… > Furthermore, a mendicant is offensive and contemptuous … > — Reciting in Concert ### [2.2.58](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.58) issukī hoti maccharī …pe… > They’re jealous and stingy … > — Reciting in Concert ### [2.2.59](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.59) saṭho hoti māyāvī … > They’re devious and deceitful … > — Reciting in Concert ### [2.2.60](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.60) pāpiccho hoti micchādiṭṭhī … > They have corrupt wishes and wrong view … > — Reciting in Concert ### [2.2.61](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.61) sandiṭṭhiparāmāsī hoti ādhānaggāhī duppaṭinissaggī …pe… > They’re attached to their own views, holding them tight, and refusing to let go. > — Reciting in Concert ### [2.2.62](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.62) yo so, āvuso, bhikkhu sandiṭṭhiparāmāsī hoti ādhānaggāhī duppaṭinissaggī, so sattharipi agāravo viharati appatisso, dhammepi agāravo viharati appatisso, saṅghepi agāravo viharati appatisso, sikkhāyapi na paripūrakārī hoti. ### [2.2.63](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.63) Yo so, āvuso, bhikkhu satthari agāravo viharati appatisso, dhamme agāravo viharati appatisso, saṅghe agāravo viharati appatisso, sikkhāya na paripūrakārī, so saṅghe vivādaṃ janeti. Yo hoti vivādo bahujanāhitāya bahujanāsukhāya anatthāya ahitāya dukkhāya devamanussānaṃ. ### [2.2.64](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.64) Evarūpañce tumhe, āvuso, vivādamūlaṃ ajjhattaṃ vā bahiddhā vā samanupasseyyātha. Tatra tumhe, āvuso, tasseva pāpakassa vivādamūlassa pahānāya vāyameyyātha. > If you see such a root of dispute in yourselves or others, you should try to give up this bad thing. > — Reciting in Concert ### [2.2.65](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.65) Evarūpañce tumhe, āvuso, vivādamūlaṃ ajjhattaṃ vā bahiddhā vā na samanupasseyyātha. Tatra tumhe, āvuso, tasseva pāpakassa vivādamūlassa āyatiṃ anavassavāya paṭipajjeyyātha. > If you don’t see it, you should practice so that it doesn’t come up in the future. > — Reciting in Concert ### [2.2.66](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.66) Evametassa pāpakassa vivādamūlassa pahānaṃ hoti. Evametassa pāpakassa vivādamūlassa āyatiṃ anavassavo hoti. > That’s how to give up this bad root of dispute, so it doesn’t come up in the future. > — Reciting in Concert ### [2.2.67](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.67) Cha dhātuyo— > Six elements: > — Reciting in Concert ### [2.2.68](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.68) pathavīdhātu, āpodhātu, tejodhātu, vāyodhātu, ākāsadhātu, viññāṇadhātu. > earth, water, fire, air, space, and consciousness. > — Reciting in Concert ### [2.2.69](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.69) Cha nissaraṇiyā dhātuyo. > Six elements of escape: > — Reciting in Concert ### [2.2.70](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.70) Idhāvuso, bhikkhu evaṃ vadeyya: > Take a mendicant who says: > — Reciting in Concert ### [2.2.71](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.71) ‘mettā hi kho me cetovimutti bhāvitā bahulīkatā yānīkatā vatthukatā anuṭṭhitā paricitā susamāraddhā, > ‘I’ve developed the heart’s release by love. I’ve cultivated it, made it my vehicle and my basis, kept it up, consolidated it, and properly implemented it. > — Reciting in Concert ### [2.2.72](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.72) atha ca pana me byāpādo cittaṃ pariyādāya tiṭṭhatī’ti. > Yet somehow ill will still occupies my mind.’ > — Reciting in Concert ### [2.2.73](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.73) So ‘mā hevan’tissa vacanīyo, ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! Don’t say that. Don’t misrepresent the Buddha, for misrepresentation of the Buddha is not good. And the Buddha would not say that. > — Reciting in Concert ### [2.2.74](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.74) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ mettāya cetovimuttiyā bhāvitāya bahulīkatāya yānīkatāya vatthukatāya anuṭṭhitāya paricitāya susamāraddhāya. > It’s impossible, reverend, it cannot happen that the heart’s release by love has been developed and properly implemented, > — Reciting in Concert ### [2.2.75](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.75) Atha ca panassa byāpādo cittaṃ pariyādāya ṭhassati, netaṃ ṭhānaṃ vijjati. > yet somehow ill will still occupies the mind. > — Reciting in Concert ### [2.2.76](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.76) Nissaraṇaṃ hetaṃ, āvuso, byāpādassa, yadidaṃ mettā cetovimuttī’ti. > For it is the heart’s release by love that is the escape from ill will.’ > — Reciting in Concert ### [2.2.77](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.77) Idha panāvuso, bhikkhu evaṃ vadeyya: > Take another mendicant who says: > — Reciting in Concert ### [2.2.78](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.78) ‘karuṇā hi kho me cetovimutti bhāvitā bahulīkatā yānīkatā vatthukatā anuṭṭhitā paricitā susamāraddhā. > ‘I’ve developed the heart’s release by compassion. I’ve cultivated it, made it my vehicle and my basis, kept it up, consolidated it, and properly implemented it. > — Reciting in Concert ### [2.2.79](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.79) Atha ca pana me vihesā cittaṃ pariyādāya tiṭṭhatī’ti, > Yet somehow the thought of harming still occupies my mind.’ > — Reciting in Concert ### [2.2.80](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.80) so ‘mā hevan’tissa vacanīyo ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! … > — Reciting in Concert ### [2.2.81](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.81) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ karuṇāya cetovimuttiyā bhāvitāya bahulīkatāya yānīkatāya vatthukatāya anuṭṭhitāya paricitāya susamāraddhāya, ### [2.2.82](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.82) atha ca panassa vihesā cittaṃ pariyādāya ṭhassati, netaṃ ṭhānaṃ vijjati. ### [2.2.83](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.83) Nissaraṇaṃ hetaṃ, āvuso, vihesāya, yadidaṃ karuṇā cetovimuttī’ti. > For it is the heart’s release by compassion that is the escape from thoughts of harming.’ > — Reciting in Concert ### [2.2.84](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.84) Idha panāvuso, bhikkhu evaṃ vadeyya: > Take another mendicant who says: > — Reciting in Concert ### [2.2.85](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.85) ‘muditā hi kho me cetovimutti bhāvitā bahulīkatā yānīkatā vatthukatā anuṭṭhitā paricitā susamāraddhā. > ‘I’ve developed the heart’s release by rejoicing. I’ve cultivated it, made it my vehicle and my basis, kept it up, consolidated it, and properly implemented it. > — Reciting in Concert ### [2.2.86](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.86) Atha ca pana me arati cittaṃ pariyādāya tiṭṭhatī’ti, > Yet somehow discontent still occupies my mind.’ > — Reciting in Concert ### [2.2.87](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.87) so ‘mā hevan’tissa vacanīyo ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! … > — Reciting in Concert ### [2.2.88](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.88) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ muditāya cetovimuttiyā bhāvitāya bahulīkatāya yānīkatāya vatthukatāya anuṭṭhitāya paricitāya susamāraddhāya, ### [2.2.89](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.89) atha ca panassa arati cittaṃ pariyādāya ṭhassati, netaṃ ṭhānaṃ vijjati. ### [2.2.90](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.90) Nissaraṇaṃ hetaṃ, āvuso, aratiyā, yadidaṃ muditā cetovimuttī’ti. > For it is the heart’s release by rejoicing that is the escape from discontent.’ > — Reciting in Concert ### [2.2.91](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.91) Idha panāvuso, bhikkhu evaṃ vadeyya: > Take another mendicant who says: > — Reciting in Concert ### [2.2.92](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.92) ‘upekkhā hi kho me cetovimutti bhāvitā bahulīkatā yānīkatā vatthukatā anuṭṭhitā paricitā susamāraddhā. > ‘I’ve developed the heart’s release by equanimity. I’ve cultivated it, made it my vehicle and my basis, kept it up, consolidated it, and properly implemented it. > — Reciting in Concert ### [2.2.93](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.93) Atha ca pana me rāgo cittaṃ pariyādāya tiṭṭhatī’ti. > Yet somehow desire still occupies my mind.’ > — Reciting in Concert ### [2.2.94](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.94) So ‘mā hevan’tissa vacanīyo ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! … > — Reciting in Concert ### [2.2.95](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.95) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ upekkhāya cetovimuttiyā bhāvitāya bahulīkatāya yānīkatāya vatthukatāya anuṭṭhitāya paricitāya susamāraddhāya, ### [2.2.96](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.96) atha ca panassa rāgo cittaṃ pariyādāya ṭhassati netaṃ ṭhānaṃ vijjati. ### [2.2.97](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.97) Nissaraṇaṃ hetaṃ, āvuso, rāgassa, yadidaṃ upekkhā cetovimuttī’ti. > For it is the heart’s release by equanimity that is the escape from desire.’ > — Reciting in Concert ### [2.2.98](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.98) Idha panāvuso, bhikkhu evaṃ vadeyya: > Take another mendicant who says: > — Reciting in Concert ### [2.2.99](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.99) ‘animittā hi kho me cetovimutti bhāvitā bahulīkatā yānīkatā vatthukatā anuṭṭhitā paricitā susamāraddhā. > ‘I’ve developed the signless release of the heart. I’ve cultivated it, made it my vehicle and my basis, kept it up, consolidated it, and properly implemented it. > — Reciting in Concert ### [2.2.100](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.100) Atha ca pana me nimittānusāri viññāṇaṃ hotī’ti. > Yet somehow my consciousness still follows after signs.’ > — Reciting in Concert ### [2.2.101](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.101) So ‘mā hevan’tissa vacanīyo ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! … > — Reciting in Concert ### [2.2.102](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.102) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ animittāya cetovimuttiyā bhāvitāya bahulīkatāya yānīkatāya vatthukatāya anuṭṭhitāya paricitāya susamāraddhāya, ### [2.2.103](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.103) atha ca panassa nimittānusāri viññāṇaṃ bhavissati, netaṃ ṭhānaṃ vijjati. ### [2.2.104](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.104) Nissaraṇaṃ hetaṃ, āvuso, sabbanimittānaṃ, yadidaṃ animittā cetovimuttī’ti. > For it is the signless release of the heart that is the escape from all signs.’ > — Reciting in Concert ### [2.2.105](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.105) Idha panāvuso, bhikkhu evaṃ vadeyya: > Take another mendicant who says: > — Reciting in Concert ### [2.2.106](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.106) ‘asmīti kho me vigataṃ, ayamahamasmīti na samanupassāmi, > ‘I’m rid of the conceit “I am”. And I don’t regard anything as “I am this”. > — Reciting in Concert ### [2.2.107](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.107) atha ca pana me vicikicchākathaṅkathāsallaṃ cittaṃ pariyādāya tiṭṭhatī’ti. > Yet somehow the dart of doubt and indecision still occupies my mind.’ > — Reciting in Concert ### [2.2.108](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.108) So ‘mā hevan’tissa vacanīyo ‘māyasmā evaṃ avaca, mā bhagavantaṃ abbhācikkhi, na hi sādhu bhagavato abbhakkhānaṃ, na hi bhagavā evaṃ vadeyya. > They should be told, ‘Not so, venerable! Don’t say that. Don’t misrepresent the Buddha, for misrepresentation of the Buddha is not good. And the Buddha would not say that. > — Reciting in Concert ### [2.2.109](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.109) Aṭṭhānametaṃ, āvuso, anavakāso, yaṃ asmīti vigate ayamahamasmīti asamanupassato, > It’s impossible, reverend, it cannot happen that the conceit “I am” has been done away with, and nothing is regarded as “I am this”, > — Reciting in Concert ### [2.2.110](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.110) atha ca panassa vicikicchākathaṅkathāsallaṃ cittaṃ pariyādāya ṭhassati, netaṃ ṭhānaṃ vijjati. > yet somehow the dart of doubt and indecision still occupy the mind. > — Reciting in Concert ### [2.2.111](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.111) Nissaraṇaṃ hetaṃ, āvuso, vicikicchākathaṅkathāsallassa, yadidaṃ asmimānasamugghāto’ti. > For it is the uprooting of the conceit “I am” that is the escape from the dart of doubt and indecision.’ > — Reciting in Concert ### [2.2.112](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.112) Cha anuttariyāni— > Six unsurpassable things: > — Reciting in Concert ### [2.2.113](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.113) dassanānuttariyaṃ, savanānuttariyaṃ, lābhānuttariyaṃ, sikkhānuttariyaṃ, pāricariyānuttariyaṃ, anussatānuttariyaṃ. > the unsurpassable seeing, listening, acquisition, training, service, and recollection. > — Reciting in Concert ### [2.2.114](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.114) Cha anussatiṭṭhānāni— > Six topics for recollection: > — Reciting in Concert ### [2.2.115](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.115) buddhānussati, dhammānussati, saṅghānussati, sīlānussati, cāgānussati, devatānussati. > the recollection of the Buddha, the teaching, the Saṅgha, ethics, generosity, and the deities. > — Reciting in Concert ### [2.2.116](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.116) Cha satatavihārā. > Six consistent responses: > — Reciting in Concert ### [2.2.117](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.117) Idhāvuso, bhikkhu cakkhunā rūpaṃ disvā neva sumano hoti na dummano, upekkhako viharati sato sampajāno. > A mendicant, seeing a sight with their eyes, is neither happy nor sad. They remain equanimous, mindful and aware. > — Reciting in Concert ### [2.2.118](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.118) Sotena saddaṃ sutvā …pe… > Hearing a sound with their ears … Smelling an odor with their nose … Tasting a flavor with their tongue … Encountering a touch with their body … > — Reciting in Concert ### [2.2.119](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.119) manasā dhammaṃ viññāya neva sumano hoti na dummano, upekkhako viharati sato sampajāno. > Knowing an idea with their mind, they’re neither happy nor sad. They remain equanimous, mindful and aware. > — Reciting in Concert ### [2.2.120](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.120) Chaḷābhijātiyo. > Six classes of rebirth: > — Reciting in Concert ### [2.2.121](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.121) Idhāvuso, ekacco kaṇhābhijātiko samāno kaṇhaṃ dhammaṃ abhijāyati. > Someone born into a dark class gives rise to a dark result. > — Reciting in Concert ### [2.2.122](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.122) Idha panāvuso, ekacco kaṇhābhijātiko samāno sukkaṃ dhammaṃ abhijāyati. > Someone born into a dark class gives rise to a bright result. > — Reciting in Concert ### [2.2.123](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.123) Idha panāvuso, ekacco kaṇhābhijātiko samāno akaṇhaṃ asukkaṃ nibbānaṃ abhijāyati. > Someone born into a dark class gives rise to extinguishment, which is neither dark nor bright. > — Reciting in Concert ### [2.2.124](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.124) Idha panāvuso, ekacco sukkābhijātiko samāno sukkaṃ dhammaṃ abhijāyati. > Someone born into a bright class gives rise to a bright result. > — Reciting in Concert ### [2.2.125](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.125) Idha panāvuso, ekacco sukkābhijātiko samāno kaṇhaṃ dhammaṃ abhijāyati. > Someone born into a bright class gives rise to a dark result. > — Reciting in Concert ### [2.2.126](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.126) Idha panāvuso, ekacco sukkābhijātiko samāno akaṇhaṃ asukkaṃ nibbānaṃ abhijāyati. > Someone born into a bright class gives rise to extinguishment, which is neither dark nor bright. > — Reciting in Concert ### [2.2.127](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.127) Cha nibbedhabhāgiyā saññā— > Six perceptions that help penetration: > — Reciting in Concert ### [2.2.128](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.128) aniccasaññā, anicce dukkhasaññā, dukkhe anattasaññā, pahānasaññā, virāgasaññā, nirodhasaññā. > the perception of impermanence, the perception of suffering in impermanence, the perception of not-self in suffering, the perception of giving up, the perception of fading away, and the perception of cessation. > — Reciting in Concert ### [2.2.129](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.129) Ime kho, āvuso, tena bhagavatā jānatā passatā arahatā sammāsambuddhena cha dhammā sammadakkhātā; > These are the teachings grouped by six that have been rightly explained by the Buddha. > — Reciting in Concert ### [2.2.130](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.130) tattha sabbeheva saṅgāyitabbaṃ …pe… atthāya hitāya sukhāya devamanussānaṃ. > You should all recite these in concert. > — Reciting in Concert ## Translations (3) - [Zajedničko recitovanje](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~sr-brankokovacevic.2.2.1) — sr - [Im Chor aufsagen](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~de-sabbamitta.2.2.1) — German - [Reciting in Concert](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33~en-sujato.2.2.1) — English ## Commentaries (1) - [Sumaṅgalavilāsinī](https://indike.org/pramana/in.bauddha.theravada.sp.digha!sumangalavilasini.33.323) — Buddhaghosa, Pāli ## Linked texts (22) - [Dasuttarasutta](https://indike.org/pramana/in.bauddha.theravada.sp.digha.34.1.7.6) — Pāli - [Nissāraṇīyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.13.1.8) — Pāli - [Vibhaṅga](https://indike.org/pramana/in.bauddha.theravada.ap.vibhanga.17.259.2) — Pāli - [Cullavagga](https://indike.org/pramana/in.bauddha.theravada.vp.khandhaka.cullavagga.4.14.3.1-15) — Pāli - [增壹阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.ekottaragama*zh-sanghadeva.37.1) — Classical Chinese - [長阿含經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirghagama*zh-buddhayasas.9.25) — Classical Chinese - [Dhātuvibhaṅgasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.140.10.1) — Pāli - [Sāmagāmasutta](https://indike.org/pramana/in.bauddha.theravada.sp.majjhima.104.6.1) — Pāli - [大集法門經](https://indike.org/pramana/in.bauddha.sanskrit.agama.dirgha.sangitisutra*zh-danapala.2.16) — Classical Chinese - [Dutiyamahānāmasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.11.12.4.1) — Pāli - [Paṭhamaāhuneyyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.1.2.1) — Pāli - [Anuttariyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.8.1.1) — Pāli - [Paṭisambhidāmagga](https://indike.org/pramana/in.bauddha.theravada.sp.khuddaka.patisambhidamagga) — Pāli - [Parivāra](https://indike.org/pramana/in.bauddha.theravada.vp.parivara) — 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 - [阿毘達磨集異門足論](https://indike.org/pramana/in.bauddha.sanskrit.darsana.abhidharma.sarvastivada.sangitiparyaya*zh-xuanzang) — Classical Chinese - [Chaḷabhijātisutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.57) — Pāli - [Arthaviniścayasūtra](https://indike.org/pramana/in.bauddha.sanskrit.agama.arthaviniscayasutra) — Sanskrit - [Vivādamūlasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.36) — Pāli - [Dutiyasāraṇīyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.12) — Pāli - [Paṭhamasāraṇīyasutta](https://indike.org/pramana/in.bauddha.theravada.sp.anguttara.6.11) — Pāli --- Source: [https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.1-130](https://indike.org/pramana/in.bauddha.theravada.sp.digha.33.2.2.1-130) · Pramāṇa