“The Form of the Compilation “Dhammapada”

Contents
01. Introduction ............................................................................................................................... 1
02. The Nature of Pāli Literature .................................................................................................. 1
03. The Way of Presentation Style ................................................................................................. 3
04. The Form of the Compilation “Dhammapada” ...................................................................... 3
04.1. The Structure of the Dhammapada......................................................................................... 3
04.2. Language style of the Dhammapada ....................................................................................... 4
04.3. Dhammapada in relation to other works ................................................................................ 7
05. Conclusion ................................................................................................................................. 9
Bibliograppy ........................................................................................................................................ 10
 “The Form of the Compilation “Dhammapada”

01.Introduction
Pāli language is one of former language (Mūlabhāsā). It belongs to the First or Middle
Indu-Aryan language family, and origin from classical Sanskrit, and also Prākrit in India. It has
gradually developed in Theravāda school. According to the history, Pāli language was used in
kingdom of Magadha. Therefore, Pāli language called Māgadhī (Magadha + ī = Māgadhī).
We can find out the term of Māgadhī or Māgadhinirutti, Māgadhikabhāsā in canonical record
and other Pāli texts. Jinavacana, Buddhavacana, Pāvacana, Māgadhiko vohāra, Suddha
Māgadhī, etc. are also the synonym for the Pāli. Another different dialect of Pāli language
(local language related to Māgadhī) called Ardha Māgadhī which is used by Jaina Mahāvīra.
The term of the Pāli has come out from the Sri Lanka. According to the Pāli scholar, the term
of the Pāli came into exist after 13 century B.C. Sri Lanka is the home land for the Pāli language
in present time. Both Pāli language and Pāli literature are developed in Sri Lanka.

Theravāda Buddhist tradition has spread with orally in Pāli language. According to the
fist council, there are several groups called Bhāṇaka. They brought Buddhist tradition from
generation to generation. In this way, Pāli has come with religious reciting until they compiled
on the palm leaves in King Valagambā (Vaṭṭhagāmiṇi Abhaya) period in Sri Lanka. After the
Tripitaka written in Sri Lanka, the term of the Pāli is also come into existence. So, the term of
the Pāli has used to call Buddhist teaching. On the other hand, Pāli (Pāli = Pāka = text) means
series or series of books which is indicated the Buddhist scriptures.

According to the Samantapāsādikā vinaya aṭṭhakathā, venerable Mahāmahinda and

venerable Sangamittā took the Buddhist canons together with commentaries to Sri Lanka in
the 3rd century B.C. during king Ashoka period in India. This is the starting point that Pāli has
introduced into Sri Lanka.

02.The Nature of Pāli Literature

Pāli literature is vast, it can be divided into mainly two parts as canonical literature and
non-canonical literature. For the canonical literature, contained the Tripitaka texts such as

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Sutra Piṭaka (discourses) – the Dīghanikāya, the Majjhimanikāya, the Saṃyuttanikāya, etc,

Vinaya Piṭaka (discipline) – the Pārājikāpāli, the Pācittiyapāli, the Mahāvaggapāli etc,

Abhidhamma Piṭaka (The Highest teaching) – the Dhammasaṃganī, the Vibhaṅga, the Dhātu,
etc.,

Aṭṭhakathā (commentary) – the Samantapāsādikā, the Sumaṅgalavilasanī, the Papañcasūdanī,

etc.,

ṭīkā (sub-commentary) _ the Vajirabuddhiṭīkā, the Sāratthadīpanī tīka, the Nettivibhāvinī tīka,
etc.

Anu-ṭīkā (sub sub-commentary).

There are so many books are contained in non-canonical literature which are
categorized into Manual or compendium (Saṅgaha) and Chronicle. There are over 200 books
can be found out non-canonical books in Pāli literature.

Other category of the Pāli literature as canonical, commentary, sub-commentary, sub

sub-commentary, compendium and chronicle. Those books are composed in different period
and in different places, covered by subject matters of philosophy, ethic, sociology, psychology,
policy, cosmology, and so on. Therefore, we can find out how Pāli language is used in those
places and its own period of composed. Pāli canonicals are written in Sri Lanka during fourth
Buddhist council at the Aloka Vihāra, recently called Alu Vihāra in Mātale.

There are three books called post canonical literature such as the Nettipakaraṇa, the
Petakopadesa, and the Milindapañha. Those texts are guided to enter to the canon. The
Nettipakarana provides the methodical way of the attaining textual knowledge. The
Petakopadessa (pitaka+ika + upadesa = petakopadesa) provides the advices through textual
and the exegetical methodology to enter to canonical texts. The Milindapañha discusses
various questions and answers in between king Milinda and venerable Nāgasena. The
Milindapañha is described very good number of problems and disputed points of Buddhism.

Except those treaties, others are explained own subject matters, for an instance, the
Mahāvaṃsa described the history of Sri Lanka, the Dīpavaṃsa is also described Sri Lankan
history and history of the Buddha Sāsana, the Bodhivaṃsa which is mentioned the history of
the Bodhitree, the Jinacarita is explained the life of the Buddha. And also there are many books
which are subject to Pāli grammar.

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 03.The Way of Presentation Style
Every literatures are written in poetical way, and Pāli literature also can be found in
three types of ancient poetical styles which are displayed in Pāli scriptures. They are; the Verse
(Padya Kāvya), the Prose (Gadya Kāvya), and the Mixed (both verse and prose) which is called
Campu Kāvya. The Dhammapada, the Thera-Therī Gāthā, the Jātakapāli, the Mahāvaṃsa, the
Dīpavaṃsa, the Jinacarita, the Samantakūtavaṇṇanā, etc., are written in verse style.
Bodhivaṃsa, etc., complied in prose style. The Buddhaghosuppatti, the Attanagalu
Vihāravaṃsa, etc., composed in both verse and prose. The style of verse is used method called
Chandasa (metre). There are many Chandasas those are explained in the Pāli Vuttodaya, such
as Vasantatilakā,Indavajirā, kamala, Rucirā, Anusṭup, and so on.

Kāvyālankāra which are the ornaments of any poetical works in literature. Those are
explained by earlier scholars. There are three books can be found such as Kāvyādarsha
composed by Daṇdi in Sanskrit, Subodhālankāra composed by Saṅgharakkhita in Pāli, and
Siyabaslakara composed by King Salamevan in Sinhala.

04.The Form of the Compilation “Dhammapada”

The Dhammapada is one of the most popular hand book in Buddhist literature which
is contained in the Khuddhakanikāya, is compiled in verse style (Padya Kāvya). This treatise
belongs to early Buddhism which is uttered by the Buddha. It has translated into various
modern languages. The Dhammapada can be considered as instructive literature which is
provided various advices for the human life. It is used in daily life with consideration of all a
round activities.

04.1. The Structure of the Dhammapada

The Dhammapada is the second book in the Khuddhakanikāya. There are 423 verses
which are uttered by the Buddha on 305 occasions. Those verses are contained in 26 chapters
called Vagga which are as followers Yamaka-vagga (The Twin-Verses), Appamāda-vagga (On
Earnestness), Citta-vagga (Thought), Puppha-vagga (Flowers), Bāla-vagga (The Fool),
Paṇḍita-vagga (The Wise Man), Arahanta-vagga (The Venerable), Sahassa-vagga (The

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Thousands), Pāpa-vagga (Evil), Daṇḍa-vagga (Punishment), Jarā-vagga (Old Age), Atta-
vagga (Self), Loka-vagga (The World), Buddha-vagga (The Buddha), Sukha-vagga
(Happiness), Piya-vagga (Pleasure), Kodha-vagga (Anger), Mala-vagga (Impurity),
Dhammaṭṭha-vagga (The Just), Magga-vagga (The Way), Pakiṇṇaka-vagga (Miscellaneous),
Niraya-vagga (The Downward Course), Nāga-vagga (The Elephant), Taṇhā-vagga (Thirst),
Bhikkhu-vagga (The Mendicant), Brāhmaṇa-vagga (The Brāhmana). The stanzas are arranged
according to the subject matters, for an example, in the Citta-vagga, verses are explained only
mental thought, the Appamāda-vagga explained mindfulness, and so on.

04.2. Language style of the Dhammapada

The Ddammapada represented various ways of Language styles. Mainly we can find
dhammapada in poetical style.

Figurative language

01. Simile (Upamā) – comparison using like or as

Most of the dhammapada stanzas are compiled with similes. For a instance

“Yo ca pubbe pamajjitvā – pacchā so nappamajjati

So imaṃ lokaṃ pabāseti – abbāmuttova candimā”1

According to this verse, there is a simile (Upamā) “the moon which is come out from
the cloud”. And Upameyya (which is to be compared) is “One shines the world who later on
becomes mindfully, who delayed in before”. The particle “iva (like, as)” is used to be compared.

02. Metaphor (Rūpaka)– implied comparison

“Ramanīyāni araññāni – yattha na ramati jano
Vītarāgā ramessanti na te kāma gavesino”2

Here, showing very nicely the metaphor, that is the forest which is associated by
Arahant who does not attach like ordinary people.

03. Personification – giving a human quality to a non-human thing

1
Dhp (Loka vagga), verse no. 172
2
Dhp (Arahanta vagga), verse no. 99

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 “Yathā saṃkāradhānasmiṃ
ujjhitasmiṃ mahāpathe
padumaṃ tattha jāyetha
sucigandhaṃ manoramaṃ”3

Here, the lotus flower is elaborated by giving simile with quality of virtuous person.
When the lotus flower arises even at the heap of rubbish, there is no changing fragrant of the
flower. Next verse is showing the virtuous one who is even with evil person, his quality will
not change.

“Evaṃ saṃkārabhutesu
andhabhute puthujjane
atirocati paññāya
sammāsambuddhasāvako”4

04. Symbolism – an object or person that represents some other quality

“Santutthiparamaṃ dhanaṃ”5

Referring to this quotation, money is representing the great happiness.

05. Imagery – language that appeals to any of the senses

There are many senses will be arisen due to the poem theme. There are nine emotions (Nava
nātya rasa) which is mentioned in Kāvyādarsa6. In dhammapada we can find some of them
like Shānta, Vīra, Karuṇā, Bhayānaka, and so on.

“Abhūtavādi nirayaṃ upeti – yo vāpi katvā na karomi cāha

ubhopi te pecca samā bhavanti - nihinakammā manujā parattha”7

“Ko nu haso kimanando

niccam pajjalite1 sati
andhakarena2 onaddha
padipam3 na gavesatha”8

3
Dhp (Puppha vagga), verse no. 58
4
Dhp (Puppha vagga), verse no. 59
5
Dhp (Sukha vagga), verse no. 204
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Śungāra vīra bībhatsya, raudra hāsya bhayānakaḥ – karuṇātbhūta śāntaśca, nava nātya rasāsmrtaḥ.
Kāvyadarsaya
7
Dhp (Nireya vagga), verse no. 306
8
Dhp (Jarā vagga), verse no.146

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 Referring to this verse, it can be made emotion which feels fear of doing evil action.

Sound Devices

01. Assonance – repetition of vowels sounds

“Yassa indriyāni samataṃ gatāni – assā yathā sāratinā sudantā”9

According to this quotation, the first line, there are short vowels and the second one all
of vowels are in Long form end of those words.

02. Consonance – repetition of consonant sounds within a stanza

“Gataddhino visokassa – vippamuttassa sabbadhi

Sabba gantappahīnassa – parilaho na vijjati”10

This stanza, there are reputation repetition of consonant sound which are in the middle
of the words.

03. Alliteration – repetition of sound at the start of the words

“Dīghā jāgarato rattiṃ - Dīghaṃ santassa yojanṃ

Dīgho bālānaṃ saṃsāro – saddhammaṃ avijānataṃ”11

“Natthi rāgasamo aggi – natthi dosasamo kali

Natthi khandhasamā dukkhā – natthi santipuraṃ sukhaṃ”12

04. Internal rhyme - rhyming words within a line

“Yo sahassaṃ sahassena – saṅgāme mānuse jine

Ekanca jeyyamattānaṃ - sa ve saṅgāmajuttamo”13

This stanza is displayed the rhythm in the stanzas.

05. End rhyme - rhyming words at the end of at least 2 lines

“Puttāmatthi dhanamatthi - iti bālo vihaññati

9
Dhp (Arahanta vagga), verse no. 94
10
Dhp (Arahanta vagga), verse no. 90
11
Dhp (Bāla vagga), verse no. 60
12
Dhp (Sukha vagga), verse no. 202
13
Dhp (Sahassa vagga), verse no.103

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 Attāhi attano natthi – Kuro puttā kuto dhanaṃ”14

“Sabbadānaṃ dhammadānaṃ jināti

sabbarasaṃ dhammaraso jināti
sabbaratiṃ dhammarati jināti
tanhakkhayo sabbadukkhaṃ jināti”15

These stanza are presented rhythm at the end of the lines of verse.

06. Meter / rhythm – the rhythmic pattern of syllables in a line

“Susukhaṃ vata jīvāma – ussukesu anussukā

Ussukesu manussesu – viharāma anussukā”16

This verse is very perfect to bring out from the dhammapada as an example for the
rhythm.

Considering those poetical ornaments, the language will be memorable, smooth, soft,
and so on.

Another importance to be discussed here, verbal less style. There are many stanzas in
dhammapada which are does not give direct verb. For a instance,

“Appamādo amata padaṃ - pamādo maccuno padaṃ”17

Referring to this quotation, there is no verb.

04.3. Dhammapada in relation to other works

The Dhammapada is not only the Theravāda tradition, apart from the Theravāda
Dhammapada, there are comparable collections and individual verses.

Patna Dharmapada which is found by Rāhula Saṅkrtyāyana in a Tibetan monastery.

This dhammapada written in Sanskrit language but it is very similar to Pāli language too.

14
Dhp (Bāla vagga), verse no. 62
15
Dhp (Tanhā vagga), verse no. 354
16
Dhp (Sukha vagga), verse no. 199
17
Dhp (Appamāda vagga), verse no. 21

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 Gāndhārī Dharmapada which is a set of manuscript remains that were found in
Gandhāra region in what is now Xinjing Uyghur Autonomous Region of China in the late 19th
century. There are three partial publications of this book in different languages.

Another the Dhammapada known as the Udānavarga. This is also a great works which
explained in so far, and here, usage of language is mixture of early and late forms.

Another the Dhammapada have been preserved in the Mahāvastu which belongs to
Lokottaravāda School.

We can find verses of the Dhammapada in different texts such as in Sanskrit literature,
and Buddhist and non-Buddhist texts. I will provide several example refer to different texts.

The first chapter stanza number 9

“Anikkasāvo kāsāvaṃ - yo vatthaṃ paridagessati

apeto damasaccena - naso kāsāvamarahati”,

There is a stanza in Mahābhārata which is similar to this stanza.

“Anishkashāye kāshāyaṃ īhārthaṃ iti viddhi taṃ, dharmadhvajānāṃ muṇdānāṃ

vrtyārthaṃ iti me mathih18” Cf. Mahābhārata, xii, p.568

In the Jātakapāli, a verse which is similar to the third chapter Citta-vagga verse number
35

“Dunniggahassa lahuno – yatthakāmanipātino

cittassa damato sadhu - cittaṃ dantaṃ sukhāvahaṃ19” Cf. Jātaka, I, pp 312, 400

The Hitopadesa which is a Sanskrit important instructive text there is a stanza that
similar to the Dhammapada (Daṇda vagga) stanza number 129

“Attānaṃ upamaṃ katvā na hanneya, ma ghātaye…”20 Cf. Hitopadesa, I 11

The Dhammapada (Sukha vagga) verse number 201

“Jayaṃ veraṃ pasavati, dukkhaṃ seti parājito

18
Law, Bimala C. A history of Pāli literature. P.211
19
Law, Bimala C. A history of Pāli literature. P.212
20
Law, Bimala C. A history of Pāli literature. P.215

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 upasanto sukhaṃ seti, hitvā jayaparājayaṃ”

Can be found in Sanskrit Avadānasataka and Saṃyuttaniāya.

In Sanskrit Avadānasataka as follows

“Yayo vairaṃ prasvati, dukkhaṃ sete hitvā jayaparājayaṃ”21

And also we can find the Dhammapada stanzas from the Milindapañha, the Dīpavaṃsa,
the Mahāvaṃsa, the Nettippakarana, the Manuscript, the Jātaka, the Nikāyas, and so forth.
Here, Sutras in Nikāyas are belonging to early Buddhism. It make us a little doubt that those
verses which could not take separately from those texts. Other texts are post canonical texts.
Therefore, those verses have taken from the Dhammapada. Non-Buddhist texts which are
before Buddha’s time or later compositions in different language such as Prākrit, Sanskrit, etc.

05. Conclusion
Referring to all those sources given above, can be concluded the Dhammapada is one
of important texts for all Buddhist traditions, it is written in Pāli, Sanskrit, Prākrit contemporary
to Buddha’s time. Later it is translated into innumerable modern languages. We can find the
Dhammapada in different figures which are completed and uncompleted. The Dhammapada
is placed in Khuddhakanikāya which is written in verses. And also in commentary which is
explained with details by commentators. The Dhammapada provides very good advices for the
daily life of the human. Therefore, the Dhammapada has accepted as hand book, and various
religious works.

21
Law, Bimala C. A history of Pāli literature. P.218

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Bibliograppy
Primary Source

01. The Saṃyuttanikāya II. ed. Leon Feer. M. PTS., 1989

02. The Majjhimanikāya I. ed. Trenckner, V. PTS., 1979

Secondary Source

01. Senart, E, Beni M. Barua, and Sailendranath Mitra. Prakrit Dhammapada: based upon
M. Senart's Kharoṣthī manuscript. Delhi, India: Sri Satguru Publications, 1988. Print.
02. Hazra, Kanai Lal. “Pāli Language and Literature – A systematic survey and historical
study vol.II” D.K. Printworld (p) Ltd. India. 1998. Print
03. Hazra, Kanai Lal. “Pāli Language and Literature – A systematic survey and historical
study vol.I” D.K. Printworld (p) Ltd. India. 1998. Print
04. Ācārya, Buddhiprakāśa, and Bodhi. The Dhammapada: the Buddha's path of wisdom.
Kandy, Sri Lanka: Buddhist Publication Society, 1996. Print.
05. Malalasekera, G. P. The Pāli literature of Ceylon. Kandy, Sri Lanka: Buddhist
Publication Society, 1994. Print.
06. Law, Bimala C. A history of Pāli literature. Varanasi: Indica Books, 2000. Print.
07. Sarada, Weragoda maha thera. Treasury of truth: illustrated Dhammapada. Taipei,
Taiwan: Published and donated by the Corporate Body of the Buddha Educational
Foundation, 1993. Print.

Internet Source

01. “University of Sri Jayawardhanapura, Sri Lanka”. Theravāda Triitaka in Sinhala and
Pāli. Web. 19. Oct. 2018.

< https://www.sjp.ac.lk/news/download-theravada-tripitaka/>

02. “Athapi”. Theravāda Trpitaka. Web. 19. Oct. 2018.

< http://www.aathaapi.org/Thripitaka.html>
03. Saṅgharakkhita. Vuttodaya, The Composition of Metre. Trans. Bhikkhu, Anandajoti.
2016. Web. 25. Oct. 2018.
<https://www.ancient-buddhist-texts.net/Textual-Studies/Vuttodaya/index.htm>

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