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+ | ====== Der Dhammapada: Eine Übersetztung ====== | ||
+ | <span hide>Der Dhammapada</ | ||
+ | |||
+ | Summary: | ||
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+ | <div navigation></ | ||
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+ | </ | ||
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+ | <span # | ||
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+ | ====== Inhalt ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
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+ | <ul> | ||
+ | * [[# | ||
+ | * [[# | ||
+ | * Die Übersetzung: | ||
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+ | </ul> | ||
+ | </ | ||
+ | |||
+ | ====== Inhalt ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | Eine weiter Übersetzung des Dhammapada. | ||
+ | |||
+ | Zahlreiche andere Deutsche (Englische) sind breits verfügbar – die Finger von zumindest fünf Leuten würde man sicher benötigen, um sie zu zählen – und so denke ich, daß eine neue Übersetzung sicher stellen sollte, daß sie nicht „nur“ eine weiter ist. Um dem nachzukommen, | ||
+ | |||
+ | Die erklärenden Texte sind dafür gerichtet, um den Bedürfnissen von zwei Arten von Lesern gerecht zu werden: Jene, die die Texte als Text lesen wollen und im Zusammenhang mit der religiösen Geschichte des Buddhismus, wie es von außen betrachtbar ist und für jene, die die Texte als eine Anleitung für ihr persönliches Verhalten in ihrem täglichen Leben verwenden wollen. Bemerken, daß es da keine eindeutige Genzline zwischen diesen Gruppen gibt, zielt die Einleitung doch mehr auf die zweite Gruppe ab, wohingegen die geschichtlichen Anmerkungen eher für die erste Gruppe gedacht sind. Die Schlußbemerkung und der Glossar beinhaltet Material, daß für beide Gruppen interessant sein dürfte. Verse, die mit einem Stern gekennzeichnet sind, werden in der Endnote besprochen. Pali Wörter, wie auch englische Ausdrücke, die eine besondere Bedeutung haben, wo wie // | ||
+ | |||
+ | In Ergänzung, bedacht nicht nur an die vorangegangenen Übersetzer und Ersteller der Arbeiten, die ich mir geborgt habe, schulde ich spezielle Dankbarkeit Jeanne Larsen, für den Feinschlief der Sprache dieser Übersetzung. Auch John Bullitt, Gil Fronsdal, Charles Hallisey, Karen King, Andrew Olendzki, Ruth Stiles, Clark Strand, Paula Trahan und Jane Yudelman gaben viel hilfreiche Bemerkungen, | ||
+ | |||
+ | <div rightalign>< | ||
+ | //— Thanissaro Bhikkhu//\\ | ||
+ | Metta Forest Monastery\\ | ||
+ | Valley Center, CA 92082-1409\\ | ||
+ | Dezember, 1997 | ||
+ | </ | ||
+ | |||
+ | </ | ||
+ | </ | ||
+ | |||
+ | <span # | ||
+ | |||
+ | ===== Introduction ===== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | Der Dhammapada, an anthology of verses attributed to the Buddha, has long been recognized as one of the masterpieces of early Buddhist literature. Only more recently have scholars realized that it is also one of the early masterpieces in the Indian tradition of //kavya,// or belles lettres. | ||
+ | |||
+ | This translation of the Dhammapada is an attempt to render the verses into English in a way that does justice to both of the traditions to which the text belongs. Although it is tempting to view these traditions as distinct, dealing with form (kavya) and content (Buddhism), the ideals of kavya aimed at combining form and content into a seamless whole. At the same time, the early Buddhists adopted and adapted the conventions of kavya in a way that skillfully dovetailed with their views of how teaching and listening played a role in their path of practice. My hope is that the translation presented here will convey the same seamlessness and skill. | ||
+ | |||
+ | As an example of kavya, the Dhammapada has a fairly complete body of ethical and aesthetic theory behind it, for the purpose of kavya was to instruct in the highest ends of life while simultaneously giving delight. The ethical teaching of the Dhammapada is expressed in the first pair of verses: the mind, through its actions // | ||
+ | |||
+ | The work as a whole elaborates on this distinction, | ||
+ | |||
+ | To make the wise path attractive, the techniques of poetry are used to give " | ||
+ | |||
+ | Although a work of art might depict many emotions, and thus — like a good meal — offer many savors for the reader/ | ||
+ | |||
+ | Dhamma, in the Buddhist sense, implies more than the " | ||
+ | |||
+ | Classic theory also holds that the heroic savor should, especially at the end of a piece, shade into the marvelous. This, in fact, is what happens periodically throughout the Dhammapada, and especially at the end, where the verses express astonishment at the amazing and paradoxical qualities of a person who has followed the path of heedfulness to its end, becoming " | ||
+ | |||
+ | Classic aesthetic theory lists a variety of rhetorical features that can produce savor. Examples from these lists that can be found in the Dhammapada include: accumulation // | ||
+ | |||
+ | Of these, ornamentation is the most complex, including four figures of speech and ten " | ||
+ | |||
+ | < | ||
+ | as the wind, a weak tree]!</ | ||
+ | |||
+ | — where " | ||
+ | |||
+ | The ten " | ||
+ | |||
+ | The text also explicitly adds to the theory of characteristics in saying that " | ||
+ | |||
+ | Another point from classic aesthetic theory that may be relevant to the Dhammapada is the principle of how a literary work is given unity. Although the text does not provide a step-by-step sequential portrait of the path of wisdom, as a lyric anthology it is much more unified than most Indian examples of that genre. The classic theory of dramatic plot construction may be playing an indirect role here. On the one hand, a plot must exhibit unity by presenting a conflict or dilemma, and depicting the attainment of a goal through overcoming that conflict. This is precisely what unifies the Dhammapada: it begins with the duality between heedless and heedful ways of living, and ends with the final attainment of total mastery. On the other hand, the plot must not show smooth, systematic progress; otherwise the work would turn into a treatise. There must be reversals and diversions to maintain interest. This principle is at work in the fairly unsystematic ordering of the Dhammapada' | ||
+ | |||
+ | One more point is that the ideal plot should be constructed with a sub-plot in which a secondary character gains his/her goal, and in so doing helps the main character attain his or hers. In addition to the aesthetic pleasure offered by the sub-plot, the ethical lesson is one of human cooperation: | ||
+ | |||
+ | Perhaps the best way to summarize the confluence of Buddhist and kavya traditions in the Dhammapada is in light of a teaching from another early Buddhist text, the Samyutta Nikaya (55.5), on the factors needed to attain one's first taste of the goal of the Buddhist path. Those factors are four: associating with people of integrity, listening to their teachings, using appropriate attention to inquire into the way those teachings apply to one's life, and practicing in line with the teachings in a way that does them justice. Early Buddhists used the traditions of kavya — concerning savor, rhetoric, structure, and figures of speech — primarily in connection with the second of these factors, in order to make the teachings appealing to the listener. However, the question of savor is related to the other three factors as well. The words of a teaching must be spoken by a person of integrity who embodies their message in his/her actions if their savor is to be sweet [[{dhp.12.than# | ||
+ | |||
+ | <div freeverse> | ||
+ | Just like a blossom, | ||
+ | bright colored | ||
+ | but scentless: | ||
+ | a well-spoken word | ||
+ | is fruitless | ||
+ | when not carried out. | ||
+ | Just like a blossom, | ||
+ | bright colored | ||
+ | & full of scent: | ||
+ | a well-spoken word | ||
+ | is fruitful | ||
+ | when well carried out. | ||
+ | ]!</ | ||
+ | |||
+ | Appropriate reflection, the first step a listener should follow in carrying out the well-spoken word, means contemplating one's own life to see the dangers of following the path of foolishness and the need to follow the path of wisdom. The Buddhist tradition recognizes two emotions as playing a role in this reflection. The first is // | ||
+ | |||
+ | However, the process does not stop with these preliminary feelings of peace and serenity. The listener must carry through with the path of practice that the verses recommend. Although much of the impetus for doing so comes from the emotions of samvega and pasada sparked by the content of the verses, the heroic and marvelous savor of the verses plays a role as well, by inspiring the listener to rouse within him or herself the energy and strength that the path will require. When the path is brought to fruition, it brings the peace and delight of the Deathless {[[dhp.25.than# | ||
+ | |||
+ | {{ : | ||
+ | |||
+ | In preparing the following translation, | ||
+ | |||
+ | To convey the savor of the work, I have aimed at a spare style flexible enough to express not only its dominant emotions — energy and astonishment — but also its transient emotions, such as humor, delight, and fear. Although the original verses conform to metrical rules, the translations are in free verse. This is the form that requires the fewest deviations from literal accuracy and allows for a terse directness that conforms with the heroic savor of the original. The freedom I have used in placing words on the page also allows many of the poetic effects of Pali syntax — especially the parallelism and ellipsis of the " | ||
+ | |||
+ | I have been relatively consistent in choosing English equivalents for Pali terms, especially where the terms have a technical meaning. Total consistency, | ||
+ | |||
+ | In verses where I sense that a particular Pali word or phrase is meant to carry multiple meanings, I have explicitly given all of those meanings in the English, even where this has meant a considerable expansion of the verse. (Many of these verses are discussed in the notes.) Otherwise, I have tried to make the translation as transparent as possible, in order to allow the light and energy of the original to pass through with minimal distortion. | ||
+ | |||
+ | Der Dhammapada has for centuries been used as an introduction to the Buddhist point of view. However, the text is by no means elementary, either in terms of content or style. Many of the verses presuppose at least a passing knowledge of Buddhist doctrine; others employ multiple levels of meaning and wordplay typical of polished kavya. For this reason, I have added notes to the translation to help draw out some of the implications of verses that might not be obvious to people who are new to either of the two traditions that the text represents. | ||
+ | |||
+ | I hope that whatever delight you gain from this translation will inspire you to put the Buddha' | ||
+ | </ | ||
+ | |||
+ | ====== Historical Notes ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | ===== The Text & the Translation ===== | ||
+ | |||
+ | There are many versions of the Dhammapada now extant: several recensions of the Pali Dhammapada from Burma, Cambodia, Laos, Sri Lanka, and Thailand; two incomplete manuscripts of a Gandhari Dharmapada found in central Asia; and a manuscript of a Buddhist Hybrid-Sanskrit Dharmapada found in a library in Tibet, called the Patna Dharmapada because photographs of this manuscript are now kept in Patna, India. There is also a Chinese translation of the Dharmapada made in the third century C.E. from a Prakrit original, now no longer extant, similar to — but not identical with — the Pali Dhammapada. Parts of a Dharmapada text are included in the Mahavastu, a text belonging to the Lokottaravadin Mahasanghika school. In addition, there are Sanskrit, Tibetan, and Chinese versions of a text called the Udanavarga, which is known in at least four recensions, all of them containing many verses in common with the Dhammapada/ | ||
+ | |||
+ | Despite the many similarities among these texts, they contain enough discrepancies to have fueled a small scholarly industry. The different recensions of the Pali Dhp contain so many variant readings that there isn't yet — even after more than a century of Western scholarship on the topic — a single edition covering them all. The discrepancies among the Pali and non-Pali versions are even greater. They arrange verses in different orders, each contains verses not found in the others, and among the verses in different versions that are related, the similarity in terms of imagery or message is sometimes fairly tenuous. | ||
+ | |||
+ | Fortunately for anyone looking to the Dhp for spiritual guidance, the differences among the various recensions — though many in number — range in importance from fairly minor to minor in the extreme. Allowing for a few obvious scribal errors, none of them fall outside the pale of what has long been accepted as standard early Buddhist doctrine as derived from the Pali discourses. For example, does the milk in [[dhp.05.than# | ||
+ | |||
+ | Unfortunately for the translator, though, the scholarly discussions that have grown around these issues have tended to blow them all out of proportion, to the point where they call into question the authenticity of the Dhp as a whole. Because the scholars who have devoted themselves to this topic have come up with such contradictory advice for the potential translator — including the suggestion that it's a waste of time to translate some of the verses at all — we need to sort through the discussions to see what, if any, reliable guidance they give. | ||
+ | |||
+ | Those who have worked on the issues raised by the variant versions of Dhp have, by and large, directed the discussion to figuring out which version is the oldest and most authentic, and which versions are later and more corrupt. Lacking any outside landmarks against which the versions can be sighted, scholars have attempted to reconstruct what must have been the earliest version by triangulating among the texts themselves. This textual trigonometry tends to rely on assumptions from among the following three types: | ||
+ | |||
+ | //1) Assumptions concerning what is inherently an earlier or later form of a verse.// These assumptions are the least reliable of the three, for they involve no truly objective criteria. If, for instance, two versions of a verse differ in that one is more internally consistent than the other, the consistent version will seem more genuine to one scholar, whereas another scholar will attribute the consistency to later efforts to "clean up" the verse. Similarly, if one version contains a rendition of a verse different from all other renditions of the same verse, one scholar will see that as a sign of deviance; another, as a sign of the authenticity that may have predated a later standardization among the texts. Thus the conclusions drawn by different scholars based on these assumptions tell us more about the scholars' | ||
+ | |||
+ | //2) Assumptions concerning the meter of the verses in question.// One of the great advances in recent Pali scholarship has been the rediscovery of the metrical rules underlying early Pali poetry. As the Buddha himself is quoted as saying, "Meter is the structural framework of verses." | ||
+ | |||
+ | //3) Assumptions concerning the language in which the original Dhp was first composed.// These assumptions require an extensive knowledge of Middle Indic dialects. A scholar will assume a particular dialect to have been the original language of the text, and will further make assumptions about the types of translation mistakes that might have been common when translating from that dialect into the languages of the texts we now have. The textual trigonometry based on these assumptions often involves such complicated methods of sighting and computation that it can produce an " | ||
+ | |||
+ | Thus, although the scholarship devoted to the different recensions of the Dhp has provided a useful service in unearthing so many variant readings of the text, none of the assumptions used in trying to sort through those readings for "the original" | ||
+ | |||
+ | On the negative side, though, they have succeeded in accomplishing something totally useless: a wholesale sense of distrust for the early Buddhist texts, and the poetic texts in particular. If the texts contain so many varying reports, the feeling goes, and if their translators and transmitters were so incompetent, | ||
+ | |||
+ | However, these assumptions are totally inappropriate for analyzing the oral culture in which the Buddha taught and in which the verses of the Dhp were first anthologized. If we look carefully at the nature of that culture — and in particular at clear statements from the early Buddhist texts concerning the events and principles that shaped those texts — we will see that it is perfectly natural that there should be a variety of reports about the Buddha' | ||
+ | |||
+ | Oral prose and poetry are very different from their written counterparts. This fact is obvious even in our own culture. However, we have to make an active effort of the imagination to comprehend the expectations placed on oral transmission between speakers and listeners in a culture where there is no written word to fall back on. In such a setting, the verbal heritage is maintained totally through repetition and memorization. A speaker with something new to say has to repeat it often to different audiences — who, if they feel inspired by the message, are expected to memorize at least its essential parts. Because communication is face-to-face, | ||
+ | |||
+ | This puts a double imperative on both the speaker and the listener. The speaker must choose his/her words with an eye both to how they will affect the audience in the present and to how they will be memorized for future reference. The listener must be attentive, both to appreciate the immediate impact of the words and to memorize them for future use. Although originality in teaching is appreciated, | ||
+ | |||
+ | Of course, there are situations in an oral culture where either immediate impact or memorability is emphasized at the expense of the other. In a classroom, listening for impact is sacrificed to the needs of listening for memorization, | ||
+ | |||
+ | On the other hand, there are many reports of instances in which his listeners gained immediate Awakening while listening to his words. And, there is a delightful section in one of his discourses (the [[de: | ||
+ | |||
+ | This sensitivity to both present impact and future use is in line with two well-known Buddhist teachings: first, the basic Buddhist principle of causality, that an act has repercussions both in the present and on into the future; second, the Buddha' | ||
+ | |||
+ | A survey of the Buddha' | ||
+ | |||
+ | Thus, although the Buddha insisted that all his teachings had the same taste — that of release — he taught different variations on the theme of that taste to different people on different occasions, in line with his perception of their short- and long-term needs. In reciting a verse to a particular audience, he might change a word, a line, or an image, to fit in with their backgrounds and individual needs. | ||
+ | |||
+ | Adding to this potential for variety was the fact that the people of northern India in his time spoke a number of different dialects, each with its own traditions of poetry and prose. The Pali Cullavagga (V.33.1) records the Buddha as insisting that his listeners memorize his teachings, not in a standardized lingua franca, but in their own dialects. There is no way of knowing whether he himself was multi-lingual enough to teach all of his students in their own dialects, or expected them to make the translations themselves. Still, it seems likely that, as a well-educated aristocrat of the time, he would have been fluent in at least two or three of the most prevalent dialects. Some of the discourses — such as DN 21 — depict the Buddha as an articulate connoisseur of poetry and song, so we can expect that he would also have been sensitive to the special problems involved in the effective translation of poetry — alive, for instance, to the fact that skilled translation requires more than simply substituting equivalent words. The Mahavagga (V.13.9) reports that the Buddha listened, with appreciation, | ||
+ | |||
+ | The texts suggest that even during the Buddha' | ||
+ | |||
+ | The Buddha had the foresight to ensure that this less standardized fund of memories not be discounted by later generations; | ||
+ | |||
+ | < | ||
+ | |||
+ | Thus, a report of the Buddha' | ||
+ | |||
+ | This attitude was carried over into the passages of the Vinaya that cite four categories of Dhamma statements: spoken by the Buddha, spoken by his disciples, spoken by seers (non-Buddhist sages), spoken by heavenly beings. As long as a statement was in accordance with the basic principles, the question of who first stated it did not matter. In an oral culture, where a saying might be associated with a person because he authored it, approved it, repeated it often, or inspired it by his/her words or actions, the question of authorship was not the overriding concern it has since become in literate cultures. The recent discovery of evidence that a number of teachings associated with the Buddha may have pre- or post-dated his time would not have fazed the early Buddhists at all, as long as those teachings were in accordance with the original principles. | ||
+ | |||
+ | Shortly after the Buddha' | ||
+ | |||
+ | < | ||
+ | |||
+ | In other words, Ven. Purana maintained — and undoubtedly taught to his followers — a record of the Buddha' | ||
+ | |||
+ | This story shows the official early Buddhist attitude toward such differing traditions: each accepted the trustworthiness of the others. As time passed, some of the early communities may have made an effort to include these " | ||
+ | |||
+ | When Buddhists began committing their canons to writing, approximately at the beginning of the common era, they brought a great change to the dynamic of how their traditions were maintained. The advantages of written over oral transmission are obvious: the texts are saved from the vagaries of human long-term memory and do not die out if those who have memorized them die before teaching others to memorize them as well. The disadvantages of written transmission, | ||
+ | |||
+ | These considerations of how the Dhp may have been handed down to the present — and especially the possibility that (1) variant recensions might all be authentic, and that (2) agreement among the recensions might be the result of later homogenization — have determined the way in which I have approached this translation of the Pali Dhp. Unlike some other recent translators, | ||
+ | |||
+ | Drawing selectively on various recensions in this way, I cannot guarantee that the resulting reading of the Dhp corresponds exactly to the Buddha' | ||
+ | </ | ||
+ | </ | ||
+ | |||
+ | <span # | ||
+ | |||
+ | ====== Anmerkungen ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | //(Nummern beziehen sich auf jene der Verse.)// | ||
+ | |||
+ | <div notes> | ||
+ | |||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die Tatsache, daß das Wort //Mano// hier mit //Dhamma// zusammengefügt wurde, scheint auf den ersten Blick nahezulegen, | ||
+ | |||
+ | Die Bilder jener Verse wurden genau ausgewählt. Der Wagen, der das Leiden darstellt, ist eine Last für den Ochsen, der ihn zieht, und das Gewicht seiner Räder tilgt die Spur des Ochsen. Der Schatten, der das Glück versinnbildlicht, | ||
+ | |||
+ | Alle Pali Überarbeitungen dieses Verses liefern die Version // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Auf das Abstoßende konzentriert: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Falsche Vorsätze = geistige Vorsätze zu Sinnlichkeit, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die Todlosigkeit= Befreiung (// | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Das Reich der Edlen": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "In einer Höhle liegend": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Nach DhpA bedeutet " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Nach DhpA, ist der Beender der Tod. Nach einem anderen alten Kommentar ist der Beender Mara | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die letzte Zeile des Pali kann hier auf zwei Arten gelesen werden, entweder " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: //Tagara //=ein Gebüsch, das in pulverisierter Form als Parfum benutzt wird. [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Kommt nicht --wie fertige Milch--gleich zum Vorschein" | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Den Dhamma trinken, vom Dhamma erfrischt sein": zwei Bedeutungen des Wortes // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Sich abseits halten": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Der Syntax dieses Verses gibt die beste Bedeutung her, wenn wir param als " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Bestandteile des Selbst Erwachens = Geistesgegenwärtigkeit, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Sie haben verstanden was Nahrung ist...unabhängig von Nahrung": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Such, (so, dergestalt) // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Indras Pfeiler = ein Pfosten, der am Stadttor aufgestellt ist. Nach DhpA war es eine alte Sitte, diesen Pfeiler mit Blumen und Opferungen zu verehren, obwohl jene, die ihre Verachtung für diese Sitte zum Ausdruck bringen wollten, an den Pfeiler urinierten und sich dort entleerten. In beiden Fällen reagierte der Pfeiler nicht. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers ist eine Aneinanderreihung von Wortspielen. Die negative Bedeutung der Wortspiele ist auf der linken Seite der Schrägstriche; | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Nach DhpA bedeutet das Wort //sahassam // in diesem und den folgenden Versen eher "zu Tausenden" | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Himmel und Hölle sind in der buddhistischen Sichtweise des Kosmos keine ewigen Zustände. Man kann in einer der verschiedenen Schichten von Himmel oder Hölle wiedergeboren werden als Resultat des eigenen Kamma auf menschlicher Ebene und diese Schicht dann verlassen, wenn ein bestimmter Vorrat an Kamma aufgebraucht ist. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Einige Übersetzer haben vorgeschlagen, | ||
+ | :: Die Frage, die in diesem Vers erhoben wird, wird in [[de: | ||
+ | :: <div freeverse> | ||
+ | Jene, die vom Gewissen kontrolliert werden, | ||
+ | sind selten - | ||
+ | jene, die durchs Leben gehen, | ||
+ | immer achtsam. | ||
+ | Sie haben das Ende | ||
+ | von Leid und Stress erreicht und | ||
+ | sie gehen gerade durch das, | ||
+ | was nicht gerade ist, | ||
+ | gehen durch das, was im Mißklang ist | ||
+ | | ||
+ | ]!</ | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Muskeln: Das ist eine Übersetzung des Paliwortes //mansani //, was normalerweise in diesem Vers als " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Diese Verse waren die erste Äußerung Buddhas nach seinem vollen Erwachen. Aus irgendwelchen Gründen werden sie in keinem der anderen kanonischen Berichte über die Geschehnisse nach dem Erwachen wiedergegeben | ||
+ | :: DhpA: " | ||
+ | |||
+ | Das Wort // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Die drei Nachtwachen": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: In DhpA wird das Bild des Gedichts vervollständigt, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Eine Bambuspflanze trägt nur einmal Früchte und stirbt dann kurz danach ab. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Das Sutta Nipata ([[de: | ||
+ | :: <div freeverse> | ||
+ | |||
+ | ]!<span spkr> | ||
+ | |||
+ | In welcher Weise ist die Welt zu betrachten | ||
+ | um so nicht ersichtlich | ||
+ | von des Todes König? | ||
+ | |||
+ | <span spkr> | ||
+ | |||
+ | Betrachte die Welt, Mogharaja, | ||
+ | als leer - | ||
+ | stets achtsam | ||
+ | um alle Ansichten | ||
+ | über Selbst zu entfernen. | ||
+ | In dieser Weise steht man darüber - über Tod hinaus. | ||
+ | Dies ist die Weise wie man die Welt betrachtet | ||
+ | um so nicht ersichtlich | ||
+ | von des Todes König. | ||
+ | </ | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers findet sich auch in [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die Frucht des ' | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Diese Verse sind eine Zusammenfassung einer Ansprache, genannt //Ovada Patimokkha//, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Der edle achtfache Pfad: rechte Sichtweise, rechter Entschluß, rechte Rede, rechtes Handeln, rechte Lebensführung, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Versachlichung (Schwierigkeit) = //papa ñca //. Andere Übersetzungen dieses Ausdrucks wären ' | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers spielt mit den verschiedenen Bedeutungen von //Yoga// (Aufgabe, Streben, Anwendung, Meditation) und einem verwandten Ausdruck, anuyunjati (sich mit etwas befassen, jemanden in die Pflicht nehmen). Anstelle der Paliversion attanuyoginam, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Der aufwärts fließende Strom": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Das Pali in diesem Vers wiederholt das Wort " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Körperliches Fehlverhalten = töten, stehlen, unerlaubter Sex. Verbales Fehlverhalten = lügen, entzweiende Rede, harte Worte, leeres Gerede. Geistiges Fehlverhalten = Begierde, Übelwollen, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Yama = der Gott der Unterwelt. Von Yamas Günstlingen oder Untergebenen wurde geglaubt, daß sie einem Menschen gerade vor dem Augenblick des Todes erscheinen. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Unreinheiten, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " derjenige, der nachlässig lebt": Wie in DhpA erklärt wird, bezieht sich dies auf jemanden, der die Gebrauchsgüter Nahrung, Kleidung, Unterkunft und Medizin ohne Weisheit benutzt, die daher rührt, daß man über deren richtigen Gebrauch nachdenkt. Der Palibegriff heißt hier // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | Über " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Der Sinn des Verses, bestätigt durch DhpA, legt nahe, daß das Pali Wort // dhammatho // " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Sieht den Dhamma durch seinen Körper": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers spielt mit einer Anzahl von Nomen und Verben, die mit dem Adjektiv //sama// verwandt sind, was " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers enthält die buddhistische Zurückweisung der Idee, daß "jene, die wissen, nicht sprechen und die, die sprechen, nicht wissen." | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers scheint die seltene Konstruktion zu enhalten, in der //na// + instrumentales Haupwort + ein Verb in der Aoristzeitform einen Druck zu einem Verbot geben („Mache nicht auf Kosten von x, y“). „Die Leichtigkeit der Entsagung, die der Alltagsmensch nicht kennt.“, ist, entsprechend AhpA, der Zustand des Nichtmehrwiederkehrer und die dritte Stufe des Erwachens (siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die vier Wahrheiten: Stress, seine Ursache, sein Enden und der Weg zu seinem Enden (der identisch mit dem achtfachen Pfad ist). Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Ich habe euch diesen Pfad gelehrt": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Obwohl das erste Wort dieses Verses // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Beender = Tod. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Achtsamkeit, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: In diesem und dem nächsten Vers werden mehrdeutige Ausdrücke verwendet, um den Zuhörer zu schockieren. Nach DhpA: Mutter = Begierde, Vater = Dünkel, zwei Kriegskönige = eternalistische Ansicht (daß man eine Identität hat, die durch alle Zeiten gleich bleibt) und finale Ansicht (daß das eigene Bewußtsein beim Tod vollständig vernichtet wird), Königreich = die zwölf Sinnesbereiche (Seesinn, Hörsinn, Geruchsinn, Tastsinn, Fühlen und Begriffsbildung zusammen mit ihren entsprechenden Objekten); Kolonie = Leidenschaft für die Sinnesbereiche. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: zwei gelehrte Könige = eternalistische und finale Ansichten; ein Tiger = der Pfad, auf dem der Tiger Nahrung sucht, d.h. das Hindernis der Unsicherheit oder auch alle fünf Hindernisse (sinnliche Begierde, Böswilligkeit, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Den Geist entwickeln" | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Reichtum = sowohl materieller Reichtum als auch die sieben Arten von edlem Reichtum (// | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Dhanapalaka war ein edler Elefant, der für den König von Kasi gefangen wurde. Obwohl er ein Quartier aus feinstem Holz im Palast erhielt, zeigte er kein Interesse, sondern dachte nur an das Leid seiner Mutter, die allein, von ihrem Sohn getrennt, im Elefantenwald war. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Der Elefantenbulle Matanga entschied, nachdem er über die Unannehmlichkeiten nachgedacht hatte, die das Leben in einer Herde voller Elefantenkühe und junger Elefanten mit sich brachte - er wurde herumgeschubst, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers liefert eine buddhistische Verdrehung der typischen Widmungen der Kavya Werke. Statt den Wunsch zum Ausdruck zu bringen, daß der Zuhörer auf Reichtum, Ruhm, Ansehen oder andere weltliche Formen des Glücks treffen möge, beschreibt dieser Vers das höchste Glück, das durch eigenes geeignetes Kamma verwirklicht werden kann: das Ausreißen von Leidenschaften und den daraus resultierenden Zustand völligen Freiseins vom Kreislauf von Tod und Wiedergeburt. Eine ähnliche Verdrehung über das Thema Glück ist in der Mangala Sutta ([[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Ströme = drei Arten von Begierde für jeden der inneren und äußeren Sinnesbereiche (siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers enthält einen implizierten Vergleich: die Begriffe " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Für die verschiedenen Bedeutungen, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Vorne= die Anhäufungen der Vergangenheit, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Die Konzentration auf des Ekelerregende": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Nach [[de: | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers enthält verschiedene Begriffe, die mit Ästhetik zu tun haben. Sowohl //Dhamma// (Gerechtigkeit) als auch //dana// (Gabe/ | ||
+ | Werden //(bhava) //: Seinszustände, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "' | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Das Boot=das eigene Person Sein (// | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Fünf durchschneiden=die fünf geringeren Fesseln, die den Geist an den Kreislauf der Wiedergeburt binden (Selbstidentitätsansichten, | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Dieser Vers, der an ein Mitglied der Kaste der // | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: zwei Sachen=Meditation der Ruhe und Meditation der Einsicht. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Dieser Vers bezieht sich auf einen Menschen, der keinen Sinn für " | ||
+ | :: <div freeverse> | ||
+ | |||
+ | ]!<span spkr> | ||
+ | |||
+ | Er, der das Ende erreicht hat: | ||
+ | Existiert er nicht | ||
+ | oder ist er ewig frei von Un-wohlsein? | ||
+ | Bitte, Weiser, erkläre mir das | ||
+ | da du dieses Phänomen erkannt hast. | ||
+ | |||
+ | <span spkr> | ||
+ | |||
+ | Jemand, der das Ende erreicht hat, hat kein Merkmal | ||
+ | anhand dessen irgend jemand das sagen würde - | ||
+ | es existiert für ihn nicht. | ||
+ | Wenn alle Phänomene erledigt sind, | ||
+ | sind auch alle Mittel des Sprechens ebenso erledigt. | ||
+ | </ | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Befleckungen = die Unreinheiten sind in [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Das Wort " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " Was lieb ist & nicht": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Er ist ein Reiner": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Im Indien zu Buddhas Zeiten wurden lange Haare etc. als sichtbare Zeichen eines spirituellen Status angesehen. | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: DhpA: Gurt=Haß; Riemen=Begierde; | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "Ohne anmaßenden Stolz": | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: "// | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Entsprechend DhpA: " | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Siehe [[# | ||
+ | |||
+ | ? **<span anchor # | ||
+ | :: Die Formen der Meisterschaft, | ||
+ | |||
+ | </ | ||
+ | </ | ||
+ | |||
+ | ====== Glossar ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | <dl class=' | ||
+ | |||
+ | ? **Anhäufungen** // | ||
+ | :: Jede der fünf Grundlagen für das Anhaften an ein Ich-Gefühl: | ||
+ | |||
+ | ? **Arahant**: | ||
+ | :: Ein " | ||
+ | |||
+ | ? **Werden** // | ||
+ | :: Seinszustände, | ||
+ | |||
+ | ? **Brahma**: | ||
+ | :: Ein Bewohner der höchsten, nicht-sinnlichen Ebenen des Himmels. | ||
+ | |||
+ | ? **Brahman**: | ||
+ | :: Die indischen Brahmanen haben lange daran festgehalten, | ||
+ | |||
+ | ? **Deva**: | ||
+ | :: Wörtlich " | ||
+ | |||
+ | ? **Dhamma**: | ||
+ | :: 1.) Ereignis; eine Erscheinung an und für sich 2.) geistige Eigenschaft 3.) Doktrin, Lehre 4.) Nibbana. Sanskrit: // | ||
+ | </i> | ||
+ | |||
+ | ? **Ausfluss** // | ||
+ | :: Eine von vier Eigenschaften - Sinnlichkeit, | ||
+ | |||
+ | ? **Erleuteter** // | ||
+ | :: In dieser Übersetzung habe ich durchwegs //Buddha// als " | ||
+ | |||
+ | ? **Gestaltung** // | ||
+ | :: Sankhara bedeutet wörtlich " | ||
+ | |||
+ | ? **Gandhabba**: | ||
+ | :: Himmlischer Musikant, ein Mitglied eines der niedrigeren Deva Bereiche. | ||
+ | |||
+ | ? **Herz** // | ||
+ | :: Der Geist in seiner Rolle als Wille und Absicht. | ||
+ | |||
+ | ? **Indra**: | ||
+ | :: König der Devas im Himmel der Zweiunddreißig. | ||
+ | |||
+ | ? **Jhana**: | ||
+ | :: Geistige Versenkung. Ein Zustand starker Konzentration, | ||
+ | |||
+ | ? **Kamma**: | ||
+ | :: Absichtliche Handlung, die Früchte trägt in Form von Zuständen von Werden und Geburt. Sanskrit: //karma// | ||
+ | |||
+ | ? **Mara**: | ||
+ | :: Die Personifikation von Schlechtem, Versuchung und Tod. | ||
+ | |||
+ | ? **Patimokkha**: | ||
+ | :: Grundlegende Regeln der klösterlichen Disziplin, bestehend aus 227 Regeln für Mönche und 311 für Nonnen. | ||
+ | |||
+ | ? **Samsara**: | ||
+ | :: Das " | ||
+ | |||
+ | ? **Sangha**: | ||
+ | :: Auf der normalen (// | ||
+ | |||
+ | ? **Stress** // | ||
+ | :: Andere Übersetzungen von //dukkha// beinhalten Leiden, Belastung und Schmerz. Aber - trotz der unglücklichen Färbungen, die es durch Programme zum " | ||
+ | |||
+ | ? **Tathagata**: | ||
+ | :: Wörtlich " | ||
+ | |||
+ | ? **Befreiung/ | ||
+ | :: Weil //nibbana// neben seiner Bedeutung als Bezeichnung für das buddhistische Ziel auch die Bedeutung des Erlöschens eines Feuers trägt, wird es normalerweise als " | ||
+ | |||
+ | </ | ||
+ | |||
+ | ====== Abkürzungszeichen ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | |AN|Anguttara Nikaya| | ||
+ | |DN|Digha Nikaya| | ||
+ | |Dhp|Dhammapada/ | ||
+ | |DhpA|Dhammapada Commentary| | ||
+ | |Iti|Itivuttaka| | ||
+ | |Khp|Khuddakapatha| | ||
+ | |MN|Majjhima Nikaya| | ||
+ | |Mv|Mahavagga| | ||
+ | |PTS|Pali Text Society| | ||
+ | |SN|Samyutta Nikaya| | ||
+ | |Sn|Sutta Nipata| | ||
+ | |||
+ | </ | ||
+ | |||
+ | ====== Literaturverzeichnis ====== | ||
+ | <div chapter> | ||
+ | <span anchor # | ||
+ | |||
+ | Brough, John, ed. //The Gandhari Dharmapada// | ||
+ | |||
+ | Carter, John Ross and Mahinda Palihawadana, | ||
+ | |||
+ | Cone, Margaret. "Patna Dharmapada, Teil I: Text," in //Journal of the Pali Text Society,// XIII, 1989: 101-217. | ||
+ | |||
+ | Dhammajoti, Bhikkhu Kuala Lumpur, übersetzt und bearbeitet //The Chinese Version of Dharmapada// | ||
+ | |||
+ | Gonda, Jan. //The Vision of the Vedic Poets// (The Hague: Mouton, 1963). | ||
+ | |||
+ | von Hin& | ||
+ | |||
+ | Norman, K.R., Übersetzung //The Word of the Doctrine// (Oxford: The Pali Text Society, 1997). | ||
+ | |||
+ | Warder, A.K. //Indian Kavya Literature,// | ||
+ | |||
+ | In Ergänzung zu den oben genannten Arbeiten, habe ich ebenfalls zahlreiche vorige Übersetzungen und Bearbeitungen des Dhammapadas, | ||
+ | </ | ||
+ | |||
+ | <span # | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div showmore> | ||
+ | <div # | ||
+ | <div # | ||
+ | <div # | ||
+ | <div # | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div f_zzecopy> | ||
+ | |||
+ | </ | ||
+ | |||
+ | <div # | ||
+ | |||
+ | <div # | ||
+ | " | ||
+ | |||
+ | <div # | ||
+ | |||
+ | </ | ||
+ | </ | ||
+ | </ | ||
+ | |||
+ | ---- | ||
+ | |||
+ | <div # |