Пали и язык джайнских сутт

Автор Ассаджи, 19:28 15 февраля 2009

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Ассаджи

Оба эти языка относятся к среднеиндийским, для которых характерны такие черты:

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"Pāli as a MIA language is different from Sanskrit not so much with regard to the time of its origin than as to its dialectal base, since a number of its morphological and lexical features betray the fact that it is not a direct continuation of Ṛgvedic Sanskrit; rather it descends from a dialect (or a number of dialects) which was (/were), despite many similarities, different from Ṛgvedic.[1] Some examples may help to illustrate this point [2]:..."

(далее автор приводит примеры палийских слов, напрямую произошедших от протоиндоевропейских и протоиндоиранских, но не от ведийских слов)

Pāli: A Grammar of the Language of the Theravāda Tipiṭaka
By Thomas Oberlies
page 6

http://books.google.com/books?id=zFc5_SU_uwwC&printsec=frontcover

Thomas Oberlies, 'Aśokan Prakrit and Pali', page 163:

1.1 The Middle Indo-Aryan languages

The Indo-Aryan languages are commonly assigned to three major groups - Old, Middle and New Indo-Aryan -, a linguistic and not strictly chronological classification as the MIA languages ar not younger than ('Classical') Sanskrit. And a number of their morphophonological and lexical features betray the fact that they are not direct continuations of Ṛgvedic Sanskrit, the main base of 'Classical' Sanskrit; rather they descend from dialects which, despite many similarities, were different from Ṛgvedic and in some regards even more archaic.

MIA languages, though individually distinct, share features of phonology and morphology which characterize them as parallel descendants of Old Indo-Aryan. Various sound changes are typical of the MIA phonology:

(1) The vocalic liquids 'ṛ' and 'ḷ' are replaced by 'a', 'i' or 'u';
(2) the diptongs 'ai' and 'au' are monophthongized to 'e' and 'o';
(3) long vowels before two or more consonants are shortened;
(4) the three sibilants of OIA are reduced to one, either 'ś' or 's';
(5) the often complex consonant clusters of OIA are reduced to more readily pronounceable forms, either by assimilation or by splitting;
(6) single intervocalic stops are progressively weakened;
(7) dentals are palatalized by a following '-y-';
( 8 ) all final consonants except '-ṃ' are dropped unless they are retained in 'sandhi' junctions.

The most conspicious features of the morphological system of these languages are: loss of the dual; thematicization of consonantal stems; merger of the f. 'i-/u-' and 'ī-/ū-' in one 'ī-/ū-' inflexion, elimination of the dative, whose functions are taken over by the genitive, simultaneous use of different case-endings in one paradigm; employment of 'mahyaṃ' and 'tubhyaṃ' as genitives and 'me' and 'te' as instrumentals; gradual disappearance of the middle voice; coexistence of historical and new verbal forms based on the present stem; and use of active endings for the passive. In the vocabulary, the MIA languages are mostly dependent on Old Indo-Aryan, with addition of a few so-called 'deśī' words of (often) uncertain origin.

The most archaic of the MIA languages are the inscriptional Aśokan Prakrit on the one hand and Pāli and Ardhamāgadhī on the other, both literary languages.Two other stages of MIA may be distinguished, that of the Prakrits proper (excluding Ardhamāgadhī) and that of the Apabhraṃśa languages.

http://books.google.com/books?id=jPR2OlbTbdkC&pg=PA161&dq=Oberlies&ei=RbCVR-OlOqWY6AK_uLCsBw&sig=AdxyWiA0t3uVyL8Vl78osemlpB0#PPA163,M1

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Пали очень похож на язык ранних джайнских сутт. Как пишет Вильгельм Гейгер,

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В связи с обозначением канонического языка как "магадхи" Виндиш ссылается на язык арша, язык джайнских сутт. Арша называется также ардха-магадхи, то есть "полу-магадхи". Важно подчеркнуть, что ардха-магадхи отличается от собственно магадхи в тех же самых пунктах, что и пали . В ардха-магадхи также не происходит изменения r в l, и окончание существительных -о (вместо окончания -e магадхи) встречается по крайней мере во многих ритмических фрагментах. С другой стороны, как я считаю на основании собственных наблюдений, существует много примечательных аналогий между арша и пали в словаре и морфологии.

http://dhamma.ru/paali/geiger/geiger_intro.html

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Убедиться в близости пали и языка ранних джайнских сутт можно на примере Самана сутты:

http://www.jainworld.com/scriptures/samansuttam10.asp


Для сравнения с другим пракритом - Дхаммапада на языке гандхари:

http://titus.uni-frankfurt.de/texte/etcs/ind/mind/gandhpkt/dhpgpkt/dhpgp.htm

Ассаджи

Строфа палийской Дхаммапады:

103. Если бы кто-нибудь в битве тысячекратно победил тысячу людей, а другой победил бы себя одного,     
то именно этот другой – величайший победитель в битве.


103. Yo sahassaṃ sahassena, saṅgāme mānuse jine;
Ekañca jeyyamattānaṃ, sa ve saṅgāmajuttamo.

Джайнская Самана сутта:

Jo sahassam sahassanam, samgame dujjae jine.
Egam jinejja appanam, esa se paramo jao. (125)

One may conquer thousands and thousands of enemies in an invincible battle;
but the supreme victory consists in conquest over one's self. (125)

Кусярон

#2
В интернете есть отсканированный ардхамагадхийско-английский словарь:
http://www.archive.org/download/ardhamagadhidict005008mbp/ardhamagadhidict005008mbp.pdf
http://www.archive.org/download/ardhamagadhidict005007mbp/ardhamagadhidict005007mbp.pdf
(326 и 74 мегабайта, "картинки", ардха-магадхи записывается на деванагари)


Ассаджи

#3
Еще одна параллель:

Jaha pommam jale jayam, novalippai varina.
Evam alittam kamehim, tam vayam buma mahanam. (109)

We call him a Brahmin who remains unaffected by objects of sensual pleasures like a lotus which remains untouched by water though born in it. (109)

http://www.jainworld.com/scriptures/samansuttam9.asp

401. Vāri pokkharapatteva, āraggeriva sāsapo;
Yo na limpati kāmesu, tamahaṃ brūmi brāhmaṇaṃ.

401. Я называю брахманом того, кто не льнет к чувственным удовольствиям,     
подобно воде на листе лотоса или горчичному зерну на острие шила.    

http://dhamma.ru/canon/kn/dhp/dhammapada.htm#n26

Эта джайнская Самана сутта - современная антология из древних джайнских текстов.

Статья об упоминаниях джайнов (на пали - ниггантха) в буддийской литературе:

The Jaina References in the Buddhist Literature

Kamta Prasad Jain

http://ccbs.ntu.edu.tw/FULLTEXT/JR-ENG/jai.htm

Ассаджи

Эти же строфы Дхаммапады можно сравнить с вариантами на санскритизированных пракритах в книге:

A Comparative Edition of the Dhammapada

with parallels from Sanskritised Prakrit
edited together with
A Study of the Dhammapada Collection

by ânandajoti Bhikkhu

http://www.ancient-buddhist-texts.net/Buddhist-Texts/C3-Comparative-Dhammapada/index.htm

Кусярон

Для контекста, - о джайнском каноне:
http://slovari.yandex.ru/dict/krugosvet/article/4/41/1007052.htm

Его тексты по формату и назначению напоминают тексты кхуддака-никаи и абхидхаммы, плюс один текст по винае.

Ассаджи

Еще о параллелях:

Resemblance to Pali literature

The Svetambara Jaina Canon which is the result of several centuries appears to have a close resemblance to Pali scripture which was complied in the first or second century after the Buddha's demise. In other words, the Jaina Canon has been influenced by Pali literature. The language and style are good enough evidences in this connection. For instance, a stanza of the Uttaradhyana (9.44), viz.

Mase mase tu jo balo kusaggenam tu bhunjae

Na so sukkha adhammasa kalam agghai solasim.

has a very close resemblance to the stanza of the Dhammapada (70), viz.

Mase mase kusaggena balo bhunjetha bhojanam.

Na so sankhatadhammanam kalam agghati solasim.

The stanzas of the Dhammapada (103, 405, 409) can be compared with the stanzas of the Uttaradhyana 9.34; 25.22;25.24. Some other stanzas like 49, 66, 362 are similar to the stanzas 1.2, 4.1, 10. 12, of the Dasavaikalika. In the same way Pundarika Addhyana of the Sutrakrtanga and the Saddharma-Pundarika, Vipakasutra and Avadanasataka, and Karmasataka, Thananga and Anguttara, Uttaradhyana and Dhammapada and Jataka Patimokkha and Nisitha are very closely related to each others in subject matter. The Svetambara Agamas are called Ganipitaka107 as the Buddhist scripture are called the Tipitaka108 Thus the Sveta mbara Agamas are undoubtedly influenced by the Buddhist scripture.109

The mixture of prose and verse, fantastic descriptions of the hells, preaching with the help of legends, parables, tales, dialogues and ballads, are the main characetristics of both Pali and Jain Scriptures. But in comparison with Pali literature, Jain literature is presented in a rather uninteresting style. Winternitz has pointed out that "with rare exceptions, the sacred books of the Jainas are written in a dry-as-dust, matter of fact, didactic tone, and as far as we know them hitherto, are seldom instilled with that general human interest which so many Buddhist texts possess. Hence, important as they are for the specialist, they cannot claim the interest of the general reader to anything approaching so great an extent.110

The language of the Canonical literature is a Prakrt called Ardhamagadhi. The verses, like the Buddhist Canon, present more archaic forms. But the Commentaries (Nijjutti, Bhasa, Curni, and Tika) are in both Prakrt (Jaina Maharastri) and Sanskrit.

http://jainfriends.tripod.com/books/jibljainismliterature.html

Ассаджи

Есть и параллели в практике.

"9.43 Медитация на содержание писаний, не сопровождающаяся анализом, определяется термином «витарка».

9.44 Движение мысли относительно объектов, слов и действий определяется термином «вичара»."

http://www.jainworld.com/JWRussian/jainworld/tattvarthasutra/chapter9.asp
http://www.ibiblio.org/jainism/database/BOOK/tattvrth.doc

Есть так называемая "Прекша дхьяна", по всей видимости, построенная на основе джайнских сутр.

http://www.jainworld.com/JWRussian/jainworld/preksha_dhyana/index.asp
http://www.terapanth.com/mahapragya/preksha_detail.htm
http://www.jainworld.com/preksha/hpmtrain/hpmindex.htm

Тут и долгое дыхание, и созерцание частей тела, и созерцание цветов, и брахма вихары.

А здесь описываются похожие на буддийские темы созерцания:

http://www.jainworld.com/JWRussian/jainworld/twelve_faces_of_reality/

Ассаджи

#8
О Махавире и Будде:

http://books.google.com/books?id=8-TxcO9dfrcC

Ассаджи

Наиболее ранняя из сохранившихся надписей на языке, весьма близком к пали, была сделана императором Калинги Кхаравелой, джайном по вероисповеданию, и начинается с джайнской "намокара мантры":

http://dhamma.ru/forum/index.php?topic=561.msg11579#msg11579

Ассаджи

История Паеси, отраженная и в джайнском, и в буддийском канонах:

Willem B. Bollée
Paesi-kahāṇayaṃ

http://books.google.com.ua/books?id=IUQp9Hs1TWAC

Паяси сутта

http://suttacentral.net/en/dn23

Limemill

Цитата: Ассаджи от 20:42 14 ноября 2014
История Паеси, отраженная и в джайнском, и в буддийском канонах:

Willem B. Bollée
Paesi-kahāṇayaṃ

http://books.google.com.ua/books?id=IUQp9Hs1TWAC

Паяси сутта

http://suttacentral.net/en/dn23
Читается, кстати, на одном дыхании - как притча. Отсюда подозрение, что это более поздняя сутта (плюс еще и не сам Будда выступает в качестве главного персонажа). Что говорят исследования о датировке сутт Дигха-никаи? Что интересно — мнение Паяси о том, что луна и солнце — это божества из иного мира, Досточтимым никак не отметается, а многочисленные примеры, приводимые Паяси, недвусмысленно намекают на неисчерпаемость его исследовательской жилки и отсутствие каких-либо моральных принципов. :)

Ассаджи

Цитата: Limemill от 07:52 19 ноября 2014
Что говорят исследования о датировке сутт Дигха-никаи?

Приходится согласиться с доктором Бималом Ло в том, что сутты второй и третьей частей Дигха Никаи относятся к несколько более позднему периоду, чем остальные сутты:

The results arrived at concerning  the chronology of the Pali canonical listerature  are preseented  in the subjoined table.
            (1) The simple statements  of Buddhist  doctrines now  found,  in  identical  words, in  paragraphs  or verses recurring in all the books.
            (2) Episodes found, in identical works, in two or more of the existing books.
            (3) The  Silas, the  Parayana  group  of  sixteen poems without the prologue, the atthaka group of four or sixteen poems, the sikkhapadas.
            (4)  The  Digha,  Vol.   l,  the   Majjhima,  the Samyutta, the Anguttara, and earlier Patimokkha  code of 152 rules.
            (5)   The   Digha,   Vols.    II   &   III,   the Thera-Theri-Gatha, the collection of 500 Jatakas, the Suttavibhanga,    the     Partisambhidamagga,     the Puggala-pannatti and the Vibhanga.
            (6)  The  Mahavagga   and  the   Cullavagga,  the Patimokkha    code   completing    227   rules,   the Vimanavatthu  and Petavatthu, the Dhammapada  and the Kathavatthu.
            (7) The Cullaniddesa, the Mahaniddesa, the Udana, the Itivuttaka, the Suttanipata, the  Dhatukatha, the Yamaka and the Patthana.
            (8)  The Buddhavamsa, the  Cariyapitaka  and  the Apadana.
            (9) The Parivarapatha.
            (10) The Khuddakapatha.

http://ccbs.ntu.edu.tw/FULLTEXT/JR-ENG/bcl.htm
http://www.dhammawheel.com/viewtopic.php?f=23&t=12694

Ассаджи

Цитата: Ассаджи от 09:16 19 ноября 2014
Цитата: Limemill от 07:52 19 ноября 2014
Что говорят исследования о датировке сутт Дигха-никаи?

Приходится согласиться с доктором Бималом Ло в том, что сутты второй и третьей частей Дигха Никаи относятся к несколько более позднему периоду, чем остальные сутты:

Профессор Бапат пишет по этому поводу:

ЦитироватьThe Digha Nikaya, as it exists at present, consists of the three volumes, which appear to be differentiated from one another, by the subject matter in each of them, and the manner and method of its presentation. The first volume is called the Silakkhandha, the second the Mahāvagga and the third the Patikavagga. The name of the first is significant, as it contains in all the suttas, except the last, the Buddhist teaching of good conduct. In all suttas, except the first and the last, the burden of the sutta is the Buddhist teaching of good conduct (Sīla), concentration (samadhi) and wisdom (Paññā), culminating into the ideal of Arhatship. The second volume is called the Mahavagga (or as it is traditionally called in Burma the Sutta-mahāvā), as it contains several suttas which appear to be amplified versions of originally small suttas. It contains the famous Mahaparinibbana sutta, which has reached an abnormal length, perhaps on account of frequent later additions, and which gives us some historical account of the last few days of Gotama Buddha. The third volume is called the Patikavagga, named after the First sutta, the Patika sutta. It perhaps represents the continuation of the Buddhist attempt of presenting the matter, in a manner, that would most attract and appeal to the common people (a beginning of which is already marked in the first and second volumes), and that was likely to produce a greater impression on the common people.

... (detailed description of the first volume)

With this sutta the first volume comes to an end, We see in all these suttas the plain and simple teaching of good conduct, self-control, etc. in prominence and further we mark that the Buddha is considered as a teacher of all, but he is considered merely as a superior being of the same category as that of the Arhats.

When we turn to the second vol. we find ourselves to be breathing a new atmosphere. The old atmosphere of the plain and simple teaching of the moral law and of self-discipine by the three stages of Sīla, Samādhi and Paññā we no longer breathe.

... (detailed description of the second volume)

Almost all the suttas in the second volume particularly 17-23 seem to be at a remote distance from the majority of the suttas of the first volume.

Another feature that deserves notice is that in the first vol. there are only three gāthās while in the second vol. there are as many as 134, many of which are intended to repeat and sing what is already said in prose.

... (detailed description of the third volume)

Thus we find in the third vol. another distinct literary stratum, in which we mark, that Buddhism has much deviated from its original simplicity of faith and purity of conduct, In this vol. we have marked Gotama compromising his position on the question of miracles in the Patika sutta, the mention of Metteyya Buddha, the love of Pauranic legends, beginnings of Tāntric literature and, the special feature of the last two suttas in their form of presentation.

Thus after a detailed examination of the contents of the suttas in these three volumes, we think that all these suttas cannot possibly be supposed to be belonging to one and the same literary stratum. An extensive range in the evolution of Buddhism is covered by the suttas in these volumes. We can not even think of the simple suttas in the first vol. detailing the teachings of the Buddha under the three headings of Sīla, Samādhi and Paññā, in the same breath with the suttas of the mythological nature, like the Mahāsamaya, Janavasabha, Mahāgovinda, or Sakkapañha suttas of the second vol., or the Patika, Ātānātiya, Cakkavatti, Aggañña, or the Sangīti and Dasuttara suttas of the third vol.

There thus appear to be at least three different literary strata to which the suttas in the three vols. as they are at present, may be said to belong. It is not however meant to be said that the suttas of the first stratum have remained in exactly the same form and in the same place, when subsequent literary strata had come into existence. There may have been shuffling, arranging and rearranging, slight additions, or alterations, but in the main they seem to have been left over as they were then.

THE DIFFERENT STRATA IN THE LITERARY MATERIAL OF THE DĪGHA NIKĀYA
P. V. BAPAT

https://www.jstor.org/stable/44028008

То есть сутты Дигха Никаи, начиная примерно с семнадцатой, были составлены с учетом слов Будды, но не самим Буддой.