Fetching
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Fetching
One moment.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1O. at p. 315 of the edition to the text) says, ‘town’s people given to adorning themselves by painting their skin’ (on which compare below, V, 2,5). But it is difficult to see how that fits in with the connection here. V,1,3- ON THE DAILY LIFE OF THE BHIKKHUS. 67 The Blessed Buddha rebuked them, saying, ‘This is improper, O Bhikkhus (&c., as usual, see I, 1, 2, down to the end).’ And when he had rebuked them, and had delivered a religious discourse, he addressed the Bhikkhus, and said: ‘A Bhikkhu, when bathing, is not, O Bhikkhus, to rub his body against wood. Whosoever does so, shall be guilty of a dukkaZa.’ 2. Now at that time the Adabbaggiya Bhikkhus, when bathing, used to rub their bodies—thighs, and arms, and breast, and back—against a pillar—against a wall (&c., as in last section, down to the end). 3. Now at that time the Adabbaggiya Bhikkhus used to bathe on an A/¢4na (a sort of shampooing stand'). The people (&c., as before). The Bhikkhus (&c., as before). Then the Blessed One (&c., as before, down to) addressed the Bhikkhus, and said: ‘You are not to bathe, O Bhikkhus, on an At¢&na. Whosoever does so, shall be guilty of a dukka@a.’ {Paragraphs similar in every respect to the last follow as to Using a Gandhabba-hatthaka? when bathing. Using a Kuruvindaka-sutti® when bathing. Rubbing their bodies, when under water, up against each other‘. 1 So Buddhaghosa loc. cit. ? A wooden instrument in the shape of a hand, which was first covered with chunam (fine lime), and then rubbed over the body. See Buddhaghosa’s note at p. 315 of H.0O.’s edition of the text. 5 Apparently a string of beads which was first covered with the chunam made from Kuruvindaka stone (a ruby-coloured stone), and then held at both ends and rubbed over the body. See Buddhaghosa’s note loc. cit. ‘ As Buddhaghosa, loc. cit. explains this by ‘rubbing their F 2 68 KULLAVAGGA, Vi 1, 4. Using a Mallaka? when bathing. ] 4. Now at that time a certain Bhikkhu had the scab, and he could not bathe with comfort without a Mallakal. They told the matter to the Blessed One. ‘I allow, O Bhikkhus, to a sick man the use of a Mallaka not (artificially) made 2,’ 5. Now at that time a certain Bhikkhu who was weak through old age was not able to shampoo his own body. . ‘I allow you, O Bhikkhus, the use of an Ukkasika’’ Now at that time the Bhikkhus, (fearing to offend against these rules,) were afraid to shampoo one another. ‘T allow you, O Bhikkhus, the ordinary mode of shampooing with the hand‘*.’ 2. 1. Now at that time the Aabbaggiya Bhikkhus bodies up against each other’(!), vigay ha has here probably nothing to do with gah, but is simply vigrzhya.
2‘T allow you, O Bhikkhus, the ordinary mode of shampooing with the hand‘*.’ 2. 1. Now at that time the Aabbaggiya Bhikkhus bodies up against each other’(!), vigay ha has here probably nothing to do with gah, but is simply vigrzhya. ' A kind of back-scratcher, made according to Buddhaghosa, loc. cit., by placing together, by the roots, hooks made of the teeth of crocodiles (makara-dantaka; see V, 11, 6; VI, 3, 2), which had previously been split. Such hooks of split crocodiles’ teeth are mentioned in the text itself below, V, 9, 2; and pins or hooks made of nfga’s teeth at V, 9, 5, and VI, 3, 5 (naga-dantaka), and V, 11, 7 (naga-danta). * Buddhaghosa, loc. cit., makes this phrase mean only ‘made of teeth that had not been previously split.’ * Buddhaghosa, loc. cit., explains this word by vattavaé/i; which is to us equally unintelligible. * Pudhu-padzikan ti hattha-parikammam vuééati. Tasma sabbesam hatthena pis/hi-parikammam katum va/fati (B.). V,2,3- ON THE DAILY LIFE OF THE BHIKKHUS. 69 used to wear ear-rings!, and ear-drops’, and strings of beads for the throat, and girdles of beads *, and bangles ‘, and necklaces >, and bracelets, and rings. The people murmured, &c. . . . . The Bhikkhus heard, &c..... They told the Blessed One (&c., as in V, 1, 1, down to) he addressed the Bhikkhus, and said: ‘You are not, O Bhikkhus, to wear any of these things. Whosoever does so, shall be guilty of a dukka/éa.’ 2. [A similar paragraph concluding] ‘You are not, O Bhikkhus, to wear long hair. Whosoever does so, shall be guilty of a dukka@a. I allow you, O Bhikkhus, hair that is two months old, or two inches long.’ 3. [Similar paragraph concluding] ‘You are not, O Bhikkhus, to smooth® the hair 1 Vallika ti kazato nikkhanta-mutt-olambak4dinam etam adhivakanam. Na kevalaw fa vallika eva, yam kinki kanna-pilandhanam antamaso tala-pannam pi na va/fati (B.). Compare satavallikam at V, 29, 4. 2? Pamanga. The meaning of which is not clear from Buddhaghosa’s note loc. cit. It occurs also at Dipavamsa XII, 1, and below in Buddhaghosa’s note on maddavina at V, 29, 2 (twice). * Kafi-suttakam. This is not mentioned in the similar paragraph at V, 29, 2, where all special kinds of girdles are enumerated. It is forbidden below to the Bhikkhunis at X, 16. ‘ Ova/stika. This word is explained by Buddhaghosa as the same as valayam. Ova/fiya occurs, apparently in a different sense, at Mah4vagga VII, 1, 5, and the present word in Buddhaghosa on sata-vallikam at V, 29, 4. 5 K4yura, on which Buddhaghosa, loc. cit., merely says that the meaning of this, and of the following words, is evident. But the Gataka commentary (Fausbdll III, 437, 14) says kadyfran ti givaya pilandhana-pasddhanam. - ® Osanheti. Compare the Sanskrit slakshwayati. The art of hair-dressing had, at the time when the Aullavagga was com- 70 KULLAVAGGA. V, 2, 4.
3But the Gataka commentary (Fausbdll III, 437, 14) says kadyfran ti givaya pilandhana-pasddhanam. - ® Osanheti. Compare the Sanskrit slakshwayati. The art of hair-dressing had, at the time when the Aullavagga was com- 70 KULLAVAGGA. V, 2, 4. with a comb, or with a smoothing instrument shaped like a snake’s hood !, or with the hand used as such an instrument’, or with pomade, or with hair-oil of beeswax *. Whosoever does so, shall be guilty of a dukka/a,’ 4. [Similar paragraph concluding] ‘You are not, O Bhikkhus, to look at the image of your faces in a looking-glass, or a bowl of water ¢. Whosoever does so, shall be guilty of a dukkaéa.’ Now at that time a certain Bhikkhu had a sore in his face. He asked the Bhikkhus what kind of a sore he had. ‘Such and such a kind of sore,’ replied they. He did not believe what they said. They told this matter to the Blessed One. ‘1 allow you, O Bhikkhus, on account of a disease, to look at your faces in a looking-glass, or in a bowl of water.’ 5. Now at that time the A/abbaggiya Bhikkhus (&c., down to) posed, been already carried to a high state of efficiency in the valley of the Ganges, as may reasonably be concluded from the numerous kinds of head-dresses figured in bas-relief on some of the oldest Buddhist sculptures. ' Phanakené ti dantamayddisu yena kenaéi (B.). 2? Hattha-phanakena ti hatthen’ eva phanaka-kikéam karonti, angulthi osazhenti (B.). It is clear from this last explanation that ’ the phanaka was a kind of very primitive brush, but without bristles. In passing the fingers through the hair the fingers are . naturally held separate, slightly forward, and stiff—precisely as one would hold them if one wished to imitate the hood of a cobra. To make a real brush with bristles was evidently beyond the mechanical appliances of those times, or such an article would certainly have been mentioned in this connection. 5 On the use of Telaka, compare Mahfvagga VI, 13, 1, and Sittha-telaka at Xullavagga IV, 3, 1. “ Compare Kullavagga X, 10, 4. V, 2,6. ON THE DAILY LIFE OF THE BHIKKHUS. 71 ‘You are not, O Bhikkhus, to anoint your faces, nor to rub (ointment, &c.) into your faces, nor to put chunam on your faces, nor to smear red arsenic on your faces, nor to paint your bodies, nor to paint your faces}. Now at that time a certain Bhikkhu had disease in his eyes. They told the matter to the Blessed One. ‘I allow you, O Bhikkhus, on account of disease, to anoint your faces.’ 6%, Now at that time there was a festival on the mountain-top* at Ragagaha; and the KAabbaggiya Bhikkhus went to see it. The people murmured, were annoyed, and became indignant, saying, ‘How can the Sakyaputtiya Samazas go to see dancing, and singing, and music, like those who are still enjoying the pleasures of the world?’ And they told this matter to the Blessed One. ‘You are not, O Bhikkhus, to go to see dancing, or singing, or music. Whosoever does so, shall be guilty of a dukkaéa.’
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
Romanised transliteration as printed by the translator, not the original script. This is what we hold.
1O. at p. 315 of the edition to the text) says, ‘town’s people given to adorning themselves by painting their skin’ (on which compare below, V, 2,5). But it is difficult to see how that fits in with the connection here. V,1,3- ON THE DAILY LIFE OF THE BHIKKHUS. 67 The Blessed Buddha rebuked them, saying, ‘This is improper, O Bhikkhus (&c., as usual, see I, 1, 2, down to the end).’ And when he had rebuked them, and had delivered a religious discourse, he addressed the Bhikkhus, and said: ‘A Bhikkhu, when bathing, is not, O Bhikkhus, to rub his body against wood. Whosoever does so, shall be guilty of a dukkaZa.’ 2. Now at that time the Adabbaggiya Bhikkhus, when bathing, used to rub their bodies—thighs, and arms, and breast, and back—against a pillar—against a wall (&c., as in last section, down to the end). 3. Now at that time the Adabbaggiya Bhikkhus used to bathe on an A/¢4na (a sort of shampooing stand'). The people (&c., as before). The Bhikkhus (&c., as before). Then the Blessed One (&c., as before, down to) addressed the Bhikkhus, and said: ‘You are not to bathe, O Bhikkhus, on an At¢&na. Whosoever does so, shall be guilty of a dukka@a.’ {Paragraphs similar in every respect to the last follow as to Using a Gandhabba-hatthaka? when bathing. Using a Kuruvindaka-sutti® when bathing. Rubbing their bodies, when under water, up against each other‘. 1 So Buddhaghosa loc. cit. ? A wooden instrument in the shape of a hand, which was first covered with chunam (fine lime), and then rubbed over the body. See Buddhaghosa’s note at p. 315 of H.0O.’s edition of the text. 5 Apparently a string of beads which was first covered with the chunam made from Kuruvindaka stone (a ruby-coloured stone), and then held at both ends and rubbed over the body. See Buddhaghosa’s note loc. cit. ‘ As Buddhaghosa, loc. cit. explains this by ‘rubbing their F 2 68 KULLAVAGGA, Vi 1, 4. Using a Mallaka? when bathing. ] 4. Now at that time a certain Bhikkhu had the scab, and he could not bathe with comfort without a Mallakal. They told the matter to the Blessed One. ‘I allow, O Bhikkhus, to a sick man the use of a Mallaka not (artificially) made 2,’ 5. Now at that time a certain Bhikkhu who was weak through old age was not able to shampoo his own body. . ‘I allow you, O Bhikkhus, the use of an Ukkasika’’ Now at that time the Bhikkhus, (fearing to offend against these rules,) were afraid to shampoo one another. ‘T allow you, O Bhikkhus, the ordinary mode of shampooing with the hand‘*.’ 2. 1. Now at that time the Aabbaggiya Bhikkhus bodies up against each other’(!), vigay ha has here probably nothing to do with gah, but is simply vigrzhya.
2‘T allow you, O Bhikkhus, the ordinary mode of shampooing with the hand‘*.’ 2. 1. Now at that time the Aabbaggiya Bhikkhus bodies up against each other’(!), vigay ha has here probably nothing to do with gah, but is simply vigrzhya. ' A kind of back-scratcher, made according to Buddhaghosa, loc. cit., by placing together, by the roots, hooks made of the teeth of crocodiles (makara-dantaka; see V, 11, 6; VI, 3, 2), which had previously been split. Such hooks of split crocodiles’ teeth are mentioned in the text itself below, V, 9, 2; and pins or hooks made of nfga’s teeth at V, 9, 5, and VI, 3, 5 (naga-dantaka), and V, 11, 7 (naga-danta). * Buddhaghosa, loc. cit., makes this phrase mean only ‘made of teeth that had not been previously split.’ * Buddhaghosa, loc. cit., explains this word by vattavaé/i; which is to us equally unintelligible. * Pudhu-padzikan ti hattha-parikammam vuééati. Tasma sabbesam hatthena pis/hi-parikammam katum va/fati (B.). V,2,3- ON THE DAILY LIFE OF THE BHIKKHUS. 69 used to wear ear-rings!, and ear-drops’, and strings of beads for the throat, and girdles of beads *, and bangles ‘, and necklaces >, and bracelets, and rings. The people murmured, &c. . . . . The Bhikkhus heard, &c..... They told the Blessed One (&c., as in V, 1, 1, down to) he addressed the Bhikkhus, and said: ‘You are not, O Bhikkhus, to wear any of these things. Whosoever does so, shall be guilty of a dukka/éa.’ 2. [A similar paragraph concluding] ‘You are not, O Bhikkhus, to wear long hair. Whosoever does so, shall be guilty of a dukka@a. I allow you, O Bhikkhus, hair that is two months old, or two inches long.’ 3. [Similar paragraph concluding] ‘You are not, O Bhikkhus, to smooth® the hair 1 Vallika ti kazato nikkhanta-mutt-olambak4dinam etam adhivakanam. Na kevalaw fa vallika eva, yam kinki kanna-pilandhanam antamaso tala-pannam pi na va/fati (B.). Compare satavallikam at V, 29, 4. 2? Pamanga. The meaning of which is not clear from Buddhaghosa’s note loc. cit. It occurs also at Dipavamsa XII, 1, and below in Buddhaghosa’s note on maddavina at V, 29, 2 (twice). * Kafi-suttakam. This is not mentioned in the similar paragraph at V, 29, 2, where all special kinds of girdles are enumerated. It is forbidden below to the Bhikkhunis at X, 16. ‘ Ova/stika. This word is explained by Buddhaghosa as the same as valayam. Ova/fiya occurs, apparently in a different sense, at Mah4vagga VII, 1, 5, and the present word in Buddhaghosa on sata-vallikam at V, 29, 4. 5 K4yura, on which Buddhaghosa, loc. cit., merely says that the meaning of this, and of the following words, is evident. But the Gataka commentary (Fausbdll III, 437, 14) says kadyfran ti givaya pilandhana-pasddhanam. - ® Osanheti. Compare the Sanskrit slakshwayati. The art of hair-dressing had, at the time when the Aullavagga was com- 70 KULLAVAGGA. V, 2, 4.
3But the Gataka commentary (Fausbdll III, 437, 14) says kadyfran ti givaya pilandhana-pasddhanam. - ® Osanheti. Compare the Sanskrit slakshwayati. The art of hair-dressing had, at the time when the Aullavagga was com- 70 KULLAVAGGA. V, 2, 4. with a comb, or with a smoothing instrument shaped like a snake’s hood !, or with the hand used as such an instrument’, or with pomade, or with hair-oil of beeswax *. Whosoever does so, shall be guilty of a dukka/a,’ 4. [Similar paragraph concluding] ‘You are not, O Bhikkhus, to look at the image of your faces in a looking-glass, or a bowl of water ¢. Whosoever does so, shall be guilty of a dukkaéa.’ Now at that time a certain Bhikkhu had a sore in his face. He asked the Bhikkhus what kind of a sore he had. ‘Such and such a kind of sore,’ replied they. He did not believe what they said. They told this matter to the Blessed One. ‘1 allow you, O Bhikkhus, on account of a disease, to look at your faces in a looking-glass, or in a bowl of water.’ 5. Now at that time the A/abbaggiya Bhikkhus (&c., down to) posed, been already carried to a high state of efficiency in the valley of the Ganges, as may reasonably be concluded from the numerous kinds of head-dresses figured in bas-relief on some of the oldest Buddhist sculptures. ' Phanakené ti dantamayddisu yena kenaéi (B.). 2? Hattha-phanakena ti hatthen’ eva phanaka-kikéam karonti, angulthi osazhenti (B.). It is clear from this last explanation that ’ the phanaka was a kind of very primitive brush, but without bristles. In passing the fingers through the hair the fingers are . naturally held separate, slightly forward, and stiff—precisely as one would hold them if one wished to imitate the hood of a cobra. To make a real brush with bristles was evidently beyond the mechanical appliances of those times, or such an article would certainly have been mentioned in this connection. 5 On the use of Telaka, compare Mahfvagga VI, 13, 1, and Sittha-telaka at Xullavagga IV, 3, 1. “ Compare Kullavagga X, 10, 4. V, 2,6. ON THE DAILY LIFE OF THE BHIKKHUS. 71 ‘You are not, O Bhikkhus, to anoint your faces, nor to rub (ointment, &c.) into your faces, nor to put chunam on your faces, nor to smear red arsenic on your faces, nor to paint your bodies, nor to paint your faces}. Now at that time a certain Bhikkhu had disease in his eyes. They told the matter to the Blessed One. ‘I allow you, O Bhikkhus, on account of disease, to anoint your faces.’ 6%, Now at that time there was a festival on the mountain-top* at Ragagaha; and the KAabbaggiya Bhikkhus went to see it. The people murmured, were annoyed, and became indignant, saying, ‘How can the Sakyaputtiya Samazas go to see dancing, and singing, and music, like those who are still enjoying the pleasures of the world?’ And they told this matter to the Blessed One. ‘You are not, O Bhikkhus, to go to see dancing, or singing, or music. Whosoever does so, shall be guilty of a dukkaéa.’
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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