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Посиневший труп и прочие как предметы медитации Палийский оригинал

пали Nyanamoli thera - english Комментарии
118.Ito paresu pana vinīlakādīsupi yaṃ taṃ "uddhumātakaṃ asubhanimittaṃ uggaṇhanto eko adutiyo gacchati upaṭṭhitāya satiyā"tiādinā nayena gamanaṃ ādiṃ katvā lakkhaṇaṃ vuttaṃ, taṃ sabbaṃ "vinīlakaṃ asubhanimittaṃ uggaṇhanto, vipubbakaṃ asubhanimittaṃ uggaṇhanto"ti evaṃ tassa tassa vasena tattha tattha uddhumātakapadamattaṃ parivattetvā vuttanayeneva savinicchayādhippāyaṃ veditabbaṃ. 69. As regards the livid and the rest: the characterizing already described, starting with the going in the way beginning “One who is learning the bloated sign of foulness goes alone with no companion, with unremitting mindfulness established” (§19), should all be understood with its exposition and intention, substituting for the word “bloated” the appropriate word in each case thus: “One who is learning the livid sign of foulness …”, “One who is learning the festering sign of foulness …”
Ayaṃ pana viseso – vinīlake "vinīlakapaṭikkūlaṃ vinīlakapaṭikkūla"nti manasikāro pavattetabbo. But the differences are as follows. 70. The livid should be brought to mind as “Repulsiveness of the livid, repulsiveness of the livid.”
Uggahanimittañcettha kabarakabaravaṇṇaṃ hutvā upaṭṭhāti. Here the learning sign appears blotchy-coloured;
Paṭibhāganimittaṃ pana ussadavasena upaṭṭhāti. but the counterpart sign’s appearance has the colour which is most prevalent.
Vipubbake "vipubbakapaṭikkūlaṃ vipubbakapaṭikkūla"nti manasikāro pavattetabbo. 71.The festering should be brought to mind as “Repulsiveness of the festering, repulsiveness of the festering.”
Uggahanimittaṃ panettha paggharantamiva upaṭṭhāti. Here the learning sign appears as though trickling;
Paṭibhāganimittaṃ niccalaṃ sannisinnaṃ hutvā upaṭṭhāti. but the counterpart sign appears motionless and quiet.
Vicchiddakaṃ yuddhamaṇḍale vā corāṭaviyaṃ vā susāne vā yattha rājāno core chindāpenti. 72.The cut up is found on a battlefield or in a robbers’ forest or on a charnel ground where kings have robbers cut up
Araññe vā pana sīhabyagghehi chinnapurisaṭṭhāne labbhati. or in the jungle in a place where men are torn up by lions and tigers.
Tasmā tathārūpaṃ ṭhānaṃ gantvā sace nānādisāyaṃ patitampi ekāvajjanena āpāthamāgacchati iccetaṃ kusalaṃ. So, if when he goes there, it comes into focus at one adverting although lying in different places, that is good.
No ce āgacchati, sayaṃ hatthena na parāmasitabbaṃ. If not, then he should not touch it with his own hand;
Parāmasanto hi vissāsaṃ āpajjati. for by doing so he would become familiar with it.11 Comm. NT: 11.
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Tasmā ārāmikena vā samaṇuddesena vā aññena vā kenaci ekaṭṭhāne kāretabbaṃ. He should get a monastery attendant or one studying to become an ascetic or someone else to put it together in one place.
Alabhantena kattarayaṭṭhiyā vā daṇḍakena vā ekaṅgulantaraṃ katvā upanāmetabbaṃ. If he cannot find anyone to do it, he should put it together with a walking stick or a staff in such a way that there is only a finger’s breadth separating [the parts].
Evaṃ upanāmetvā "vicchiddakapaṭikkūlaṃ vicchiddakapaṭikkūla"nti manasikāro pavattetabbo. Having put it together thus, he should bring it to mind as “Repulsiveness of the cut up, repulsiveness of the cut up.”
Tattha uggahanimittaṃ majjhe chiddaṃ viya upaṭṭhāti. Herein, the learning sign appears as though cut in the middle;
Paṭibhāganimittaṃ pana paripuṇṇaṃ hutvā upaṭṭhāti. but the counterpart sign appears whole.
Vikkhāyitake vikkhāyitakapaṭikkūlaṃ vikkhāyitakapaṭikkūlanti manasikāro pavattetabbo. 73. The gnawed should be brought to mind as “Repulsiveness of the gnawed, repulsiveness of the gnawed.”
Uggahanimittaṃ panettha tahiṃ tahiṃ khāyitasadisameva upaṭṭhāti. Here the learning sign appears as though gnawed here and there;
Paṭibhāganimittaṃ paripuṇṇaṃva hutvā upaṭṭhāti. but the counterpart sign appears whole.
Vikkhittakampi vicchiddake vuttanayeneva aṅgulaṅgulantaraṃ kāretvā vā katvā vā "vikkhittakapaṭikkūlaṃ vikkhittakapaṭikkūla"nti manasikāro pavattetabbo. 74. After getting the scattered put together or putting it together in the way described under the cut up so that there is only a finger’s breadth, separating [the pieces], it should be brought to mind as “Repulsiveness of the scattered, repulsiveness of the scattered.”
Ettha uggahanimittaṃ pākaṭantaraṃ hutvā upaṭṭhāti. Here the learning sign appears with the gaps evident;
Paṭibhāganimittaṃ pana paripuṇṇaṃva hutvā upaṭṭhāti. but the counterpart sign appears whole.
Hatavikkhittakampi vicchiddake vuttappakāresuyeva ṭhānesu labbhati. 75. The hacked and scattered is found in the same places as those described under the cut up.
Tasmā tattha gantvā vuttanayeneva aṅgulaṅgulantaraṃ kāretvā vā katvā vā "hatavikkhittakapaṭikkūlaṃ hatavikkhittakapaṭikkūla"nti manasikāro pavattetabbo. Therefore, after going there and getting it put together or putting it together in the way described under the cut up so that there is only a finger’s breadth separating [the pieces], it should be brought to mind as “Repulsiveness of the hacked and scattered, repulsiveness of the hacked and scattered.”
Uggahanimittaṃ panettha paññāyamānaṃ pahāramukhaṃ viya hoti. Here, when the learning sign becomes evident, it does so with the fissures of the wounds;
Paṭibhāganimittaṃ paripuṇṇameva hutvā upaṭṭhāti. but the counterpart sign appears whole.
Lohitakaṃyuddhamaṇḍalādīsu laddhappahārānaṃ hatthapādādīsu vā chinnesu bhinnagaṇḍapīḷakādīnaṃ vā mukhato paggharamānakāle labbhati. 76.The bleeding is found at the time when [blood] is trickling from the openings of wounds received on battlefields, etc., or from the openings of burst boils and abscesses when the hands and feet have been cut off.
Tasmā taṃ disvā "lohitakapaṭikkūlaṃ lohitakapaṭikkūla"nti manasikāro pavattetabbo. So on seeing that, it should be brought to mind as “Repulsiveness of the bleeding, repulsiveness of the bleeding.”
Ettha uggahanimittaṃ vātappahatā viya rattapaṭākā calamānākāraṃ upaṭṭhāti. Here the learning sign appears to have the aspect of moving like a red banner struck by wind;
Paṭibhāganimittaṃ pana sannisinnaṃ hutvā upaṭṭhāti. but the counterpart sign appears quiet.
Puḷavakaṃ dvīhatīhaccayena kuṇapassa navahi vaṇamukhehi kimirāsipaggharaṇakāle hoti. 77.There is a worm-infested corpse when at the end of two or three days a mass of maggots oozes out from the corpse’s nine orifices,
Apica taṃ soṇasiṅgālamanussagomahiṃsahatthiassaajagarādīnaṃ sarīrappamāṇameva hutvā sālibhattarāsi viya tiṭṭhati. and the mass lies there like a heap of paddy or boiled rice as big as the body, whether the body is that of a dog, a jackal, a human being,12 an ox, a buffalo, an elephant, a horse, a python, or what you will. Comm. NT: 12. Reading manussa with Sinhalese ed.
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Tesu yattha katthaci "puḷavakapaṭikkūlaṃ puḷavakapaṭikkūla"nti manasikāro pavattetabbo. It can be brought to mind with respect to anyone of these as “Repulsiveness of the worm-infested, repulsiveness of the worm-infested.”
Cūḷapiṇḍapātikatissattherassa hi kāḷadīghavāpiyā anto hatthikuṇape nimittaṃ upaṭṭhāsi. For the sign arose for the Elder Cūḷa-Piṇḍapātika-Tissa in the corpse of an elephant’s carcass in the Kāḷadīghavāpi reservoir.
Uggahanimittaṃ panettha calamānaṃ viya upaṭṭhāti. Here the learning sign appears as though moving;
Paṭibhāganimittaṃ sālibhattapiṇḍo viya sannisinnaṃ hutvā upaṭṭhāti. but the counterpart sign appears quiet, like a ball of boiled rice.
Aṭṭhikaṃ "seyyathāpi passeyya sarīraṃ sivathikāya chaḍḍitaṃ aṭṭhisaṅkhalikaṃ samaṃsalohitaṃ nahārusambandha"ntiādinā (ma. ni. 3.154) nayena nānappakārato vuttaṃ. 78.A skeleton is described in various aspects in the way beginning “As though he were looking at a corpse thrown onto a charnel ground, a skeleton with flesh and blood, held together by sinews” (D II 296).
Tattha yattha taṃ nikkhittaṃ hoti, tattha purimanayeneva gantvā samantā pāsāṇādīnaṃ vasena sanimittaṃ sārammaṇaṃ katvā idaṃ aṭṭhikanti sabhāvabhāvato upalakkhetvā vaṇṇādivasena ekādasahākārehi nimittaṃ uggahetabbaṃ. So he should go in the way already described to where it has been put, and noticing any stones, etc., with their surrounding signs and in relation, to the object, he should characterize it by the fact of its having attained that particular individual essence thus, “This is a skeleton,” and he should apprehend the sign in the eleven ways by colour and the rest.
119.Taṃ pana vaṇṇato setanti olokentassa na upaṭṭhāti, odātakasiṇasambhedo hoti. But if he looks at it, [apprehending it only] by its colour as white, it does not appear to him [with its individual essence as repulsive], but only as a variant of the white kasiṇa.
Tasmā aṭṭhikanti paṭikkūlavaseneva oloketabbaṃ. Consequently he should only look at it as ‘a skeleton’ in the repulsive aspect.
Liṅganti idha hatthādīnaṃ nāmaṃ. 79.“Mark” is a term for the hand, etc., here,
Tasmā hatthapādasīsaurabāhukaṭiūrujaṅghānaṃ vasena liṅgato vavatthapetabbaṃ. so he should define it by its mark according to hand, foot, head, chest, arm, waist, thigh, and shin.
Dīgharassavaṭṭacaturassakhuddakamahantavasena pana saṇṭhānato vavatthapetabbaṃ. He should define it by its shape, however, according as it is long, short, square, round, small or large.
Disokāsā vuttanayā eva. By its direction and by its location are as already described (§39–40).
Tassa tassa aṭṭhino pariyantavasena paricchedato vavatthapetvā yadevettha pākaṭaṃ hutvā upaṭṭhāti, taṃ gahetvā appanā pāpuṇitabbā. Having defined it by its delimitation according to the periphery of each bone, he should reach absorption by apprehending whichever appears most evident to him.
Tassa tassa aṭṭhino ninnaṭṭhānathalaṭṭhānavasena pana ninnato ca thalato ca vavatthapetabbaṃ. But it can also be defined by its concavities and by its convexities according to the concave and convex places in each bone.
Padesavasenāpi ahaṃ ninne ṭhito, aṭṭhi thale, ahaṃ thale, aṭṭhi ninnetipi vavatthapetabbaṃ. And it can also be defined by position thus: “I am standing in a concave place, the skeleton is in a convex place; or I am standing in a convex place, the skeleton is in a concave place.”
Dvinnaṃ pana aṭṭhikānaṃ ghaṭitaghaṭitaṭṭhānavasena sandhito vavatthapetabbaṃ. It should be defined by its joints according as any two bones are joined together.
Aṭṭhikānaṃyeva antaravasena vivarato vavatthapetabbaṃ. It should be defined by its openings according to the gaps separating the bones.
Sabbattheva pana ñāṇaṃ cāretvā imasmiṃ ṭhāne idamaṭṭhīti samantato vavatthapetabbaṃ. It should be defined all round by directing knowledge to it comprehensively thus: “In this place there is this skeleton.”
Evampi nimitte anupaṭṭhahante nalāṭaṭṭhimhi cittaṃ saṇṭhapetabbaṃ. If the sign does not arise even in this way, then the mind should be established on the frontal bone.
120.Yathā cettha, evaṃ idaṃ ekādasavidhena nimittaggahaṇaṃ ito purimesu puḷavakādīsupi yujjamānavasena sallakkhetabbaṃ. And in this case, just as in the case of those that precede it beginning with the worm-infested, the apprehending of the sign should be observed in this elevenfold manner as appropriate.
Idañca pana kammaṭṭhānaṃ sakalāyapi aṭṭhikasaṅkhalikāya ekasmimpi aṭṭhike sampajjati. 80.This meditation subject is successful with a whole skeleton frame and even with a single bone as well.
Tasmā tesu yatthakatthaci ekādasavidhena nimittaṃ uggahetvā "aṭṭhikapaṭikkūlaṃ aṭṭhikapaṭikkūla"nti manasikāro pavattetabbo. So having learnt the sign in anyone of these in the eleven ways, he should bring it to mind as “Repulsiveness of a skeleton, repulsiveness of a skeleton.”
Idha uggahanimittampi paṭibhāganimittampi ekasadisameva hotīti vuttaṃ, taṃ ekasmiṃ aṭṭhike yuttaṃ. Here the learning sign and the counterpart sign are alike, so it is said. That is correct for a single bone.
Aṭṭhikasaṅkhalikāya pana uggahanimitte paññāyamāne vivaratā. But when the learning sign becomes manifest in a skeleton frame, what is correct [to say] is that there are gaps in the learning sign
Paṭibhāganimitte paripuṇṇabhāvo yujjati. while the counterpart sign appears whole.
Ekaṭṭhikepi ca uggahanimittena bībhacchena bhayānakena bhavitabbaṃ. And the learning sign even in a single bone should be dreadful and terrifying
Paṭibhāganimittena pītisomanassajanakena, upacārāvahattā. but the counterpart sign produces happiness and joy because it brings access.
Imasmiṃ hi okāse yaṃ aṭṭhakathāsu vuttaṃ, taṃ dvāraṃ datvāva vuttaṃ. 81. What is said in the Commentaries in this context allows that deduction.
Tathā hi tattha "catūsu brahmavihāresu dasasu ca asubhesu paṭibhāganimittaṃ natthi. For there, after saying this, “There is no counterpart sign in the four divine abidings and in the ten kinds of foulness;
Brahmavihāresu hi sīmasambhedoyeva nimittaṃ. for in the case of the divine abidings the sign is the breaking down of boundaries itself,
Dasasu ca asubhesu nibbikappaṃ katvā paṭikkūlabhāveyeva diṭṭhe nimittaṃ nāma hotī"ti vatvāpi puna anantarameva "duvidhaṃ idha nimittaṃ uggahanimittaṃ paṭibhāganimittaṃ. and in the case of the ten kinds of foulness the sign comes into being as soon as the repulsiveness is seen, without any thinking about it,” it is again said, immediately next: “Here the sign is twofold: the learning sign and the counterpart sign.
Uggahanimittaṃ virūpaṃ bībhacchaṃ bhayānakaṃ hutvā upaṭṭhātī"tiādi vuttaṃ. The learning sign appears hideous, dreadful and terrifying,” and so on.
Tasmā yaṃ vicāretvā avocumha, idamevettha yuttaṃ. So what we said was well considered. And it is only this that is correct here.
Apica mahātissattherassa dantaṭṭhikamattāvalokanena sakalitthisarīrassa aṭṭhisaṅghātabhāvena upaṭṭhānādīni cettha nidassanānīti. Besides, the appearance of a woman’s whole body as a collection of bones to the Elder Mahā-Tissa through his merely looking at her teeth demonstrates this here (see I.55).
Iti asubhāni subhaguṇo, dasasatalocanena thutakitti; 82. The Divine Ruler with ten hundred eyes Did him , fair in fame, This foulness of ten species in such wise.
Yāni avoca dasabalo, ekekajjhānahetunīti. with the Ten Powers eulogize, Who made known as cause of jhāna
Evaṃ tāni ca tesañca, bhāvanānayamimaṃ viditvāna; To tackle each and how they are developed, Now, knowing their description and the way
Tesveva ayaṃ bhiyyo, pakiṇṇakakathāpi viññeyyā. There are some further points that will repay Study, each with its special part to play.
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