one of the twelve divisions of the canon.(7)
Gaathaas often appear within the context of
suutras as means of further explicating stated
points. For example, the Diamond Suutra concludes
with a brief poetic pronouncement that restates,
while reinforcing, the abstract message of the text
in terms of concrete images:
All phenomena are like
A dream, an illusion, a bubble and a shadow,
Like dew and lightening.
Thus should you meditate upon them.(8)
Similarly, in the La^nkaavataara Suutra the Buddha
punctuates his discourse with
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(4) Lucien Stryk in his Introduction to The Penguin
Book of Zen Poetry, Lucien Stryk and Takashi
Ikemoto eds., trans. (New York: Penguin Books,
1981), p.13
(5) William Edward Soothill, A Dictionary of Chinese
Buddhist Terms (London: Kegan Paul, Trench,
Trubner & Co., Ltd., 1934), p.225a.
(6) Soothill, p.19b.
(7) Soothill, p.44a.
P.345
gaathaas summarizing the main thrust of his
exposition. The same rhetoric style is adopted by
many who preach. For example, Jesus of Nazareth
often avails himself of vivid metaphorical and
allegorical language to convey his message about the
Kingdom of God.
It is quite likely that these poetic phrasings
of doctrine represent a mnemonic device for the
listeners, with the rhyme scheme serving to
facilitate memorization. The necessity of such
devices was further reinforced by the fact that the
sermons of the Buddha were not written down for some
four hundred years, but committed to memory by his
followers and transmitted orally.(9) The concrete
language of the poetic versions also stimulated
comprehension by offering an alternative to the
abstract profundity of the concepts being
expressed, as well as making the encoded messages
more accessible to less sophisticated members of the
audience.
An additional factor here was the difficulty