New:
šš KN Iti Roboman reads B. Thanissaro trans. š¤šš“šŗšøó §ó ¢ó „ó ®ó §ó æ️And complete English and Pali side by side Sutta text
4š☸ CattÄri Ariya-saccaį¹ åč諦
KN Iti-vuttaka
thus (it was) said
112 suttas total.šš KN Iti John Ireland trans. šš“šŗšøó §ó ¢ó „ó ®ó §ó æ️
šš KN Iti Roboman reads B. Thanissaro trans. š¤šš“šŗšøó §ó ¢ó „ó ®ó §ó æ️
Eka-nipÄta: group 1 : suttas 1-27 (š¤ 28m)
Duka-nipÄta: group 2 : suttas 28-49 (š¤ 25m)
Tika-nipÄta: group 3 : suttas 50-99 (š¤ 86m)
catukka-nipÄto: group 4 : suttas 100-112 (š¤ 28m)
EkanipÄta Paį¹hama Vagga
KN Iti 1 LobhaKN Iti 2 Dosa
KN Iti 3 Moha
KN Iti 4 Kodha
KN Iti 5 Makkha
KN Iti 6 MÄna
KN Iti 7 SabbapariƱƱÄ
KN Iti 8 MÄnapariƱƱÄ
KN Iti 9 LobhapariƱƱÄ
KN Iti 10 DosapariƱƱÄ
EkanipÄta Dutiya Vagga
KN Iti 11 MohapariƱƱÄKN Iti 12 KodhapariƱƱÄ
KN Iti 13 MakkhapariƱƱÄ
KN Iti 14 AvijjÄnÄ«varaį¹a
KN Iti 15 Taį¹hÄsaį¹yojana
KN Iti 16 Sekha 1
KN Iti 17 Sekha 2
KN Iti 18 Saį¹ ghabheda
KN Iti 19 Saį¹ ghasÄmaggÄ«
KN Iti 20 Paduį¹į¹hacitta
EkanipÄta Tatiya Vagga
KN Iti 21 PasannacittaKN Iti 22 Metta
KN Iti 23 Ubhayattha
KN Iti 24 Aį¹į¹hipuƱja
KN Iti 25 MusÄvÄda
KN Iti 26 DÄna
KN Iti 27 MettÄbhÄvanÄ
DukanipÄta Paį¹hama Vagga
KN Iti 28 DukkhavihÄraKN Iti 29 SukhavihÄra
KN Iti 30 Tapanīya
KN Iti 31 Atapanīya
KN Iti 32 SÄ«la 1
KN Iti 33 SÄ«la 2
KN Iti 34 ÄtÄpÄ«
KN Iti 35 Nakuhana 1
KN Iti 36 Nakuhana 2
KN Iti 37 Somanassa
DukanipÄta Dutiya Vagga
KN Iti 38 VitakkaKN Iti 39 DesanÄ
KN Iti 40 VijjÄ
KN Iti 41 PaƱƱÄparihÄ«na
KN Iti 42 Sukkadhamma
KN Iti 43 AjÄta
KN Iti 44 NibbÄnadhÄtu
KN Iti 45 Paį¹isallÄna
KN Iti 46 SikkhÄnisaį¹sa
KN Iti 47 JÄgariya
KN Iti 48 ÄpÄyika
KN Iti 49 Diį¹į¹higata
TikanipÄta Paį¹hama Vagga
KN Iti 50 MÅ«laKN Iti 51 DhÄtu
KN Iti 52 VedanÄ 1
KN Iti 53 VedanÄ 2
KN Iti 54 EsanÄ 1
KN Iti 55 EsanÄ 2
KN Iti 56 Äsava 1
KN Iti 57 Äsava 2
KN Iti 58 Taį¹hÄ
KN Iti 59 MÄradheyya
TikanipÄta Dutiya Vagga
KN Iti 60 PuƱƱakiriyavatthuKN Iti 61 Cakkhu
KN Iti 62 Indriya
KN Iti 63 AddhÄ
KN Iti 64 Duccarita
KN Iti 65 Sucarita
KN Iti 66 Soceyya
KN Iti 67 Moneyya
KN Iti 68 RÄga 1
KN Iti 69 RÄga 2
TikanipÄta Tatiya Vagga
KN Iti 70 MicchÄdiį¹į¹hikaKN Iti 71 SammÄdiį¹į¹hika
KN Iti 72 Nissaraį¹iya
KN Iti 73 Santatara
KN Iti 74 Putta
KN Iti 75 Avuį¹į¹hika
KN Iti 76 SukhapatthanÄ
KN Iti 77 Bhidura [BhindanÄ]
KN Iti 78 DhÄtusosaį¹sandana
KN Iti 79 ParihÄna
TikanipÄta Catuttha Vagga
KN Iti 80 VitakkaKN Iti 81 SakkÄra
KN Iti 82 Devasadda
KN Iti 83 PaƱcapubbanimitta
KN Iti 84 Bahujanahita
KN Iti 85 AsubhÄnupassÄ«
KN Iti 86 DhammÄnudhammapaį¹ipanna
KN Iti 87 Andhakaraį¹a
KN Iti 88 AntarÄmala
KN Iti 89 Devadatta
TikanipÄta PaƱcama Vagga
KN Iti 90 AggappasÄda KN Iti 87 AN 4.34*, AN 5.32*KN Iti 91 JÄ«vika
KN Iti 92 Saį¹ ghÄį¹ikaį¹į¹a
KN Iti 93 Aggi
KN Iti 94 Upaparikkha
KN Iti 95 KÄmÅ«papatti
KN Iti 96 KÄmayoga
KN Iti 97 KalyÄį¹asÄ«la
KN Iti 98 DÄna
KN Iti 99 Tevijja
CatukkanipÄta Paį¹hama Vagga
KN Iti 100 BrÄhmaį¹adhamma-yÄga: Buddha shares his Dharma to heirs with open handsKN Iti 101 Su-labha: easy to gain: monk is contented with 4 requisites
KN Iti 102 Äsava-k-khaya: asinine-inclinations-killed
KN Iti 103 Samaį¹a-brÄhmaį¹a: contemplatives & brahmans: they're not real unless they penetrate 4nt noble truths. See also: (identical) SN 56:22; Sn 3:12
KN Iti 104 SÄ«la-sampanna: (in) virtue-(they are)-successful. šShares passage with SN 46.3 , without the explicit pa-mojja
KN Iti 105 Taį¹h-uppÄda: Craving's-arising: craving for such things as clothes, lodgings, foods, leads to rebirth in samsara. See also: AN 4:9; AN 4:28; Sn 3:12
KN Iti 106 Sa-brahmaka: with-Brahma: children should honor and respect parents, teacher, this is like living with the Deity Brahma. See also: AN 2:31—32; AN 4:63
KN Iti 107 Bahu-kÄra: very-helpful. Mutual dependence between monks and laity. They offer requisites, monks teach Dhamma.
KN Iti 108 Kuha: deceitful: any monks who are deceitful, stubborn, talkers, frauds, arrogant, & uncentered are not followers of mine. They have turned away from this Dhamma-&-Vinaya.
KN Iti 109 NadÄ«-sota: rivers & streams: simile of river, whirlpool for 5niv hindrances. Even if it’s with pain, you should abandon sensual desires. See also AN 7:48 and AN 10:13.
KN Iti 110 Cara: walking: (same as AN 4.11) in all 4 postures, one works on attaining first jhana by overcoming the 3 vitakkas corresponding to the 3 wrong sankappa (right resolves).
KN Iti 111 Sampanna-sīla: successful in virtue: (same as AN 4.12) doing jhanas in all 4 postures. It's definitely 4 jhanas, when it has samadhi, ekaggata, passadhi, sati, viriya.
KN Iti 112 Loka: world: (same as AN 4:23) Buddha describes extent of his awakening thoroughly. See also: MN 72; MN 140; MN 146; AN 4:24; AN 10:81; §63; Sn 5:6
į¹¬hÄnissaro Bhikkhu KN Iti Introduction
(š¤ 9m) THE ITIVUTTAKA, a collection of 112 short discourses, takes its name from the statement at the beginning of each of its discourses: this (iti) was said (vuttaį¹) by the Blessed One. The collection as a whole is attributed to a laywoman named KhujjuttarÄ, who worked in the palace of King Udena of KosambÄ« as a servant to one of his queens, SÄmÄvati. Because the Queen could not leave the palace to hear the Buddha’s discourses, KhujjuttarÄ went in her place, memorized what the Buddha said, and then returned to the palace to teach the Queen and her 500 ladies-in-waiting. For her efforts, the Buddha cited KhujjuttarÄ as the foremost of his laywomen disciples in terms of her learning. She was also an effective teacher: when the inner apartments of the palace later burned down, killing the Queen and her entourage, the Buddha commented (in UdÄna 7:10) that all of the women had reached at least the first stage of awakening.The name of the Itivuttaka is included in the standard early list of the nine divisions of the Buddha’s teachings–a list that predates the organization of the Pali Canon as we now know it. It’s impossible to determine, though, the extent to which the extant Pali Itivuttaka corresponds to the Itivuttaka mentioned in that list. The Chinese canon contains a translation of an Itivuttaka, attributed to HsĆ¼an-tsang, that strongly resembles the text of the Pali Itivuttaka, the major difference being that parts of the Group of Threes and all of the Group of Fours in the Pali are missing in HsĆ¼an-tsang’s translation. Either these parts were later additions to the text that found their way into the Pali but not into the Sanskrit version translated by HsĆ¼an-tsang, or the Sanskrit text was incomplete, or HsĆ¼an-tsang’s translation–which dates from the last months of his life–was left unfinished.
The extant Pali Itivuttaka is composed of 112 itivuttakas (to distinguish between individual itivuttakas and the collection as a whole, the standard practice is to capitalize the latter and not the former.) The collection is organized into four groups, according to the number of items treated in each itivuttaka. Thus the Group of Ones contains itivuttakas treating one item; the Group of Twos, those treating two items, and so on up to four. In this way, the Itivuttaka resembles the Aį¹ guttara NikÄya in its method of organization.
And the resemblance goes beyond that. Many of the suttas in the Aį¹ guttara are composed of a prose passage followed by a verse summary of what’s given in the prose. This was apparently one of the Buddha’s techniques for helping his listeners remember his message. In the Itivuttaka, all of the passages follow this pattern: a prose passage, spoken by the Buddha to the monks, followed by a verse, also attributed to the Buddha, summarizing the prose passage. However, more often than not, the verses in the itivuttakas add extra information not covered in the prose. In most cases, the extra information is fairly minor, but in a few (such as §63), it’s quite extensive. Because the prose passages are, in many instances, extremely short, this raises the question of whether they report entire discourses or simply gives the gist of those discourses. If just the gist, then perhaps the added information in the verse was actually treated in the full prose of the original discourse.
More than any other collection in the Canon, the Itivuttaka gives a sense of the Buddha’s ability to recycle his material when composing verses. In some cases, entire verses are repeated (e.g., §15 and §105); in others, a verse composed on one topic is fitted to another topic simply with the change of a word or two (e.g., §§1-6). In still others, repeated cadences and lines help to round out verses on a variety of topics (§§52, 54, 56). Although this tendency may seem to indicate a lack of originality, it is not a flaw. It eases the task of listeners trying to memorize blocks of material, and points out parallels between subjects that otherwise might not be clear.
In terms of style, the Itivuttaka differs from its neighbors in the Khuddaka NikÄya–such as the Dhammapada and UdÄna–in being less obviously shaped by literary considerations. Most of the prose and verse passages are straightforwardly didactic, and so the collection as a whole does not convey a strong literary “savor” (rasa), the aesthetic experience of an emotion that people in ancient India sought in literary works. However, the collection does contain occasional traces of a literary sensibility.
As an overall organizing principle, the final itivuttaka in each of the four groups conveys the astounding savor: the aesthetic experience conveyed by the portrayal of something astonishing. The Group of Ones ends with a passage (§27) on how good will for all beings is a victory excelling the victories of all the kings of the past; the Group of Twos ends with a passage (§49) on the Arahant’s paradoxical avoidance of both becoming and non-becoming in mastering the path to awakening. The Group of Threes ends with a celebration (§99) of the Arahant as the true brahman; and the Group of Fours ends with an even more elaborate celebration (§112) of the many amazing qualities of the Buddha himself. In this way, even though the majority of passages in each group are not literary, the experience of reading (or listening to) each group ends on an aesthetically satisfying note.
Along the way, there enough poetic figures to maintain interest with touches of aesthetic savor. Although some of these figures, such as alliteration, are hard to convey in translation, others survive the rendering from Pali into English. The most prominent figures are similes (§§27, 38, 60, 69, 74, 75, 76, 78, 82, 87, 89, 91, 92) and metaphors (§§38, 46, 57, 58, 59, 62, 68, 93, 96, 112), including one complete metaphor (§109). Another figure used is the lamp: a poetic figure in which one word, such as an adjective or a verb, functions in two or more different clauses or sentences. The name of this figure comes from the image of the different clauses or sentences “radiating” from the one word. Examples of lamps in the Itivuttaka are in §§27, 87, and 92. Other figures include narratives (§§22, 83, 89) distinctions (§§27, 112), etymologies (§112), an illustration (§92), a rhetorical question (§98), and praise (§§106, 107, 112). These figures provide a variety of aesthetic savors, although the military similes and metaphors (§§27, 46, 62, 67, 68, 69, 82), along with distinctions and praise, make the heroic savor dominant. Because, in the aesthetic, tradition of the time, the heroic savor is supposed to shade into the astounding savor at the end of a work, this harmonizes with the overall organization of each group, noted above. Thus, even though the Itivuttaka is not a blatantly literary work, there is at least some aesthetic unity to the collection as a whole.
In terms of content, the itivuttakas cover the full range of Buddhist practice, with an emphasis on the very basic and very advanced stages. On the basic levels, the texts focus on the distinction between skillful and unskillful behavior. On the advanced, they treat such subtle topics as the role of becoming on the path (§49), the different aspects of Unbinding (§44), and the fact that an Arahant, having abandoned the All (§66; §68) cannot be classified in any way (§63; §69). In fact, many of the discussions about these more advanced points of the practice are found nowhere else in the Canon. If they had not been memorized, our knowledge of the Buddha’s teachings would have been severely impoverished. Like Queen SÄmÄvati and her entourage, we are in KhujjuttarÄ’s debt.
Misc.
jhÄna mentioned in 7 suttas
(but 4 jhÄnas are never taught, just jhana)
https://notesonthedhamma.blogspot.com/2019/09/kn-iti-all-references-to-jhana-7.html
ÄtÄpÄ«suttaį¹ (KN 4.34), with ardency and jhana, capable of nirvana. implies, without that, not capable.
paį¹isallÄnasuttaį¹ (KN 4.45) buddha describes himself as always trying to be in jhana, samadhi, linked to retreat/patisallana
sikkhÄnisaį¹sasuttaį¹ (KN 4.46) monks always should be in samadhi and jhana
jÄgariyasuttaį¹ (KN 4.47), obtaining jhana necessary for nirvana
dhÄtusosaį¹sandanasuttaį¹ (KN 4.78), in verse, passing mention of noble ones in jhana
sakkÄrasuttaį¹ (KN 4.81) monks always in samadhi in jhana, even on almsround
bahukÄrasuttaį¹ (KN 4.107), in verse, passing mention of arahant in jhana
every vitakka reference in KN Iti (6 suttas)
https://notesonthedhamma.blogspot.com/2019/09/every-vitakka-in-suttas-kn-iti.html
6 suttas in KN Iti
KN Iti 38 vitakka
KN Iti 80 vitakka: thought: abandon thoughts connected to household
KN Iti 85 a-subh-ÄnupassÄ«: non-beautiful-conemplation
KN Iti 86 dhamm-Änu-dhamma-paį¹ipanna: proper practice
KN Iti 87 andhakaraį¹a
KN Iti 110 (same as AN 4.11) cara: walking (vitakka in various postures)
