ภาคภาษาอ งกฤษ. 41. Dr.Dipati ( ).indd /4/ :05:39

Transcription

1 ภาคภาษาอ งกฤษ 41. Dr.Dipati ( ).indd /4/ :05:39

2 ภาพก จกรรมส มมนาพ ทธศาสตรบ ณฑ ต ๔ ภาค 41. Dr.Dipati ( ).indd /4/ :05:42

3 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 1 Abstract Assoc. Prof. Dr. Dipti Visuddhangkoon Mahachulalongkornrajavidyalya University The sermon text can be regarded as a literary text that is comprised of distinct compositional form, meticulously selected diction and unique thematic content. The core essence of the Vessantara Jataka, known as Mahachat Sermon and used in thet laeh or sung-sermon form, lies in revealing the selfless character of the bodhisattva the epitome of compassion, charity and self-sacrifice. This sermon is deployed by practitioner monks as a tool for stimulating the mind of lay devotees to listen to the story with devotional attentiveness and then apply its moral values in day to day life. In order to delineate the story well and render the narration effective, practitioner monks have played a major role in devising different techniques, one of which is using figures of speech. From a close textual and thematic analysis of the text Phimpha Laeh Mahachat 13 Kantha (Samnuan Isan) composed in the Isan language by the highly acclaimed sung-sermon practitioner monk, Venerable Phrakhru Sutasarapimol (Phramaha Phimpha Dhammadino), it has been found that figures of speech are profusely used in the narration of the entire story. In this paper we examine them by citing examples from the original text in English translation. All the figures of speech that are used have a reinforcing effect on the narration of the story. Providing emphasis, freshness of expression, vividness and conceptual clarity, the use of figures of speech has rendered great vitality to the story and has positively affected the proliferation, preservation and continuation of the tradition of the Mahachat sermon as a whole. 1 This paper is part of the research project A critical study of the Mahachat Sung-sermon from Isan. The paper in its present simplified version is used as recommended reading for the undergraduate course on Introduction to Literature. 41. Dr.Dipati ( ).indd /4/ :05:42

4 520 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ INTRODUCTION The sermon text can be regarded as a literary text that comprises such pure literary elements as compositional form, art of using language and content. Here we shall analyse the composite literary elements in the Isan version of Vessantara Jataka 2 known as Mahachat Sermon as used in thet laeh 3 or sung-sermon form. The analysis will focus on the different figures of speech used in the text. The Isan Mahachat Sermon has been composed by many sung-sermon practitioner monks, both in the lyric and prosaic forms. We have used the text Phimpha Laeh Mahachat 13 Kantha (Isan version) พ มพา แหล มหาชาต ๑๓ ก ณฑ (ส ำนวนอ สาน) 4, which is in the lyric form, for analysis. 2 Of the 550 Buddhist stories (Jatakas) illustrating the previous lives of the Buddha, the Vessantara Jataka known as Mahachat in Thai (meaning Great Birth) is the most popular in Thailand and has since long been delineated in both poetry and pictorial arts. In the Mahachat sermon, the core action is Prince Vessantara s perfection of the meritorious act of charity or dana, which began with his generous act of donating the magical rain-giving white elephant to the drought-stricken denizens of the city of Kalinga, an act that outraged his own subjects and resulted in his banishment from the kingdom by his father, King Sanjaya. His exile expedited the next phase of generous acts that unrolled initially with whole-hearted donation of all his earthly and palatial belongings to suppliants from every stratum of society and eventually culminated with the giving away of his two little beloved children to the glutton Brahmin Chuchok and his wife to the deity Indra, disguised as a human. This particular Jataka tale which represents the penultimate birth of the Buddha as the Bodhisattva, before being finally born as Gotama Buddha, is extremely popular all throughout Thailand. In Isan, or North-east Thailand monks who have a high ranging voice train themselves to delineate the entire story (in 13 sections) in a unique recital style infused with distinct rhythms. As performer-narrators, sung-sermon practitioner monks follow the story along each of the thirteen sections known as kantha that totals to one thousand verses or katha expanding over time and space. 3 Thet Laeh is a form of applied sermon in which some sort of rhythm is used during actual delivering of the sermon and so in English we have named it sung-sermon in order to distinguish it from other sermons that are delivered mostly in a non-rhythmic recital form. Details of the origin of Thet Laeh can be found in the research monograph A critical study of the Buddhist Sung-sermon from Isan by the present writer. 4 Dhammadino, Phimpha. (2005). Phimpha Laeh Mahachat 13 Kantha (Isan version) พ มพา แหล มหาชาต ๑๓ ก ณฑ (ส ำนวนอ สาน), Khonkaen: Klangnanatham Company, Ltd. 41. Dr.Dipati ( ).indd /4/ :05:42

5 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 521 Figure of speech is the use of a word that diverges from its normal meaning, or phrase with a specialized meaning not based on the literal meaning of the words in it. Figures of speech often provide emphasis, freshness of expression, or clarity. Many different types of figures of speech, both of the tropes type i.e. related to general meaning of words such as simile, metaphor, hyperbole, paradox, proverb, didactic interpolation, irony, symbol, imagery, foreshadowing, satire, and pathos; and schemes type i.e. related to form or shape such as alliteration, assonance, internal rhyme, and onomatopoeia, are found in the text. We shall examine each of these in brief citing examples from the original text in translation. 5 The English translation is aimed at facilitating easy comprehension; however, no attempt is being made to present the translation in rhyme form. Each line of verse in the original Isan text contains nine or eleven syllables or words four, five or six words in the first halfline (hemistich) and five or six words in the second half-line. The half lines on the page are written with space in between, so is the spacing in the translated version although the actual number of syllables could not be maintained in exactitude since Isan and English are structurally very different. SIMILE In a simile a comparison between two distinctly different things is indicated by the word like or as. There are numerous similes in the text most of which are used to depict the feminine beauty as personified in the character of Phusati, the celestial consort of the deity Indra, who upon reaching the end of her meritorious deeds, descends to the earthly realm to be born as the mother of the Boddhisatva Vessantara, the future Buddha. The similes are associated with the delineation of sensuousness 5 Although a monosyllabic language, the acoustic tonal beauty of Isan is aesthetically well expressed during an actual rhythmic recital session of the Mahachat sermon by any expert sung-sermon practitioner monk. I regret my inability to capture the beauty of the language in my translation. It will require years of dedicated effort and I have miles and miles to traverse before I could reach that goal. 41. Dr.Dipati ( ).indd /4/ :05:42

6 522 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ and human physical perfections which is believed to have roots in kammic perfection. The newborn baby of Pusati inherits her physical perfection as depicted in one of the quotes below. It is to be noted that the use of similes stirs the imagination and thus helps in creating beautiful images in the mind of the reader or listener, but the most important point is that the similes help bring forth a contrastive picture, for despite all her grace and beauty a celestial maiden had to face the consequence of her volitional deeds and no devine intervention could prevent or change the course of her actions. All her consort could do was to endow her with the ten devine blessings. When one realizes this point one would have no desire to lavish in the sensuality expressed through the similes and would rather commiserate with any folly, whether human or divine, that can bring an end to good kammic existence. Below are a few examples from section one and two of the text. The second blessing May she possess superb beauty her eyeballs dark blue Like the eye of the deer the cornea of her eyes never be turbid (Sec. I. lines 39-40, p. 6) Third blessing Let her eyebrows be arched just like the bow (Sec. I. line 43, p. 6) Seventh blessing May her breasts be splendid perpetually like a flower in bud (Sec. I. line 59, p. 7) Eight blessing Her coiffure black and neat like the wings of carpenter bee (Sec. I. line 63, p. 7) Superb child pretty as though painted Spotless beauty bore no mark of dirt as if moulded clean in an oven Hair pitch black resembling the spirogyra possessor of great merits METAPHOR (Sec. II. lines 24-26, p. 13) In a metaphor a word which in standard (or literal) usage denotes one kind of thing, quality, or action is applied to another, in the form of a statement of identity instead of comparison. Most metaphors in the text are associated with the depiction of parental, filial as well as spousal relationship. A few metaphors are also used to 41. Dr.Dipati ( ).indd /4/ :05:43

7 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 523 depict the upheavals of life in the context of which existence is stated as the ocean (of suffering). The two children are the eyes and the heart (Sec. XII. lines 34, p. 119) Two little gems mother has come where thou both are (Sec. IX. lines 31, p. 83) Green, so green is the cotton leaf dead in the midst of the forest O the moon, the moon up in the sky so distant is my beloved from me (Sec. IX. Part II lines 42-43, p. 94) Make good deeds until tired next life would assist to cross over the ocean (Sec. II. lines 40, p. 14) HYPERBOLE The figure of speech called hyperbole (Greek for overshooting ) is bold overstatement, or extravagant exaggeration of fact, used either for serious or comic effect. In the Mahachat sermon text, hyperbole is used for serious and not comic effect, especially to draw attention to the act of merit-accumulation that involves diligent effort over a vast stretch of time. Similar to the implied meaning of the English proverb Rome was not built in a day, merits cannot be accrued without consistency and lack of effort. There is no short-cut, no play of any unseen force or luck, no miraculous way leading to the accumulation of merits. Merits need to be built up consistently, continuously and with diligence as the life of the Bodhisattva illustrates and as vividly depicted in the following instance of hyperbole. People surrounded swarmed in to view the newborn Appropriate are the merits accumulated a thousand eons of time span Reckoned a merit treasury enormous and bountiful Make good deeds until fully tired next life would assist to cross over the ocean Fulfill to the utmost build up tremendous power (Sec. II. lines 37-41, p. 13) PARADOX Paradox is the juxtaposition of apparently contradictory ideas to point out some underlying truths. While through the use of hyperbole the significance of the act of accumulation of merit is highlighted, the use of paradox throws light on the oppositional 41. Dr.Dipati ( ).indd /4/ :05:43

8 524 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ force of evil action as well as other paradoxical truths like the truth of being which is embedded in suffering (dukkha), impermanence (anicca), complexities, death and decay and the truth of truth that can be misconstrued. The Newtonian Law every action has an opposite and equal reaction may not hold true in the sphere of Buddhist Law of Kamma as the first of the following instance of paradox suggests. p. 94) PROVERB This is it accrue goodness more than a hundred thousand times An evil action done just once can destroy all goodness (Sec. II. lines 73-74, p. 16) Why this world has such difference in thinking As is said sees the evil as good Different mind different opinion differ in hundred thousand ways (Sec. II. lines 78-80, p. 16) Green, so green is the cotton leaf dead in the midst of the forest (Sec. IX. Part II lines 42-43, Flee from the tiger to land at the crocodile s jaw fortune or misfortune damn it When the dog is chased to the cul-de-sac fears it not to confront in self-defense (Sec. VII. lines 28-29, p ) A proverb is a succinct or pithy expression of what is commonly observed and believed to be true. Proverbs are interspersed all throughout the text. Most proverbs are centered upon the concept of Kamma and the three characteristics of existence (tilakhana) that Buddhism emphasizes, namely, impermanence (anicca), suffering (dukkha) and non-self (anatta). 17) This is it accrue goodness more than a hundred thousand times An evil action done just once can destroy all goodness (Sec. II. lines 73-74, p. 16) Everything depends on individual action O dear acted upon differently (Sec. II. line 98, p. All actions in this life encountered through and through from the start Every home doth receive whether in slow pace or variance The wise have said so Whosoever is born beget senility, pain and death Be it man or woman each will come upon his or her portion of kamma all the same (Sec. III. lines 49-52, p. 24) 41. Dr.Dipati ( ).indd /4/ :05:43

9 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 525 The results of our actions that have reached us will come to an end soon (Sec. VIII. lines 189, p. 73) Accidentally encounter the common condition of the world Happiness and sorrow comes in tandem just think of it (Sec. XII. lines 27-28, p. 119) DIDACTIC INTERPOLATION Closely related to proverbs are numerous didactic interpolations interspersed throughout the Mahachat sermon text. The reason why we have categorized proverbs and didactic interpolations separately is that proverbs hold universal truths the same as didactic interpolation, but there is no direct emphasis on the practice of these truths. Whereas in didactic interpolations this emphasis is obvious and the Mahachat sung-sermon practitioner monks would devote enough time in the course of delivering the sermon to clarify and repetitiously stress them so as to inspire and encourage the laity to put into real practice in life. The repeated words and phrases in the original Isan version are maintained in our translation below. All listeners, brethren dear father and mother reflect upon this Consider deeply about charity all generous deeds you have done Did you gain mental benefits from them I welcome you to introspect it Have your meritorious acts made you happy smile and happy always Observe it see it when you donate and distribute Your mind becomes delightful beget felicity through and through Whenever you donate it is a great benefit Meritorious action is reckoned thus welcome you to continue the effort Accumulate merit gradually little by little it will increase When you die this shall be your asset gain great merits Everyone has to die nobody can live forever All beings in the vast world none can escape from death But when you transmigrate to another realm Everything would depend on your action good and bad all depends on your action solely Whoever has done good deeds has goodness accumulated When dead these actions will lead to heaven ascend to heaven and reside there Who ever has done evil deeds these actions will let you Fall into hell full of suffering and lamentation All virtuous people men and women engage in generous action 41. Dr.Dipati ( ).indd /4/ :05:44

10 526 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ Accumulate morality and generosity the reward you gain is certain Accrue good deeds there would be no suffering the world will extol in your praise Welcome you all do good people will admire you Deviate from all evil actions it will reduce your value Make you devoid of value in yourself only good and evil exist in this world All other animals like herds of cattle And herds of elephants All decay and decompose but their skin tusks bones Still have some value can be sold and bought When people die all s over just cremate the body Nothing remains that could be sold or bought Like the poetry that has taught Thai poet has ever composed I leave this to you all laity for you to consider and reflect upon Bull, oxen, buffalo, elephant that are old and unworthy of any work Their tusks, horns still bear importance and value in body But when humans die the whole body is valueless Only good and evil actions persist to adorn the world. The entire human populace when dead and decomposed Goodness and evil still exist permanent in essence Offer this message to each of you read and investigate this poetic truth (Sec. I. lines , pp. 8-10) Do good leaving behind its trace regardless of whether praised or not Heaping up of evil if praised as good pay no heed to it (Sec. II. lines 83-84, p. 16) Endure, just endure until the end Veridically none can escape Do no bad action Let only the good manifest Make the mind empty O young beauty don t gripe one s own volitional action (Sec. IV. lines 50-51, p. 32) all kinds of evil and merit be accumulated resplendent bright and pure (Sec. X. lines 15-20, pp ) IRONY Irony is a mode of speech in which the real meaning is exactly the opposite of that which is literally conveyed. Irony plays a crucial role in the Mahachat Sermon text. Ironies function at various levels situational, dramatic and verbal. 41. Dr.Dipati ( ).indd /4/ :05:44

11 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 527 Situational irony This is when the author creates a surprise that is the perfect opposite of what one would expect, often creating either humor or an eerie feeling. In the illustration below the truth of power politics and victimization in real life situation is being stressed in an ironical manner. In the instance of a wise man deceiving a foolish man the irony is not just superficially suggested about the folly of the foolish, but the wisdom of the wise for it can lead to such a mean action as deceit. The clever raises his victorious thumb the virtuous country buffoon while the fools fall victim to him is worth not the city elite (Sec. VI. lines 80-81, p. 54) Dramatic Irony is when the reader/listener knows something important about the story that one or more characters in the story do not know. For example, in the Matsi section, the drama comes from the fact that the listeners/readers know that the royal offsprings, Kanha and Chali were given away as slaves to the glutton Chuchok by their father Vessantara during the day time when their mother Masti went to collect fruits in the forest. By divine intervention three animals hindered Masti and prevented her from returning home on that crucial moment in the life of the Bodhisatva when he perfects the penultimate stage in the process of fulfillment of the perfection of dana. The trial was set in when the time arrived for giving away his own children. But the mother was quite ignorant of the tragic event of the day, so when she reached home very late in the evening, she at first thought that her children were hiding. She incessantly looked for them everywhere before eventually growing frantic and panicky failing to find them. If the listeners/readers were as oblivious as Masti, there would be virtually no point to the story and they would not commiserate with her pathetic plight and perhaps even would not understand the circumstantial difficulties that crossed the path of the Bodhisattva in his endeavour to achieve complete fulfillment of the perfection of dana or charity. 41. Dr.Dipati ( ).indd /4/ :05:44

12 528 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ When the sun set Two little gems She wondered about her children Every evening she goes to fetch them Right and left Which ever way she turned Tired and lonely When she reached the fence Then looked around Do not be kidding at me She tried to seek Walking to and fro Sad and depressed Could the children be kidding she arrived home mother has come where thou both are where they could be from their playing ground in every direction she looked nothing but emptiness the heart throbbing she left her fruit basket there but it was all empty and quiet don t hide from me, dear children and call them she sought for them everywhere not even a shadow could be traced away from her in hiding? (Sec. IX. lines 31-45, pp ) Verbal Irony is when the narrator or a character says the opposite of what he actually means. Verbal irony helps accent the true feeling for/against the situation. For example, Vessantara trusted and loved his wife Matsi and so deliberately avoided disclosing the bitter truth of giving away the children as slaves to the greedy Brahmin. He feared that since she was already tired in the evening from the day s routine task of collecting fruits from the forest for her children, the sad news would mentally devastate her and so on her face he blamed and bitterly cursed her as being intentionally late in returning to the hermitage that evening. The readers/listeners know the truth that Matsi was hindered by ferocious animals on her way back home. Through the use of verbal irony (as expressed in the words of the Bodhisattva), sung-sermon monks depict the pathetic situation in resemblance to the life of an ordinary couple so as to arouse the feeling of sympathy for Matsi in the hearts of the listeners. Since it is easy to react and respond to familiar situations, most female listeners can instantly internalize the suffering of Masti as a mother, a wife and a woman. Her suffering at this particular situation is similar to any other woman confronting feminine subjugation and victimization within the institution of marriage. 41. Dr.Dipati ( ).indd /4/ :05:44

13 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 529 People say that women have many an artfulness to lure and deceit They do and utter many wiles If we know what they are up to showers of praises be gotten Today you did venture to the forest Sought no friend to accompany Who will agree with you when you are in the forest? You have forgotten your children and involved in promiscuous acts If I were the king as before I would have slit your throat to cause you die But now have come to build up merits and practice meditation So I do forgive you it s the first time for you to deviate Next time do not cry do not pretend You pretend to shed tears bringing forth saliva in your mouth as doth the ancient word presaged You ask about the kids who else but you yourself do know I know not about them don t you ever ask me You are shameless full of pretention and wiles That s the feminine desultory way sinuous wiles at various levels You related to many least sincere with any You have played a deceitful game flirting and deceiving many Don t tell a lie that you are ill and ask for chicken soup No pain no sickness who can help you If I seek you another spouse anew SYMBOL Your sickness will dissipate you will ask for no medication (Sec. IX. lines 57-79, pp ) A symbol is a word, picture, or idea that stands for something other than itself. It is used as an expressive way to depict an idea. The symbol generally conveys an emotional response far beyond what the word, idea, or image itself dictates. The following example shows the symbolic way of expressing conditional truths, especially about spousal loyalty and dependency. The lion flees from the mountain because the mountain has no cave, the fish flees the river for the river has no mud, a pupil flees from his teacher because 41. Dr.Dipati ( ).indd /4/ :05:44

14 530 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ the teacher lacks wisdom, the bird flees the tree because it has no branches and twigs, the elephant flees the forest because there s no rai and bong bamboo, the swan flees the pond because there blooms no lotus, a wife absconds her husband because he is incapable to support her. (Sec. IX. (Discourse form) p. 84) IMAGERY This is when the author invokes sensory details. Often, this is simply to draw a reader more deeply into a story by helping the reader visualize what is being described. However, imagery may also symbolize important ideas in a story. Like the imagery of a nightmare, barren landscape and ferocious animals obstructing Matsi all in the context of when she lost her two lovely children. FORESHADOWING or when the author drops clues about what is to come in a story, which builds tension and the reader s suspense has functional connection to the context in which the following imageries are introduced. Seven months ago in the pavilion happily resided the queen That night was the beginning the ominous dream presaging Sleepless and fidgeted worried until fatigued As the dawn crept in so errie a dream she dreamt What was it she knew no way to solve it Dreamt of a man who brandished a sword strong and sharp Wearing the red China rose on his ears, his sinewy muscles all raised So dreadfully terrific was it all as if the sinful evil nearing She begged for her life but cared he not the least Severed her two hands off instead with blood splattering all over (Sec. VIII. lines 6-16, p. 68) Feeble in body and hungry She looked around the rows of trees Walked to the deep Stepped towards the fruits Erstwhile laden with ripen fruits All disappeared Holding basket and spade Hoping to secure as though got a cramp and swooned with a heart so weak and fragile wide wild jungle the place where she ever sojourned verdure and prolific gone was everything from there sought yet another tree but turned utterly hopeless when she saw it 41. Dr.Dipati ( ).indd /4/ :05:45

15 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 531 Nothing eatable So pitiful a plight of Queen Masti all decay and rotten a broken heart and a pensive mood (Sec. VIII. lines 57-66, p. 71) SATIRE The use of satire comes in various forms such as irony, sarcasm, ridicule, or the like, in order to expose, denounce, or deride vice, folly, etc. Through satire human folly and vice are held up to scorn, derision, or ridicule as in the following example that illustrates the vice of gluttony through the character of the greedy old Brahmin named Chuchok, who takes away the two lovely children of the Bodhisattva to turn them into slaves serving his young and beautiful wife. But on his way back home from the forest hermitage, he loses the way and eventually arrives at the palace, where Prince Vessantara s parents recognize their grandchildren and lavish the old man with gifts of enormous treasures and delicious food. The greedy old man, however, fails to make use of any of the gifts and dies from overeating. He is looking back and forth, turning around; seeing many things to eat he laughs greedily. The naked old man hurries to take many pieces of fish into his mouth, then he takes a piece of bacon and then chicken into his mouth, he is really relishing and he continues to devour the fruits such as monkey apple, coconut and continues to drink up the soup from seven pots, after that the dessert and then water. When he finished he went to sleep on his bed but he could not move his belly and was at unease nearly dead, crying and moaning with suffering as if had been ill for years. (Sec. XI. (Discourse form) pp ) PATHOS In Greek pathos meant the passions, or deep feeling generally; in modern criticism, however, it is attributed to a scene or passage designed to evoke the feelings of tenderness, pity, or sympathetic sorrow from the audience. Within the context of the Vessantara story there are numerous scenes that depict pathetic universal situation 41. Dr.Dipati ( ).indd /4/ :05:45

16 532 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ such as a mother s sorrowful longing for her lost children, grandparents bemoaning over the loss of grandchildren, the suffering of innocent children at the hands of cruel and selfish people etc. Sung-sermon practitioner monks exploit pathos to a considerably great degree especially in rendering the section Masti. Masti so tired and hapless Sad and distressed she cried hopelessly When the evening set in darkness loomed all over The three animals disappeared making the way for her to go home In her hurry she tripped on a stone and tumbled In her mind she thought of only her two children They had waited for her for so long She walked just thinking of them sometimes in hurrying steps (Sec. IX. lines 23-30, p. 82) ALLITERATION Alliteration or samphat akson is the repetition of consonant sounds at the beginning of words, i.e. a series of words that begin with the same letter or sound alike. Alliteration is used to create emphasis, to add beauty to the writing style, and occasionally to aid in shaping the mood. Alliteration is used frequently in the text by Ven. Phrakhara Sutasavapimol or Ven. Ajarn Phimpha, the compocer of the fest. He often mixes identical initial consonants in a line, or verse, with other initials which are similar. This use of both same and similar initials in alliterative lines is part of the definition of alliteration provided by Viravong..words which use the same consonants or which have sounds which are very much alike placed next to each other in a row within one line. 6 This definition as observed by Carol J. Compton 7 specifically limits alliteration to position of occurrence. Yet alliteration can be found both within lines and across lines in our material. 6 Viravong, Sila, Santhalaksana waiyaakon lao phaak si, (Vientianne: Ministry of Education, 1970), p Compton, J. Carol, Courting Poetry in Laos: A Textual and Linguistic Analysis, Special Report No. 18, (Northern Illinois University, 1979), p Dr.Dipati ( ).indd /4/ :05:45

17 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 533 Alliteration within a line: เท ยมด งป นแปลงป น สาวสวรรค ก ำเก ง เป งประเทศเขตแคว น แดนใต กะซ าเซ ง Thiam-dung-poon-plaeng-pun sao-sawan-kam-kaerng Perng-pra-thaet-khaet-khwaen daen-tai-ka-cha-chaeng Likened to the creation of celestial maidens The entire country far and near ceaselessly talked about her (Sec. II. lines 7-8, p.12) จ งว าค วคาดโค ง งามโก กล อมก น Jung-wa-khieu-khad-khong ngam-ko-klom-kan Eyebrows so well arched splendidly proportionate all over (Sec. II. line 12, p.12) ล อกแล กแล น ลมล นเล อนไหล Lok-laek-laen lom-lin-luean-lai Furtively run about muttering flirtatious words (Sec. X. line 74, p. 85) Alliteration across adjacent lines: เท ยมด งป นแปลงป น สาวสวรรค ก ำเก ง เป งประเทศเขตแคว น แดนใต กะซ าเซ ง Thiam-dung-poon-pleng-pun sao-sawan-kam-kaerng Perng-phra-thaet-khaet-khuean daen-tai-ka-cha-chaeng Likened to the creation of celestial maidens The entire country far and near ceaselessly talked about her (Sec. II. line 7-8, P.12) งามด งเด อนว นเพ ญ เล ศว ไลในหล า สองดวงตางามเย ยม องค พระภ คาดโก ง Ngam-dung-dieun-wan-phen lers-wi-lai-nai-la Song-duang-ta-ngam-yiam ong-phra-phu-khad-khong Beautiful as the full moon superbly gorgeous in the entire world Her two eyes full of glowing beauty eyelids well curved (Sec. II. lines 10-11, P.12) ASSONANCE Assonance or samphat sara is the repetition of vowel sounds, most commonly within a short passage of verse. For the most part, the assonance in our material is found within lines: occasionally it may also be found across adjacent lines. 41. Dr.Dipati ( ).indd /4/ :05:45

18 534 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ Assonance within lines: บ นสลนเสล อกล ม โซมโซ โกงโกย Buen-salon-saluea-klom chom-cho-kong-koi Push ahead in a vain attempt physically decrepit and tiring (Sec. VII. line 67, p. 61) ล อกแล กแล น ลมล นเล อนไหล Lok-laek-laen lom-lin-luean-lai Furtively run about muttering flirtatious words (Sec. X. line 74, p. 85) Assonance and alliteration may not only be found in individual lines, but often they are used together within the same line. เถาว ลย เก ยว เกล ยวยอยย อยหย อน เป นมะหล งต งต อน ยวมย วท วแดน Thaowol-kiaew kliaew-yoi-yoi-yon Pen-ma-ling-ting-ton yuom-yuao-thua-daen The vine its strands and hanging branches swinging Creeping up and down dangling all over (Sec. VII. line 84, p ) 63) ส ตว ในดงแดนน หม ม ชะน ป า ท งง วควายช างม า หมาเม นม งเมย Sat-nai-dong-daen-nii moo-mii-cha-nii-paa Thang-ngua-khuwai-chang- maa ma-men-mung-maeu Animals in this territory swine, gibbon Even cow, buffalo, elephant, horse, dog, porcupine, deer abound (Sec. VII. lines , p. ONOMATOPOEIA Onomatopoeic words sound like their meaning. Although onomatopoeic words can be found throughout the text, the greatest number is used in the eleventh section entitled Maharaja to match with the scene in which the royal procession takes places. In the end of the Maharaja section, King Sanjay and Queen Pusati of Siphi along with the royal grandchildren and hundreds and thousands of royal escorts, courtiers and devoted subjects march in a procession to receive Prince Vessantara and his royal consort Masti at their forest hermitage in order to welcome them back to the kingdom. The onomatopoeic words depict the sounds of different musical instruments like 41. Dr.Dipati ( ).indd /4/ :05:46

19 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 535 the beating of the giant drum หม ง ๆ (mung mung), ฆ อง (khong) and the sound of the footsteps of hundreds of people marching forward in unison ยาบ ๆ (yub yub) เย อง (yiang), ยาบ ๆ (yub yub) ย วย (yuoi) เพ ยบ ๆ (phiyab phiyab) เพ ยง (phiyang). The sound of each onomatopoeic word resonating with other rhyming words (alliteration and assonance) that form external and internal rhymes, create an extremely colourful picture, the effect of which remains for long in the mind of the listeners. CONCLUDING REMARKS All the figures of speech that have been discussed here have a reinforcing effect on the narration of the story. The core essence of the Mahachat sermon lies in revealing the selfless character of the bodhisattva, who is the epitome of compassion, charity and self-sacrifice. This sermon is used by practitioner monks as an instructive tool to encourage and inspire the lay devotees to listen to the story with devotional attentiveness and then apply its moral values loving-kindness, compassion, generosity, charity, self-sacrifice, honesty, moral courage and determination into real life situation and practice. In order to delineate the story well and render the narration effective, practitioner monks have played a major role in devising different techniques, one of which is using figurative language. The use of such language has rendered great vitality to the story and has positively affected the proliferation, preservation and continuation of the tradition of the Mahachat sermon as a whole. The Mahachat sermon text is rich in both religious and linguistic information. Its religious significance is clear from the fact that it provides the foundational base of moral perfection, epitomized in the character of the Bodhisattva. The text provides innumerable examples of proverbs and didactic messages that listeners can reflect upon and bring into practice in day to day life in order to accumulate merit and enrich their lives in spiritual terms. In order that all Buddhists have a chance to internalize the real value of perfecting generosity through a direct access to the sermon, the crucial role that Mahachat sung-sermon practitioner monks play in preserving this oral narrative 41. Dr.Dipati ( ).indd /4/ :05:46

20 536 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ tradition is to be recognized. 8 Without the practitioner monks concerted effort this oral narrative will not survive. Likewise, parents, teachers, elders ought to inculcate an interest in the younger generation to listen to the sermon with attention and mindfulness so that they would not bypass it as a mere part of their culture. The fact that there are great lessons embedded in the sermon text has to be emphasized and reiterated time and again. This is because from various interactive sessions that the researcher had with teenagers and adolescents, she discovered that they are least interested in the sermon. Not only does the younger generation fail to recognize the richness of this particular aspect of Isan Buddhist tradition, a huge chunk of the urban and rural teenage population is totally illiterate in comprehension of the sermon text which is preserved in the Isan dialect. Therefore, it is advisable that one interprets the Mahachat sermon text both from the religious as well as secular perspective. The secular approach will help us understand and appreciate the richness of the text in linguistic and cultural terms. To the youngsters, who are not so religiously-oriented these days, the secular approach can help inculcate a sense of interest in the sermon text vis-à-vis the indigenous literary heritage and can eventually lead to the cultivation of pride and analytical understanding of the uniqueness of Isan s socio-cultural identity. The Isan Mahachat sermon text provides very good examples of the poetic usage of the Isan language. The text can be used for analysis in a Thai, Isan, Lao or English literature class to instill interests in students in interpreting religious literature from a secular perspective so as to understand the role of such literature in the context of folk culture and tradition. Mahachat sermon is an integral part of Thai-Isan Buddhist oral narrative tradition. And a literary interpretation will definitely enhance our 8 During many interview-sessions monks have informed me that there is no governmental support in recognition of their preservation of the Mahachat sermon as an oral narrative. Their main source of inspirational and financial support comes from the lay devotees who formally invite them to the annual Boonphavet ceremony. 41. Dr.Dipati ( ).indd /4/ :05:46

21 An analysis of figurative language in the Isan Mahachat Sung-Sermon (Thet Laeh) 537 understanding of this crucial point. Linguistic analysis of different versions of the Isan Mahachat sermon can further enrich our understanding of Isan as an evolving language, both in its archaic beauty and contemporary usage. Moreover, translation of different versions of the Isan Mahachat sermon texts can help proliferate the richness of Isan literary tradition alongside the propagation of core Buddhist values such as compassion, generosity, self-sacrifice, selflessness, endurance that are embedded in the text. In the course of our research documentation of actual Mahachat sung-sermon sessions, we have observed that the rendition of the story varies in style and rhythm among practitioner monks in Northeast Thailand, as for instance, Khonkaen and Roiet practitioner monks use the Isan dialect predominantly and the indigenous rhythms such as lomphadphraow, changthiammae, katenkon 9 whereas, practitioner monks from Surin and Sisaket infuse Khmer words and rhythmic style in the narration of the story. Comparative study can thus be made of linguistic and stylistic approaches of central Isan and southern Isan practitioner monks. The richness in the narration of 9 The many different rhythms that have evolved over time represent stylistic features that are unique of the Isan Mahachat sermon. The most common style of rhythm used in the delivery of sung-sermon is Thamnong-nai-phuk-nai-mud, literally translated into English as tying-wrapping rhythm. It is the principal rhythm used by monks while chanting from manuscripts. It has the compositional characteristic of Rai, a traditional form of Isan verse. It is probable that this original rhythm has branched off with subtle variations at different localities throughout the northeastern region. Today, a practitioner monk may master any one of the following three styles or all three depending on the locale, individual choice, ability and training. i) Thamnong Lomphad Phrao a rhythm that resembles the drifting of coconut palm fronds in the breeze. It is a slow kind of rhythm requiring alternate strong and weak or mild voice modulation similar to the effect of wind on coconut palm fronds. This rhythm is typical of Ubonracthathani province. ii) Thamnong Chang Thiem Mae a rhythm that resembles the movement of the elephant calf along the side of its mother. In this rhythm, the voice is alternately pressed and released but without complete release; sung at alternately high and low pitch but without producing the sound eei-eei. This rhythm is typical of Khonkaen and Chaiyaphum. iii) Thamnong Kaa Taen Kon a rhythm that resembles the movement of a crow along lumps of clay. In this rhythm the voice is rendered as slow and fast alternately similar to a crow s to and fro jumping, flying off, and landing movement around lumps of mud in the paddy field. This rhythm is typical of Roi-et province. 41. Dr.Dipati ( ).indd /4/ :05:46

22 538 สารน พนธ พ ทธศาสตรบ ณฑ ต ประจำาป ๒๕๕๙ the Mahachat sermon can be brought out by comparative studies of texts composed by monks from both sides of the Mekong as well. In order to analyze the similarities and differences in rendition, broad scale studies can also be done of the greater Mekong region comprising the Isan, Lao and Khmer Mahachat sermon versions so that the literary and linguistic uniqueness of each tradition can be highlighted from a comparative perspective. References Compton, J. Carol. Courting Poetry in Laos: A Textual and Linguistic Analysis, Special Report No. 18, Northern Illinois University, Dhammadino, Phimpha. Phimpha Laeh Mahachat 13 Kantha (Isan version) พ มพา แหล มหาชาต ๑๓ ก ณฑ (ส ำนวนอ สาน), Khonkaen: Klangnanatham Company, Ltd., Mahanta, Dipti. A Critical Study of the Mahachat Sung-sermon from Isan, Research Monograph. Bangkok: Buddhist Research Institute, Thammawat, Jaruwan. Characteristics of Isan Literature. Mahasarakham: Srinakharinvirot University, Viravong, Sila. Santhalaksana waiyaakon lao phaak si. Vientianne: Ministry of Education, Dr.Dipati ( ).indd /4/ :05:47