VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 407 ภาคว ชาการ/ภาษาอ งกฤษ
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1 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 407 ภาคว ชาการ/ภาษาอ งกฤษ
2 408 Buddhist Graduates Dissertation
3 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 409 Assistant Professor Dr. Dipti Mahanta Mahachulalongkornrajavidyalaya University, Khonkaen Campus The sermon text can be regarded as a literary text that comprises of such pure literary elements as compositional form, art of using language and content. In this chapter we will analyse the poetic elements in the Isan version of the Mahachat Sermon as used in thet laeh or sung-sermon form. 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 (สำนวน อ สาน) for analysis. Each line of verse in the Mahachat text composed by the reputed sungsermon practitioner monk, venerable Phrakhru Sutasarapimol (Phramaha Phimpha Dhammadino) contains nine or eleven syllables or words four, five or six words in the first half-line (hemistich) and five or six words in the second half-line. The half-lines on the page are written with space in between as seen in the following quote บ ดน เช ญฟ งเร อง มหาเวสน ชาดก ฉ นส บรรยายยก เทศนาจาซ อน
4 410 Buddhist Graduates Dissertation เป นคำกลอนอ สานแหล กระแสเส ยงสรรเสก ฝากเป นเอกล กษณ ไว ผ ฟ งได ฮ นตรอง ขอเช ญพวกพ น อง พ อและแม สาธ ชน เหม ดส คนท มาฟ ง ให จ อจำเอาไว ตอนพระโพธ ญาณไท ของเฮาเสวยชาต เป นมหาเวสน ท าน ได ทานสร างแต งก ศล บารม ล นล ม เต มเป ยมได บำเพ ญ น บว าเป นแนวทาง ได ย างตามงามล น จ งว าคนใดฮ กระทำตามครองฮ ต หวนรำล กน กไว คนน นประเสร ฐหลาย น หากเป นชาต ท าย ท ย งใหญ โพธ ส ตว Welcome now to listen to Maha Vessandon Jataka I will deliver the sermon In Isan rhythmic lyric with insertion of spoken words Preserve it as an identity for the listeners to reflect upon Welcome all kith and kin father and mother devotees All who have come to listen give it to you for remembering When the divine Bodhisattva Phra Bodhiyana of ours was born As Vessantara He gave donations for accruing good deeds He had enormous perfections full of meritorious deeds That can be reckoned as the wonderful way
5 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 411 If anyone knows follows this traditional path Recalls and keeps it in mind then such a person is superb This is the last birth of the great Bodhiyana Sila Viravong (1970: 12-13) has illustrated the different types of conventional forms of rhyme patterns. He classifies rhyme into internal and external rhymes. Internal rhyme (samphat nai), or middle rhyme, is rhyme which occurs in a single line of verse. Internal rhyme refers to words which are in the same line, and which are harmonious or which rhyme with each other, particularly within that line. This type of rhyme is used profusely in the Mahachat text. There are two kinds of internal rhyme, that is, vowel rhyme and consonant rhyme. 1. Vowel rhyme (samphat sara): Internal rhyme comprises of words that are connected or harmonious because they have the same vowel sounds and are in the same line. There are two kinds of vowel rhyme: A. Paired-word rhyme (samphat thiam khuu) refers to words which have the same vowels and which are adjacent to each other with no other words separating them. Examples are tam, ngam doi, khoi laek, laen. 1. น บว าเป นแนวทาง ได ย างตามงามล น (Sec. I. line 10, p. 4) Nab-wa-pen-naeu-thang dai-yang-tam-ngam-lon That can be reckoned as the wonderful way 2. แปลกประหลาดนาทไท บ เห นอ อนบ ตรา (Sec. IX. line 34, p ) ส ว นมาคอยร บ อย ด านดอยคอยจ อง Plaek-prahlad-nun-thai bo-hen-on-boot-ra Su-wan-ma-khoi-rub yu-dan-doi-khoi-jong
6 412 Buddhist Graduates Dissertation She wondered about her children where they could be Every evening she goes to fetch them from their playing ground 3. ล อกแล กแล น ลมล นเล อนไหล (Sec. X. line 74, p. 85) Lok-laek-laen lom-lin-luean-lai Playfully deceive muttering flirtatious words B. Yoked-word rhyme (samphat thiam eek) refers to two words comprising of the same vowels which have another word with a different vowel separating them. 1. น บว าเป นแนวทาง ได ย างตามงามล น (Sec. I. line 10, p. 4) Nab-wa-pen-naeu-thung dai-yang-tam-ygam-lon That can be reckoned as the wonderful way 2. ฟ งเอาเถ ดส เก ดผล ประโยชน ม พ นเพ ม (Sec. I. line 18, p. 5) Fung-aou-therd-si-kerd-phon prayoj-mi-phun-pherm Listen to gain benefit usefulness that will increase 2. Consonant rhyme (samphat phayanchana) refers to words which comprise of the same consonants or which have similar consonant sounds that are placed next to each other in a sequential order within one line, from two words on up, or there may be one word with a different consonant separating them. The characteristics are as follows: A. Continuous consonant rhyme (samphat lian akson) refers to words with the same consonant appearing in a row from two words on up, and having no other consonants intervening. Example: 1. จ งว าค วคาดโค ง งามโก กล อมก น (Sec. II. line 12, p. 12)
7 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 413 Jung-wa-kheu-khad-khong ngam-ko-klon-kan Eyebrows so well arched splendidly proportionate all over 2. สมมะโนมาตรแม ง แฮงสร างสวนผลา (Sec. II. lines 41-42, p. 14) องค พระเวสน แก กล า ควรครอบครองปรางค Som-mano-matr(a)-maeng haeng-srung-suan-phla Yong-phrawes-kae-kla khuan-khrob-khrong-phrang Respect and show reverence to him one who has build up the garden of merits Who has fulfilled all perfections deserves to reign over the kingdom 3. จวบก บกรรมเก าก องค พระเวสน กระทำมา (Sec. II. line 67, p. 15) Juob-kub-kaam-kao-ki ong-phrawes-kra-tham-ma Conjoined with past volitional actions that Vesantara had ever acted upon B. Separated consonant rhyme (samphat khan akson) refers to two words with the same consonant or spelling, but which have another consonant or vowel separating them. This kind of consonant rhyme is rare in our material only the following few examples are found. 1. จ ลพนเหม ดม วน ม วนบ ม วนกะจำใจ (Sec. VI. line 106, p. 55) Julaphon-merd-muan muan-bo-muan-k(a)-jamjai Julaphon comes to an endbe it melodious or not do remember it 2. ชาวส พ ท งค าย ม หลายแต หากหล าย (Sec. VII. Lines 39-40, p. 60) หลายกะหลายแต ไม ลำส ใช กะบ ม Chao-siphi-thung-khai mi-lai-tae-haak-lai Lai-k(a)-lai-tae-mai lum-si-chai-k(a)-bo-mi
8 414 Buddhist Graduates Dissertation The denizens of Siphi great in number but of little worth Many a wooden trunks but hard to find a stump (The metaphorical meaning is that there is great quantity but no quality, for example, many people but no genius, many objects but none of any use.) Viravong also presents the patterns for external rhyme or samphat nok. External rhyme refers to the word in the first line of poetry which rhymes with a word in the second, third, or fourth line, with the following characteristics: Characteristics in sung poetry (kon lam) the last word of the first line rhymes with the first, second, or third word of the second line; the last word of the second line rhymes with the first, second, or third word of the third line; the last word of the third line rhymes with the first, second, or third word of the fourth line; the last word of the fourth line rhymes with the first, second, or third word of the first line of the next verse. (1970:16) The following chart illustrates the external rhyme scheme for sung poetry or lam. a) b) c) d) a)
9 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 415 ถ ดมาเป นองค พระ พ ทธโคดมเจ า (Sec. I. line 14-21, p. 4-6) ฉ นส นำมาเว า จ บสำเนาให เห นก อน คต ธรรมแทรกซ อน ส พอได ไตร ตรอง ขอเช ญชวนพ น อง พ อและแม สาธ ชน ฟ งเอาเถ ดส เก ดผล ปรโยชน ม พ นเพ ม ทศพรก ณฑ เร ม ประเด มมาห ม นม วน ๑๓ ก ณฑ ถ วน ๆ จ จบม วนภาคเส ยง พ นคาถาตลอดเกล ยง สมบ รณ แบบเทศนา Emerged next as the Buddha The Gotama Buddha This is what I brought to narrate the real story to make you behold at first By inserting moral teachings that you can get to think over Welcome all kinsfolk father and mother devotees Listen to gain benefit usefulness that will increase The Thasaphon Chapter begins brought forth for sweet appealing rendition 13 chapters in all end with vocal rendition A thousand verse all through and through complete as a Sermon Since Isan is basically a monosyllabic language, the rules for rhyming are primarily in relationship to this feature of its structure. The basic categories of rhyme in Isan are determined by phonological aspects of the monosyllable. Most Isan monosyllabic words have one of the following three shapes: CVC ดาบ, จ ง, แม น, ท ล; CVVC โดด, เค อง, เพ ยง, เม ยน; and CVV ช ว, เท ยว, กล าว, เด ยว. The main categories of rhyme are determined by the relationship of vowels to each
10 416 Buddhist Graduates Dissertation other and how the syllable ends. In Isan, a syllable may end in either a stop, a nasal, or a vowel. Normally, two words which rhyme in Isan will have different initials, the same vowels, and, if there are final consonants, the same final consonants. The sets of rhymed words in the following Chart include each of the possible final consonants in Isan and many of the vowel combinations. All these sets were found in rhyme positions in the text composed by Ven. Phimpha. Rhymed Sets Showing Possible Finals Stops: words ending in /p/, /t/ and /k/ (rare in our material) บาป ดาบ bap dab Nasals: ก อน ซ อน เพ ม เร ม โก ง โค ง khon chon pherm rerm kong khong Vowels: แก ว แล ว เข า เจ า ได ไข kaeu laeu khao jao dai pai The major rhyme pattern for any two words in the preceding sets is the following: different initials, same vowels, and same final consonants. For example: /khon/ rhyming with /chon/. This pattern is called common rhyme since it is common to many languages. It is also the rhyme pattern used most frequently by sung-sermon monks. There is another type of common rhyme found in our data in which same initials, same vowels but different consonants such as the words กล อม - กลอง (klom-klong); หลาย- หลาก (lai-lak).
11 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 417 In Isan, rhyme is also permitted between words ending in different specific final consonants, but final consonants which come from the same category. This pattern is called category rhyme. It can be described as follows: different initials, same vowels, and different final consonants from the same category. For example: นาง (nung) rhyming with งาม (ngam). เป นมารดาของนาง ประส ต มางามเย ยม (Sec. II. line 6, p. 12) Paen-marda-khong-nung phrasuet-ma-ygam-yiem Is the mother of Nung (Phusati) born with great beauty งามด งเด อนว นเพ ญ เล ศว ไลในหล า (Sec. II. lines 10-11, p.12) 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 In Isan, there are three categories based on phonological aspects of the possible finals. These categories are referred to as: 1) stopped rhyme; 2) nasal rhyme; and 3) open rhyme. Although both nasal (words ending in /m/, /n/ and /K/ and open rhyme (words ending in vowel sounds) are abundantly used in the text, very little category rhyme of the stopped type (words ending in /p/, /t/ and /k/) occurs in our data. The following examples of rhymed sets for each of the three categories were found in normal rhyme positions in an extract from the text by A. Phimpha. Tone is irrelevant in common and category rhyme. (Internal rhymes are in
12 418 Buddhist Graduates Dissertation italics, nasal rhymes are underlined and open rhymes are in bold, stopped rhymes in bold and underlined). Stopped Rhyme: baap haak Nasal Rhyme: paan naang Open Rhyme: see mii บ ดน ถ งบทบ น ก มารก ณฑ เทศน ต อ (Sec VIII. lines 1-21, p.68-69) ขอเร ยนเช ญท กท าน สด บข อภาคแสดง ก มารก ณฑ น กล าวแจ ง บ อนนางนาทม ทร ฝ น เนาว อย บรรณศาลา แปลกกะตาเผลอพล ง น บแต มาเนาว ย ง ภ ม พะน งถ ำเถ อน ได เจ ดเด อนผ านเข า พระนางเจ าอย เกษ ม ค นน นน บว าเร ม ลางน ม ตส งหรณ นอนบ หล บหนหวย ฮ วนฮนออกจนล า บ ดเด กมาจวนแจ ง จ งฝ นเป นประหลาดต าง ลางอ หย งกะบ ฮ เห นหม องปล องไข ฝ นว าชายหน งได ถ อดาบคมแข ง ชบาแดงทงท ด ใส ห ช กล าม เป นน าขามเกรงย าน ส ำผ มารอส รบาป แกว งดาบฟ นฟาดต อง ม ทร ฮองส นสาย แสนส นบนอบไหว ม นกะบ ห วซา ต ดพาหาของนาง เล อดกระเซ นเด นฟ ง
13 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 419 ม ทร หลงละเมอฮ อง ตกพระท ยสะด งต น ครองสต ล กข น ย งสะอ นส นสาย ต องส เป นเหต ฮ าย จ งแปลกต างคำฝ น เลยไปหาจอมท น พระเวสน องค อวนอ าย ให ทำนายด บ าง ส ม ลางอ หย งแหน Now the introduction is reachedi shall continue the Children s chapter Welcome one and all pay attention to this performed part This section retells where Masti had ever dreamt When she resided in her forest dwelling strange in vision and sight Until she came here to the wild place of cave Seven months ago in the pavilion 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 sat beside She begged for her life but cared he not the least Severed her two hands off instead with blood splattering all over She laid unconscious woke up terribly shocked
14 420 Buddhist Graduates Dissertation Resumed her presence of mind and stood up sobbing and shivering It must be a terrible accident so eerie a dream So she went to the king Vessantara her husband To read her dream and predict what omens it presaged Tone is an additional aspect of Isan syllable which can be used by the sung-sermon composer monk. Consequently, another type of rhyme is found in our data which is determined by differences in tone. We call this type tone variant rhyme. The following illustrates the relationship of two words having tone variant rhyme: different tones, same initials, same vowels, and same final consonants. For example: นอง rhyming with น อง. Tone rhyme requires a match of two syllables in all aspects but the tone. In terms of the written language, this means that the two words in question are either marked for tone by the use of mai eek, mai thoo, jatawa (markers). In actual speech, the two rhymed words have different tones. A few sets of tone variant rhymes that are found in the text are นอง - น อง จ อง - จ อง ลม - ล ม ทาง - ท าง หล ง - หล ง หลาย - หล าย ยอย - ย อย หน า - หนา มว น - ม วน As noted by Carol J. Compton (1979:159) the Isan division of rhyme into categories is different than the divisions familiar to many Western readers. The position of the words as to whether they appear in the same line or between
15 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 421 lines is important. Rhyme between lines is referred to as samphat nok or external rhyme. The other major division of rhyme used is samphat nai or internal rhyme. Alliteration and assonance are contained in the latter category so they are included under the general heading of rhyme in this paper. Alliteration (samphat akson) is the repetition of consonant sounds at the beginning of words ie. 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. Ajarn Phimpha. 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 [1970:13]. This definition as observed by Carol J. Compton specifically limits alliteration to position of occurrence. Yet alliteration can be found both within lines and across lines in our material. Alliteration within a line: เท ยมด งป นแปลงป น สาวสวรรค ก ำเก ง (Sec. II. lines 7-8, p.12) เป งประเทศเขตแคว น แดนใต กะซ าเซ ง Thiam-dung-poon-pleng-pun sao-sawan-kam-kaerng Perng-phra-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
16 422 Buddhist Graduates Dissertation จ งว าค วคาดโค ง งามโก กล อมก น (Sec. II. line 12, p.12) Jung-wa-khieu-khad-khong ngam-ko-klom-kan Eyebrows so well arched splendidly proportionate all over ล อกแล กแล น ลมล นเล อนไหล (Sec. X. line 74, p. 85) Lok-laek-laen lom-lin-luean-lai Furtively run about muttering flirtatious words Alliteration across adjacent lines : เท ยมด งป นแปลงป น สาวสวรรค ก ำเก ง (Sec. II. lines 7-8, P.12) 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 งามด งเด อนว นเพ ญ เล ศว ไลในหล า (Sec. II. lines 10-11, P.12) 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 Alliteration is extensively used in the Mahachat text composed by Ven. Phimpha. Another form of Isan rhyme used is assonance. Assonance (samphat sala) is the repetition of vowel sounds, most commonly within a short passage of verse.
17 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 423 For the most part, the assonance in our material is found within lines: occasionally it may also be found across adjacent lines. Some examples of assonance from the material are given below. Assonance within lines: บ นสลนเสล อกล ม โซมโซ โกงโกย (Sec. VII. line 67, p. 61) Buen-salon-saluea-klom chom-cho-kong-koi Push ahead in a vain attempt physically decrepit and tiring (The metaphorical meaning is when something is done with force and slip-shod manner the outcome is of no good or just useless, for example, in a situation when one is tirelessly climbing a mountain heaving and panting without even reaching to the top or summit.) ล อกแล กแล น ลมล นเล อนไหล (Sec. X. line 74, p. 85) Lok-laek-laen lom-lin-luean-lai Furtively run about muttering flirtatious words 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 (Sec. VII. line 84, p ) เป นมะหล งต งต อน ยวมย วท วแดน Thawal-kiaew kliaew-yoi-yoi-yon Pen-ma-ling-ting-tong yuom-yuao-thua-daen The vine its strands and hanging branches swinging Creeping up and down dangling all over
18 424 Buddhist Graduates Dissertation ส ตว ในดงแดนน หม ม ชะน ป า (Sec. VII. lines , p. 63) 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 Isan poetry is marked by many different styles of versification each poetic style having its distinct characteristic such as grouping, wording (syllable), rhyme, etc. The Roi Krong or poetic writing comprises of many types such as Krong, Chan, Kaap, Klon, Rai etc. Sila Viravong (2485 : 2-56) has classified the form of Isan poetic writing of Roi Krong style into 5 types kaap, klon, krong, rai and sok. Each of these forms of poetic composition can be further classified such as klon can be classified as klon lam (sung-klon), klon aan (readklon), klon phaya-yoi (short proverbial klon); krong can be classified as 5 or Wisachumalidan krong suphap (polite khlong) or mahasinthumali; rai classified as rai wachirapanti, rai mahawachirapanti, rai yao (long rai) etc. In the Vessantara Jโtaka of the Isan version composed by Ven. Phimpha, Rai Yoa type of rhyme predominates almost the entire text with little variations. According to Sila Viravong the rai yao composition of the Isan type has the following pattern.
19 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON The number of verse has no limit. The number of words in each verse varies from 5 to maximum The last word of each verse rhymes with any word in the following verse and follows this pattern until the end In the Vessantara Jโtaka of the Isan version composed by Ven. Phimpha this type of rhyme predominates almost the entire text with little variations. โปรดสด บร บข อ ธรรมภาคกระแสเส ยง เป นสำเน ยงสำนวน ภาคอ สานเส ยงแหล ชาดกแปลประพ นธ เพ ม โดยพ มพาผญาเอก สรรเสกค ดเล อกเฟ น เอามาเล นเอ ยเส ยง บ ดน ฟ งต อเน อง มหาชาต ก ณฑ ท หก จ ลพนส ยอยก เทศนาจาซ อน กล าวถ งตอนพราหมณ เขา พนาเขาด นป า
20 426 Buddhist Graduates Dissertation Listen attentively to the applied-sermon In the accent and idiom of Isan sung-sermon Jataka in translation and new composition by Phimpha the expert in versification Selective interpolation brought forth for sermonizing Now listen in sequencing the sixth section of Mahachat sermon I uphold the Julaphon sermon Shall narrate till the beginning when in the forest the Bodhisat is entering The pattern of rai composition is maintained all throughout the text even when parts of certain sections are presented in prosaic form to indicate discourses which are recited in a simple reading style without the fusion of any rhythm or sung-sermon (laeh) style as found in the Chaksat section when Vessantdorn is welcomed to the Cheung City known as Laeh Chakchat Ban Chern and in Lakhon section when Phusadee offers apparel to Masti to be worn known as Laeh Nakhon Taem Ta Fa. It can be concluded that rhythm and words are bound together in the Isan Mahâchat sermon, and the meticulously arranged sermon wordings that are soothing to the ears are conducive to the development of bhavana or a meditative state in the listeners. Alliterative words and phrases abound in the text and receive reinforcement because of their phonological structure. Since the Isan language is tonal, word selection is based on particular sequences of tone that enhance the rhythmic scheme. At one level the thematic structure
21 VERSIFICATION IN THE ISAN MAHACHAT SUNG-SERMON 427 guides the sung-sermon practitioner monks by providing the fixed format of thirteen sections of the Mahâchat Jâtaka within which they can create and improvise without altering the basic story. At another level the poetic structures such as the rhyme schemes and diction used do the same. It is the interaction of these two levels of structure which give the monks the freedom to create.
22 428 Buddhist Graduates Dissertation Compton, J. Carol. Courting Poetry in Laos : A Textual and Linguistic Analysis. Special Report No. 18, Northern Illinois University ปร ชา พ ณทอง. สาราน กรมภาษาอ สาน-ไทย-อ งกฤษ. อ บลราชธาน : โรงพ มพ ศ ร ธรรม. ๒๕๓๒. ส ลา ว รวงส. แบบแต งกลอนไทยเว ยงจ นทน. ม.ป.ท. ๒๔๘๕. ฉ นทล กษณ ไวยากรณ ลาว ภาคส. เว ยงจ นทน : กระทรวงศ กษาธ การ. ๑๙๗๐. พระมหาว รวงศ (สมเด จ), พจนาน กรมภาคอ สาน-ภาคกลาง. กร งเทพมหานคร. ๒๕๑๕. พระคร ส ตสารพ มล (พ มพา ป.) พ มพา แหล มหาชาต ๑๓ ก ณฑ (สำนวนอ สาน). ขอนแก น : บร ษ ท ขอนแก น คล งนานาธรรม จำก ด. ๒๕๔๙.
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