An Analytical Study of Paṇāmakathā (Invocation) in Pali Literatures

Abstract

             The purposes of this research were: 1) to study Pāli literature in Buddhist scriptures; 2) to examine Paṇāmakathā (invocation) in Pāli literature; and 3) to conduct an analytical study of Paṇāmakathā (invocation) in Pāli Buddhist scriptures. This documentary research was conducted by examining textbooks, academic articles and related research on Paṇāmakathā (invocation) in Pāli literature and Thai literature. The data were analyzed and presented using a descriptive–analytical method.
             The research results found that:
             1. Pāli Literature in Buddhist Scriptures found that Pāli literature in Buddhist scriptures consisted of works recorded and composed primarily in the Pāli language, utilizing prose, verse or a combination of both. These works included the Tipiṭaka (Canon), Aṭṭhakathā (Commentaries), Ṭīkā (Sub-commentaries), Anuṭīkā (Further Sub-commentaries), Pakaraṇavisesa (Special Treatises), as well as later scriptures composed within Thai society. The primary purpose of these texts is to expound and clarify Buddhist doctrine (Dhamma) in order to ensure the stability and longevity of Buddhism.
             2. Paṇāmakathā (Invocation) in Pāli Literature found that Paṇāmakathā in Pāli literature consisted of poetic verses composed to humbly pay homage to and praise the Triple Gem the Buddha, the Dhamma, and the Saṅgha. These verses also functioned as the author’s preface, expressing aspirations for the merit gained from composing the work. The style of Paṇāmakathā was similar to the introductory sections found in other classical Indian literatures. Traditionally, commentators (Aṭṭhakathācariyā) and sub-commentators (Ṭīkācariyā) placed these verses at the beginning of their treatises as a unified expression of reverence and profound respect toward the Triple Gem.
             3. An analysis of Paṇāmakathā (Invocation) found that the analysis of Paṇāmakathā revealed two formal styles: 1) gajja (prose) and 2) pajja (verse). Most Paṇāmakathā were composed in poetic meters such as Pathyāvatta, Indavajira, and Upendavajira. In terms of content, Paṇāmakathā serveed several functions, including praising and venerating the Triple Gem, declaring the author’s aspirations, inviting readers to study the treatise, stating the objectives of the work and acknowledging the authority of referenced sources. From the perspective of literary aesthetics (alaṅkāra), the study identifies the use of both saddālaṅkāra (figures of sound) and atthālaṅkāra (figures of sense).