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Lustig, Friedrich V.
Burmese classical
poems
PL
UNIVERSITY OF TORONTO
LIBRARY
WILLIAM H. DONNER
COLLECTION
purchased from
a gift by
THE DONNER CANADIAN
FOUNDATION
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BURMESE CLASSICAL POEMS
SELECTED
and
TRANSLATED
by
The Most Rev. FRIEDRICH V. LUSTIG
Buddhist Archbishop of Latvia
Burmese classical poems. Selected and translated by Fiedrich V. Lustig
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BURMESE CLASSICAL POEMS
. SKLECTKD
and
TRANSLATED
by
The Most Rev. FRIEDRICH V. LUSTIG
BuJ'iliisi Ai-ch!--^^ho!' oj Laivic
Sole distributors in the USA S. r j
PARAGON BOOK GAiIer;"!™
H EAST 38th STREET '
NEW YORK. N. Y. 10016
No part of this collection of translations may be reproduced
in any form whatsoever (other than in Burma) without
express permission of the Advisory Editor Margaret
M. Kardell.
PL
L27
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Printed and Published by U Khin Pe Gyi, Managing Director,
Rangoon Gazette Limited, Rangoon. (Printer's Registration
No. 0490). (Publisher's Registration No. 0338).
Digitized by the Internet Archive
in 2008 with funding from
IVIicrosoft Corporation
http://www.archive.org/details/burmeseclassicalOOIustuoft
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CONTENTS
PAGES
A cknowledgements
Foreword
Short Pip
3
Lu-ga-lay
Mountains and Forests
The Month of Tabaung
The Golden-Yellow
Padauk
Carved Bullock-Cart
Song of the Forest
Sea Snails
The Royal Kason
Jasmine
Deliverance Cannot Be
Far Distant
Military March
Forest Flowers
Dearly Loved Son
Rain
Pake to Heart (A Father's
Admonition to Son)
Selections
Mae Khwe
Author unknown
Author unknown
Author unknov/n
U Kyaw
U Ya Kyaw
Princess Hlaing-Teik-
Kaung-Tin
U Kyin U
U Kyaw
U Ponnya
Shin Maharattathara
U Kyin U
U Kyaw
Author unknown
Myavadiwungyi U Sa
Sahton Sayadaw
1
2
3
4
5
6
8
9
10
11
12
14
15
16
17
18
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CONTENTS (Contd.)
PAGES
Mya Man Setkya U Ponnya 21
Present of a Cheroot Mae Khwe 22
A Peasant Wungyi Padethayaza 23
Paddy Planting Song Author unknown 24
I Am Longing Princess Hlaing Teik-
Kaung-Tin
25
Love in Secret
Encountered
Maung Thwa 27
I Would Smile UKyi 28
Noble Wisdom Chaturinga Bala and Nemyo
Min Tin Kyaw Khaung
29
Donations (Dana) Shin Tezothara 31
Remorse U Khaing 33
Painful As It Is... U Kyaw Thamee 34
No Cooling of Anguish UKyawThamee 35
The Nature of Things
(Release from Anger)
Anantasuriya 36
Sources & References
— 37
Botanical Glossary ... 38
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ACKNOWLEDGEMENTS
A young Burmese Upazin (monk) who was one of the
first pupiis in my American Conversation classes later
introduced my husband and me to his Guru, The Most
Reverend Friedrich V. Lustig, whom we found to be a
most interesting expounder on Burmese culture, the Burmese
way of Hfe and Buddhism.
Having lived midst many different cultures for long
periods of time The Reverend Lustig's background is such
that ha brings to any cultural discussion a broad symphony
of understanding. He was born in Estonia in 1912, studied
Oriental Languages under Professor Sylvain Levi at the
College de France in Paris, and joined the Buddhist order
in Latvia at the age of eighteen. He has traveled exten-
sively in the Far East having spent quite some time in China
and Thailand. For the last seventeen years he has been
living in exile in Burma, a country in which he is deeply
interested. (I) In May of 1962 after the demise of his Guru,
The Most Reverend Archbishop Tennisons, The Reverend
Lustig was elevated as Archbishop of Latvia by His
Holiness the Dalai Lama who is now Hving in exile in
India.
In the course of our discussions with the Reverend
Lustig we found that he enjoyed interpreting Burmese
poetry and so we encouraged him to set down a number of
his translations of Burmese classical poems. This he did
in conjunction with Reverend Eindawuntha and other
monks of his acquaintance.
(1) In 1952 the Government of the Union of Burma published a
musical colleciion entitled "Ciassical Burmese Music"—Prepared For
Piano By the Right Rev. Friedrich W. A. Lustig. After The Piano
Presentation By Saya Myaing Under The Supervision of U Po Lat,
Secretary, Ministry of Union Culture.
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We shared these interpretations among Burmese and
foreign friends. Much interesting discussion ensued and
many people urged us to share these poems with all and this
we decided to do.
We then set to work in earnest and had to decide on
such issues as strict line and style translation versus interpre-
tation of ideas and opted for this latter approach as we feh
it would prove more interesting to most foreigners. To
Burmese scholars and philologists we leave the more impor-
tant academic tasks of analysis of style, comparison of
various translations, and the presentation of a compilation
of all Burmese poems that lend themselves to translation.
For the "armchair" translators we have included the Bur-
mese Text so that they might have the enjoyment of improv-
ing upon our work.
As any student of a foreign language soon learns,
there are many ways of expression in his own language
which do not have exact equivalents in other languages due
to differences in climate, culture, philosophy, religion, and
history. These differences are perhaps most difficult to
overcome when moving from a philosophically oriented
Buddhist script language to the theocentrically based
International English language used by most world travelers
today.
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We are indebted to many Burmese and foreigners who
helped and who gave their time and ideas: particularly
10 Mrs. John W. Neave for her assistance in helping us to
achieve a smoother presentation in English, to Professor
U E Maiuig for his helpful suggestions, lo U San Maung
Tor his independent translations which we used to check
against The Reverend Lustig's, to Daw Dolly Khaing
for the typing of the f3urinese sections, to my Burmese
gardener v/ho disagreed with the botany books, and most
of all to those who have read the manuscript and given their
suggestions. Certainly our lesults are a composite effort
and many points strongly argued had to be compromised
and will be disputed.
We know from reading Burmese English language
newspapers for the past three years that there is probably
no more interesting subject in Burma than that of the proper
interpretation of Pali and of poetical Burmese into rnodern
Burmese or into International English. And quite obviously
no interpretation of a poem in any other language of sounds
can give the exact true flavor and meaning as in its own
language of sounds but one can try. And in the trying
perhaps we may encourage others to try and we shall all
gain from our further mutual understanding.
Margaret M. Kardell,
Advisory Editor,
October 31, 1966,
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FOREWORD
Poetry enpbles a person and elevates him above his
petty environment. It can guide a wavering mind through
the daily rough course of life to a safer position. And,
in a way, it can make our everyday life a thing of beauty.
Only poetic, elevated emotions, stirring the imagination
of all, can lay bare the meaning of a culture. For this
reason I am attracted by Burmese lyrical art and find the
poetry of Burma irresistible.
Apart from universal human themes, ever present in
Burmese poetry is an intense expression of a spiritual way
of life and the ethical experience. The profound active
humanism of the common man is verbally outhned in a
form which often turns their poetry into music. That is
why the Burmese lyrical art with centuries-old traditions,
rich and variegated, arouses a wondering and eager interest.
Burmese poetry has for me a quite special significance.
A people of rich and responsive human sympathy, the
Burmese are very gifted as a race. They built Pagan, a
striking testimony to their spiritual insight. A nation
which has such capacity possesses inexhaustible possibilities.
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Tn translating these Burmese poems I have tried to
catch the correct meaning and to remain scrupulously
faithful to the author's expressions. But to see what a
poet or poetess saw passing before his or her mind's eye
when the original lines were composed, is something
which cannot be solved like a mathematical formula. I
worked patiently and conscientiously, and am grateful
to Rev. Eindawuntha, a Buddhist monk of Bawdigone
Kyaung, Rangoon, who offered counsel to me in analysing
the most perplex metrical lines; and to Maung Aung Khin
for his practical assistance.
The Burmese patterns of intonation and well recognized
melodic phrases of the times obviously governed the original
compositions. Today to decipher such particular words or
groups of words sometimes makes one uncomfortable,
because Burmese word arrangements may often express
more than one meaning. Also during the last two centuries
or so the Burmese language has been greatly enriched
by the accession of new words and nev/ meanings due to
scientific advancement. In the process a large number of
old words and arrangements have become obsolete ; and the
Burmese reader often has a present understood meaning
quite different from the original. Some of the difficuhies
encountered in translating older poems stem directly from
these circumstances.
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T shall consider my labor amply rewarded if these
translated Burmese lyrics prove interesting to today's
foreigners and help them share, even in a very small degree,
the innermost thoughts and feelings of the talented Burmese
people.
Friedrich V. Lustig (Ashin Ananda),
Buddhist Archbishop of Latvia,
Sangharaja for Estonia, Latvia & Lithuania,
Great Shwedagon Pagoda, Rangoon.
April 26, 1966.
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SHORT PIPE
A pipe... a pufF...
short as a finger...
I give you
for smoking.
"If I do not take it
you will think me crude
If I accept it
you will think I like you.
If you want me
to smoke it
put it near the bed,
my dear one."
Mae Khwe.
Mae Khwe was the daughter of the Mayor of Sittaung
and she was married to a Maung Swe. When King
Bodopaya (Bodawphaya) ascended the throne in 1782
C.E., Mae Khwe became a Court Poetess.
C.E. means Christian Era.
cc^cTsecoseq
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LU-GA-LAY
Oh little boy crying!
I would I could
Catch you a pigeon
White, blue or black
Oh Uttle boy
How hard it is
To catch a pigeon
White, blue or black.
A lullaby.
Author unknown.
Lii-ga-lay may be translated young son or little boy as the
song although originally sung by those caring for small
princes is now sung in the same fashion by modern mothers
and fathers.
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MOUNTAINS AND FORESTS
Ah... beautiful...
The mountains
The forests
The quivering buds
The trees caressing one another.
The birds frolicking with joy!
Author unknown.
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THE MONTH OF TABAUNG
On mountain tops sweet nwe-kyo creepers
Bloom midst other blooms
And thabye leaves dindpet-sut flowers
Are once again pure bright colors.
On the Festival of Tabaung
Tharaphi and gangaw open into flower
And fragrance pervades everywhere
On Mount Popa.
Author unknown.
For more detailed information on flowers and trees
see page 38,
The Festival of Tabaung is on the full moon day of March
which is the last lunar month (February-March) in the
Burmese calendar.
Mount Popa is over 4,000' above sea level and lies in
Central Burma near the ancient city of Pagan.
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THE GOLDEN-YELLOW PADAUK
Tn the month of Tagu
From emerald green leaf-clusters
Bloom forth golden-yellow flowers.
Truly what other flowers
Can compare with these in beauty
There in paclauk's cool breezy shade
Where the flow of sweat ceases
At the entrance to Nanda Cave—
Retreat of the Pacceka Buddha.
During one month in a year
During one day in that month
During that Day for the Buddha
Padauk blooms forth in the forest.
Summertime
!
The time of Thingyan has arrived.
And glorious is the golden pollen
Mistily blown from padauk
And spreading its fragrance
Along forest roads.
No one can describe all the marvels
Of this royal flower
Padauk
I
U Kyaw,
U Kyaw flourished in the reign of King Mindon
(1853-1878 C.E.)
Tagu is the first Burmese lunar month (part of April
and of May).
Nanda Cave is a mythological name for a cave supposedly
situated somewhere in a jungle and to which no ordinary
being has access. Only super beings—Buddha, Pacceka
Buddhas, and Nat Spirits or the like—may stay in this cave.
Pacceka Buddha is a Buddha who has attained enlighten-
ment but who does not preach to tho world.
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CARVED BULLOCK—CART
In his carved bullock-cart
He takes his girl to the pwe
Many are the beautiful girls
In his village district;
Some are better dressed
Than the girls in town
And as they go to the pwe
Sitting up front in the carts
Attention they attract
With their blue, black
And violet hued kerchiefs
Round their necks
And small satin stoles
On their shoulders.
Each young man and his girl
Snugly sitting side by side.
As the cart from behind
Overtakes the cart in front
Bells of wood and metal ring;
Young men yell across to each other
Racing with their carts
Moving abreast of one-another
One cart on the road
The other close-by.
A pwe is a stage performance including music, dancing
repartee, singing and folk opera. Most of the poems inclu-
ded in this book were first heard by the Burmese people at
some pwe.
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To be first at the town's entrance
And to be first at the pwe means praise
And to be first means a better place.
The boy is excited—he must try hard
—
No longer distant is the place.
Proud is he of his bullocks
—
Purchased for over a hundred kyats.
And proud are his perfect bullocks
With their white-spotted foreheads.
Restrain them with reins
And bullocks look skyward
—
And the pace suffers
—
So slacken the reins.
U Ya Kyaw.
U Ya Kyaw gained celebrity in the reign of King Thibaw
(1878-1885 C.E.). U Ya Kyaw was considered a master
of realism.
The kyat is the Burmese monetary unit.
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SONG OF THE FOREST
Fragrant and fresh
Are the whole branches
Brimming with nev/ life
;
Brilliant are the leaves
All golden lights.
Pleasant are the forests
At Thingyall's festival time.
One delights to see
Lingpya birds building nests
;
To hear cuckoos in pairs
Making heavenly melodies; and
To see a parakeet's lovely airs
Makes a maiden long to
To feed him in a cage .
"Oh darling!
Catch him without delay
He is about to fly away.'
Princess Hlaing-Teik-Khaung-Tin,
Princess Hlaing-Teik-Khaung-Tin (1833-1875 C.E.) was a
gifted poetess and musician as well as one of the most
beautiful women at the Mandalay Court. She married the
younger brother of King Mindon and was therefore the
consort of the Heir Apparent of the Court.
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SEA SNAILS
If you meet
If you see
You believe.
So quaint to see
On curved sea shores
Clusters of snails
Whites, reds, yellows and blues
Moving and displaying themselves,
Some golden penholders
Others hard iron traps
Still others—fairies' hairpins.
Oh? Hermit crabs!
Coming here or going there
And everjrvvhere
Attention attracting
By borrowing
Empty sea snail shells
To Hve in them
And move about in them.
Bizarre indeed are these.
U Kyin Uo
U Kyin U wrote poems and enjoyed great renown in the
reigns of King Bagyidaw (1819-1837), King Tharrawaddy
(1837-1846 C.E.) and King Pagan (1846-1853 C.E.).
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10
THE ROYAL KASON
As the hot season
Revolts against the cold
—
In the pattern of contrasts
—
The firmament becomes cloudy
And winds are hot again.
It is summer.
Leaves on trees turn yellow,
To fall—to show new leaves-
Stems twist or break, yet
Sprouts on tama trees
Are now soft greens
Like parrot eggs.
While in summer trees thirst
In foothills thazin flowers
Are climbing thabye trees
Eff'using fragrance
Mixing with the wafting air.
At sunset crow-pheasants are cooing,
And from afar come the cuckoo's notes.
Now and again thunder is beating
Through heaven's expanses
Like lambara and deindi drums.
And I...
Oh, I think
Of the pouring of water
On the Bodhi tree
And of the absent companion
In the Golden Palace of Victory,
And I am mournful.
U Kyaw.
Kason is the Burmese second lunar month (May) and its
full-moon day is the day on which the Buddha was born,
obtained enlightenment, and on which he also passed
away.
Bodhi tree is the tree under which Buddha obtained en-
lightenment.
od
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11
JASMINE
When jasmine
Is not in bloom
In palace gardens
Courtiers must
Bedeck themselves
With kan flowers.
When jasmine
Is in full bloom
In Mandalay's
Palace gardens
Courtiers never
Adorn themselves
With kan flowers.
Then kan flowers
Find favor only
Among villagers.
U Ponnya.
U Ponnya was known as the best of the poets in the
reign of King Mindon (1853-1878 C.E.). The King gave
U Ponnya a noble title and some land as a fief.
Jasmine has a sweet odor and is beautiful whereas kan
flowers although beautiful have no odor.
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12
DELIVERANCE CANNOT BE FAR DISTANT
Listening, thinking, questioning, answering
Examining, writing, praciicing, and memorizing-
Daily these eight disciplines need wearing
As one wears flower garlands.
Constantly, with a spirit of competition and
With diligence the beginner in fundamental lore
Must practice recitation... and
If he tries as hard as ever he can
He will become a famous learned man.
If one does not try with the eagerness
Of a daring eagle that firmly catches a hen;
If one does not study and ponder,
Does not question and does not discuss, and
If one cannot give a discourse—
•
Knowing only how to read palm leaves
—
How can one become a well-known man of letters ?
Like a cat eating a shrimp with special enjoymicnt
A learner must study all texts—omitting none
—
And he must learn all by heart.
He must become sharp as teeth of a saw
Penetrating deeply into all discussed matters.
Thus reaching comprehension
Indelible as a stone inscription.
Then when perfect in understanding
He will be ready to say all by heart.
Then on any matter at any public concourse
He will be ready to give a perfect discourse.
To unravel the subject from beginning to end,
Without fear—like a lion
—
To stand in the midst of the crowd,
Like a pillar of stone unshaken,
Going over into every detail
And replying to all without fail.
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13
He must be familiar with verses in Pali,
Various forms of address and old difficult words.
He must know the meanings and formations
Of elements, use of metaphors and versification,
Grammatical method and annotation.
And how to reason forwards and backwards.
Then if he knows all this he will have recognition.
He will be celebrated in this life as a man of erudition.
In future rebirths in this Samsara
He will come near Buddha Aiya Maitreya.
Then for him not too far distant will be Nirvana.
Shin Maharattathara.
Shin Maharattathara (1468-1529 C.E.) was a famous
Buddhist monk.
Written in the sixteenth century, this poem reflects the
spirit of scholasticism. However, laying stress on thorough-
ness as it does, it has a message for our age as well. (F.L.)
Samsara is the phenomenal world, the repeating round of
births and deaths.
Buddha Arya Maitreya is the expected Buddha of the future.
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14
MILITARY MARCH
We are not afraid of anything!
We are daring and brave
Ready to sacrifice our lives
With Parpahein marching to the royal city
On this day fixed as the day of victory.
At our camp in the forest
Verdant are the branches
Full of small flower buds
;
Sweet are the sounds
Of the military drums and gongs
In the soft evening's twihght.
Just as mists and clouds are dispersed
So too must we destroy our enemy
The elder brother Zeyathein.
U Kyin U.
Zeyathein is an imaginary prince, an heir appaient, and one
of the chiefcharacters of U Kyin U's play entitled "Parpahein
Pyazat". In the denouement of the drama Zeyathein is
being attacked by Parpahein, Zeyathein's younger brother,
and in the fighting loses his throne to his younger brother.
The above excerpt is of course only a small part of the whole
play. (F.L.)
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It
FOREST FLOWERS
Budding branches sway daintily in the winds
Blooming forth into abundance.
Red-dappled white flowers of nan- 1ha
And blooms of sandalwood
Sweetly scent the foothills.
Summertime ends
But it is not yet the season of rains.
From the ground below
Rises khatta's overwhelming perfume
While from above
Jasmine's small swinging branches
Send down their fragrance.
Climbing the forest trees
Khabaung flowers sway in the wind
Like rain-soaked silver strands.
Later in the rains their stems too
Will be all a silver hue.
And in the valleys
Surprisingly charming too
Are the strange flowers
Called by the villagers
Crocodile flowers.
U Kyaw.
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16
DEARLY LOVED SON
With the army
She has entrusted him,
Her dearly beloved son,
She must not pity him.
On the way to Thailand
Many are the rising rivers and streams
Violent are the rains and strong is the storm.
But his own mother has agreed,
"Let him die.. .(if need be)..."
"In my heart too,
No distress lingers.'
Historical song.
Author unknown.
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17
RAIN
When soft breezes blow
Rare fragrance spreads
From the saga flowers
Growing on the not far-off
Mountain of the Giant's Palace.
Dark becomes the horizon
Enveloping us from the south in gloom.
Melancholy assails my heart.
Oh, Rain God, do not cause us sorrow!
Do not cause us sorrow, Rain down and
All the eight directions will look gloomy.
And the rain will sadden us in many ways.
Myavati Mingyi U Sa.
Myavati Mingyi U Sa (1766-1853 CE.) was not only a
great poet but also one ox the most remarkable creators
and preservers of Surmesc music. He is the composer of
the celebrated FItumachana Thachingan.
The eight directions are N.,E.,S.,V., and NE., NW., St.,
and SW.
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18
TAKE TO HEART
(A Father's Admonition to His Son
With this poem
Let me give you, my son,
A parent's admonition—
A true garland of emerald flowers—
As useful to you
As your right hand.
The love in my heart
For you my son
Is like a mountain of gold •
So listen carefully
To the not to be lost heritage
Which is Good Conduct.
Traditional knowledge,
My dear son, you must master.
For if you do not acquire knowledge
You will be hke spilt water
—
Not a whole man
—
And you will feel shame.
Repenting ten times over
You will grow pale of face
And in the world lack good place.
Like monkeys in the forest,
Who have hands and feet too
,
You will be a wasted ragged fellow -
A useless purposeless man.
As a man of no solid substance—
By others held in contempt
—
Ashamed you will be, dear boy.
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Therefore from childhood.
My dear son, it is necessary
To learn about all human matters :
To stay in school firmly and to study
To read as told,
To write as told.
To ask as told.
To reply as told,
To sit as told.
To rise as told,
To stoop as told,
To use what told,
To change as told,
To partake of food and drink as told,
To address persons as told
To behave as told,
To approach persons as told,
And to honor lovingly
Your teacher as directed.
Beloved son,
Bo not forgQt all this
Your Father's message-
Mentally note it^
Carefully heed it^
Keep it deep in your heart.
Let me say more^
So it will be indelibly
Written in your heart.
Listen gladly!
Do not make friendships with drifters,
Pleasure-seeking low-thinking men.
Or vapid men seeking only evil.
When sometimes the^se types come near you
Seeming to befriend you or in play
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20
Keep away from tlieni,
At a distance stay,
Then your welfare
Perfect will be
Dearest son!
Without fail
Try to do everything
Just as instructed.
Do not push aside
Your Father's speech.
Take it gladly
And live by it.
This is cognizancej5
My son.
Sahton Sayadaw.
(Buddhist monk, probably 18th, Cent. C.E.)
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21
MYA MAN SETKYA
The royal steamer Man Mya Setkya
Now proudly flying for the King
His own Golden Peacock flag
Makes her way to Mandalay
Carrying diirian fruits
To the King.
To accompanying echoes
Of whistles and trumpets
Steadily Oii steams Mya Man Setkya
Days beyond Hanthawaddy
Until finally at dusk
Samalauk village is seen.
From Samalauk village on upstream
To the mainstream—Irrawaddy
—
She continues making her way.
On through the night she steams
Her captain and crew, oblivious
To beautiful passing scenes,
Thinking only of reaching
Their next stop on the stream.
Even at the secret time near dawn
She moves on. And from the river
Rebounds to villages sounds of her
Revving engines rending the skies.
Just below Kanaung town at dusk
The anchor is dropped at last
And now the captain and crew
May sleep and rest.
U Ponnya.
U Ponnya is understood to have written this poem while
traveling upstream on the Mya Man Setkya—a steam vessel
that had been presented to King Mindon (reign 1853-1878
C.E.) by the British then in control of Lower Burma. The
Burmese historian U Tin Ohn, the author of the "Biography
of Yo Atwin Wun U Po Hlaing", claims that the plan of
the British was to kidnap King Mindon while the King
was inspecting the imposing interior of the first-class ship
given to him as a present. However, King Mindon fearing
the danger (he was forewarned by Minister U Po Hlaing*)
refused to go on board the Mya Man Setkya. (F.L.)
Hanthawaddy is the name of the district in which Rangoon
is and was located.
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22
PRESENT OF A CHEROOT
The cheroot leaves
I do not buy, but pluck myself.
I do not dry them on the fire
I do not spread them in the sun.
But for your smoking
—
I dry them under my bedclothing.
And with my teeth I trim
These aromatic leaves.
The cheroot I do not bind with silk
But with common cotton thread
To give it truly to you^
My youthful lover in Ava.
Mae Khwe.
"Youthful lover" can also be translated sweetheart from
childhood.
Ava was the capital of the Burmese Kingdom of Ava.
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23
A PEASANT
Rainy season it is
!
And when it rains
Happily husband and wife
—
In red cotton turbans.
And tattered pasohs and aingyis—
Carry along their children
Rain-wet and without clothes
Body warm in their arms.
A short pipe between his teeth
—
The peasant ploughs his field
;
And in his rice fields
Are water-filled holes
Homes of many small crabs.
Tossing these into his shoulder basket
Together with frogs, snails,
Su-pou plants, kazoon and kin-hon leaves,
And pilo—all for his curry
—
Stoopingly he goes back home.
Sweet and juicy is the curry
Cooked on arrival and laid out quickly
With kyan-hing and kywet-na vegetables.
The rice is hot
And the curry is hot
With pungent Shan chillies
That make one suck tht, tht, tht.
Scooping sizable handfuls,
Bending he eats
—
Surrounded on all sides
By robust sons and grandsons
Of these happy parents,
Wungyi Padethayaza.
Wungyi Padethayaza was born in Ava in 1672 and died in
Syrian! in 1752. He flourished at the Court of Ava in the
reign of King Sane (1698-1714 C.E.) during whose reign
he was a Minister. He later lived in exile in Lower Burma.
His tomb stands on the northern slopes of Kyaikkhauk
Pagoda in Syriam.
Pasoh is another word for longyi which is the tubular skirt
worn by both men and women in Burma.
Aingyis are the blouse Uke jackets worn by the Burmese.
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PADDY PLANTING SONG
No need to pay the goldsmith
!
From the palm tree conies our gold !
Rolled palm leaves are our earrings
Chains of flowers are our necklaces.
Pleasant to look at are we—
The well-mannered rural folk
From the village of Aung Pin Lay
Near golden Mandalay.
Rather shortish are our skirts
And our cotton jackets
Are dyed from bark of trees.
Yet fine and tidy are our seams.
Our cheeks are smartly thanakad. And
As we move swaying from left to right
Our braids shine like buffalo- horns"
Our beauty is all from nature. And
Even our hair we adorn only
With white mayo flowers.
Author unknown.
Thanaka is a pounded power made from thanaka tree bark
and even smaller branches. This dust is then used as a
powder or a paste, as a cosmetic, an astringent, a medicinal
application, and/or as a decoration and sun screen for the
face.
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25
I AM LONGING
Gilt glass filtered moon rays
Light my stately diamond-studded couch
Where alone J hear the drum's sweet sound
Announce the third watch of the night.
Dawn is no loncer far-off.
On my thazin scented couch
Alone I await your coming.
Hands to my forehead
1 cannot but muse
Over all that has passed
And 1 am filled with pensive sadness.
On oath you promised never to shun me
Always to be loyal to me
Solemnly you swore, "If I become King
I shall make you my Queen.
Even if a Goddess tried to seduce me,
Never would J surrender to her."
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26
"In coronation's splendid display
I shall give to you the place of chief Queen
With eight Brahmins and many pages attending you
And at the time of libation's ceremonial
I shall cause all men to worship you."
I believed you and gave you my love.
Novv...hov/ different is your manner.
Oh, Prince of Kanaung how stern is your face.
Where is the former brightness of your face ?
Where are the loving caresses
You so fondly showered on me?
Oh, prince of Kanaung.
Princess Hlaing-Teik-Khaung-Tin.
(1833-1857 CE.)
This is only part of a very long song sung originally by
Princess Hlaing-Teik-Khaung-Tin supposedly while waiting
for her husband to return to her chamber. The sequel is
that he finally hears her sweet voice, remembers her and
comes back again to her from an adjoining chamber.
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27
LOVE IN SECRET ENCOUNTERED
By chance
Secretly I fell in love
With a lovely girl,
Emerald fresh,
And of gentle birth.
As a consequence
I had to grapple with
Grief vaster than the sea.
My life is unbearable.
First pretending to love me
This maiden was like a cock
Courting round a hen;
Then suddenly she flaunted ojff.
In many ways she broke the trust
So naively placed in her.
How wrongly I beheved in her.
It wasn't true love, just pretense.
She loves me not, all is in vain.
But for this lovely garland
Containing many sweet smelling flowers,
Not long shall I wait
To be decorated with it.
I am a man of sufficient worth.
Soon the time will come
As comes floresence of all plants
And I shall have a true love.
Ah no ! My dear young lady
You are not made of jewels.
You vain and conceited girl
I have not long to wait.
Maung Thwa.
(Date unavailable,
probably second Konbaung
period 1818-1885).
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U Kyi rose to fame at the Court of King Tharrawadd}
(1837-46 C.E.) who for the second time in Burmese history
moved the capital to Amarapura. U Kyi was a poe
whh a great command of imagery, he speaks of the thing:
on which the world is forever pivoted. (F.L.)
Sit'sali are whistling teal and Mauklin are Uke coot.
28
I WOULD SMILE
Round our village
How pleasing
To see
Growing in profusion
Lai'kci-nyo creepers
Living among
The paddy rows
With blue khatauk
Its fragrance
Fining the air.
Surrounded here
By such beauty
I cannot help
Missing my lover.
Oh, how lovely
The beautiful
Kazoon creepers
Rocking gently
On the water;
And in the fields
Blue v/ater hens
Mauklin, and
Sit-sali birds
Are billing
And cooing.
Poor me!
Here alone
Midst this beauty
With my lover away
T am overcome
With sadness.
Now too,
The sky is overcast
Thunder heralds rain.
Yet if my lover
Were here
I would smile.
U Kyi.
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NOBLE WISDOM
To the Three Noble Jewels! And
To Mother, Father and Teacher!
To these Six with pure faith
RespectfLilly having paid homage,
I shall compose into easy verses,
So we may learn orally
The text Lokaniti, so full of lore,
Yet so difficult in Pali.
From Lokanitfs maxims
Much wisdom will all receive.
It will be like admonition
From one ripe in years,
A parent, a teacher and a good friend.
Then vastly learned one will become;
Full of knowledge and insight
Harvesting benefits untold,
One's name will shine as the purest gold.
(contd.)
The Three Noble Jewels mean the Buddha (the Enlightened
one), the Dhamma(the Teachings of the Buddha, Doctrine,
Truth, Law, Norm), and the Sangha (the Buddhist Order,
Community, Ecclesia).
Lokaniti or "The Ways of the World"—and the right conduct
relating to them—is a collection of excerpts from various
Pali treatises. The collection consists of seven chapters
and its maxims are piercing and enthralling. "The Noble
Wisdom" is only a small part of the LokanitL Chaturinga
Bala and later Nemyo Min Tin Kyaw Khaung rendered into
Burmese verse the whole text of this celebrated work.
Pali is the language used in Buddhist sacred writings.
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Study and acquire recorded knov/ledge
So full of treasured benefits.
Be lazy and where will be knowledge ?
Without knowledge where is wealth?
And for one without wealth
There will be no loving friends.
When there are no friends
Where is happiness?
When there is unhappiness
How will you do good deeds?
Again, when there are no good deeds,
How will you get lo Nirvana?
In this world the best friend
Is knowledge hrmly acquired.
That, no thief can steal away.
And in your next existence too
Knowledge will follow you
And happiness bring you.
All mankind note ihis way
(Follow it each day.)
Chaturinga Bala and
Nemyo Min Tin Kvaw Khaune.
Chaturinga Bala lived in the 14th, century C.E. and Nem o
Min Tin Kyaw Khaung in the 19th. century. The fornier
wrote his "Lokaniti'' in Pali verses and the latter later
rendered it into melodious Burmese poetical language.
Born in Prome district, Chaturinga Bala distinguished
himself in the reign of King Ngah Sih Shin Kyaw^swa of
Pinya (1342-1350 C.E.) and after that served ' as Home
Minister to King Leh Sin Shin (also known as Thihathu)
who reigned 1350-1359 C.E.)
Nemyo Min Tin Kyaw Khaung rose to fame in the reign oi"
King Thibaw (1878-1885 C.E.) as a significant contributor
to Burmese aesthetic thought.
ycDco3jc§i©||o^§csa3jcoi g[^oc©csco31! coj|_oSolcogsi COOODp
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bcoi cocoocococi ys|co|pi (Dcolo^ococDaDi ^©gi^cog^cocojci y|aj)CQ
GC00S30S! CoJ|_SfgSo1sCOpSi .^oScOOSGSOl G^COCjII
o c o oo
CO yoosoi cocDcoy^i yysjgsoDO! yjo§©o33cuj[i Gogcojcycogsi
CpCOGpCCOOl COODCpCOCI g©^§c[y?l O©gSC0CD| Ggsjy^l ^©GpCQilll!
yycopSscoiii cocoulscoi ©suIsoSgooi Isgsoogo^i ^G©coyi cocoa:
foyi oocDODCOogi ^co33[^©i 0|oooc7Di [^OQ©©ojysoooi g^csIgcooc;
KoSt ©pS©yCD)C0a^o5l Gu1[TOC0G[3GG|iy|gG£O^o|§l COCDOO^sdlll
cDrDOTssGcoocgyi |^^G©co^coi cooDco|csgi yyyco|[i G^coycoos
ooDDG^oSsii 5©«p'®o§i eT^ge°' ?Hfe°i' ^^^^^-^i^s
qO^OGOO^CI yj[sGQ0OC0CI COOSg[^s[^Ci^ II
31
DONATIONS
(Dana)
'*Unsimilar is human destiny.
At the time true rehgion is no more
Some will still be full of faith
And desirous of giving in charity
;
Though they will see no worthy recipients
Yet with genuine devotion
They will give gifts
To those they do not like
And the result will be poor."
Thus spoke Buddha to Angura Deva.
He who does not urge other men
To do meritorious deeds,
But practices his largess alone,
Will in future rebirths
Have many possessions
But no attendants at all
He who gives and urges others
To give things in charity
Will be reborn rich
Surrounded by numerous attendants
And holding vast possessions.
He will be a shining moon
In the assembly of men.
He who earnestly exhorts others
To give donations freely,
While himself offering nothing,
In future rebirths will be
Deficient in material belongings
Yet many attendants and relatives
Sons and grandsons will be
In his entourage.
CCOyOOslGQOCSl COOG|yOCSGCOOI 90§GCOOGg[^©UOo5l (J0CSOo5(q|CQOjI
ocouoGcoocsi oygGolcsjy^oi cQSjQjcojCi oogQyooci OOOCSOCCOOgl
GOSCOjCCOOOl OT^[U,COOCJOI Sj92COOyQI OysyOCOpDIGCQUOSSOCgQCOp? II
€|CGC0GeDCO0G|
31
Whosoever
Neither himself is munificent
Nor urges others to be
Will encounter eil fate
After his body's dissolution:
Never feeling satiated,
Scarcely finding eating plants.
Showing hunger day and night.
He will become a hungry spirit-
Meet in 2 all kinds of miserv.
Shin Tezothara.
(Dale unavailable
The Buddhists beheve that munificence (the giving of gifts)
is one of the highest and most noble virtues. Charity
(in Pali Dana) always leads to happy rebirths on earth
or in a heaven of the Dcvas (Gods). In the practice o'
giving the Burmese excel other nationalities. (F.L.)
??
yooDyslnqg sc-Qpoqcoii
coeoo
Sec CO C '^ c
S€|©COCOCOOTDO§Cl 33OC0O30CDOI rDCSOlQQCO
CDgCOG§ GCOQODCCOCOI 91 05oloOGQCOCOD3(JO|
coa!)0(joy qqcsh
J Ji
GciTyGSOOci o^'CoicoGQiocooi sIgooccoW JL iL U •U A Jl iL
O TQ
)rDI GSGC
L LJ '•-a
GGCOrOI |qgGCGCO[^CSl
«o oo-
gS3C
33
REMORSE
To gain the prize of lUuminafion
I have made up my mind.
Then  shall have liberation
From the bondage of craving {Tanha)
The all consuming darkness
Of ignorance (Avijja-asava).
Seeking a womb for rebirth
In other after-death conditions
Many times I have experienced
Different forms.
But in whatever sphere
Never can it be pure.
Thus no longer do I seek a consort.
Satiated with a layman's Hfe,
I renounce it all and go
To muse in the Dhamma cave.
U Khaing.
The Dhamma cave is a cave for meditation.
o c o c c
ocoyiOfDOjcQcaDroycoi
IL jj IL oL L
o c c  o o cr^c n o
COQCOOSoSOjOCSCOCOI OgC0032.:O^|C]CSUlC0l
QCcocgyocD ycocssuSi cocscouDcoGCOsy^si n
C09GCOI SCOGOololoCSQoSc^l GCOSGOCO eGOQCSGjCO^Ci
339aSyCS §.CSGC]§CC5J^SII
U9 I
—• O »>
34
PAINFUL AS IT IS
Painful as it is...
Let me state my trouble.
How full of anguish most dire
Is one tormented by Universal Fire.
As if seven suns blazed fiercely
Equally burning is pain the world-round.
Nowhere can a cool spot be found.
My heart's trouble seems a death agony.
But presently beautiful maidens appear.
"If you want to alleviate my pain.
Sprinkle me with rose scented rain."
U Kyaw Thamee.
Poetess U Kyaw Thamee was a daughter of the poet U Kyaw
who lived in the reign of King Mindon (1853-1878 C.E.)
and who had received unanimous acclaim as a poet of
extraordinary talent.
By Universal Fire is meant the catastrophic fire which
will destroy and consume our universe at the end of the
Kalpa according to Buddhist beUefs.
Kalpa is the "World Age" or "World Cycle" extending to
millions of years.
?3
CO^33i5<DC0Cyi O33C0(d|o^CO0|^^I
oo c c c o c ']
(JOy©! yi (DG390C GCO0CO0§C| CDOOODOl
oL J L » ^ J <*
oc oc  o oc  npcpc c _
COCOOCCOCOI O^S§ 3l|^^[y^3DCG(DGCQ0|
escyosi II
^ o T
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S oc C C C C CI '
CI—• CO o
yocoouco|oo^^ci Gyocyjcx)G)g[o]g|a^g®coi
C o 
osgcoyoii
35
NO COOLING OF ANGUISH
In human life
We meet constant renewal.
Slowly like tree-cotton
Burning without ceasing
Day after tomorrow and the next
One day after another day
Descends upon us
But there is no cooHng of anguish.
Though the sun and the moon
Will not change in the future
Always shall I seek succor
And seeking it I shall fret.
My anguish I try to forget.
But no!
Day after day anguish Hngers;
My tears run in a steady flow.
*'Oh, softly dry them one by one
With the best cloth of Bassein."
U Kyaw Thamee.
ODCOpSCOGUOOnOI GnDOCSCOGCpfTDyi
COCOG'JOOODQOI OICQCOCCOOCOO - QyCQOCO.ODS II
it J U ° o 1—
.
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c oocroc c oc
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c c c
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(mcsocoso?! cIsSOoyDDCOi COSCOCOODiO^SI
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o cr°o 1 c o CC po c c c
3CQXT)OOlC0l C0300©CQgl [OJ) 03030000.^91
o o I
—' c OO c c ceo
co^ococoi [cgppDooooo^i OOSCO^COl
c o c c n*^^ <^ <^ ^.
S|SCO(DC€©l 33k]©yGQ2l SCCOJCGOSei) t
con c
GOOSOOp33§©0 - C b§000pDS II
OSSSCOQCO
36
THE xNATURE OF TfflNGS
(Release from Anger)
Often a man suffers destruction
In order that another man
Might enjoy well-being.
Such is the nature of things!
A courtier's satisfaction
In enjoying kingly confidences
In golden palaces
And a King's own good fortune
Are merely bubbles
On the surface of a vast ocean
Momentary and evanescent.
If dictated by commiseration
i were to be released
And freed from execution
I would not escape Death.
Inseparable am I from Karma
All sentient beings
Being subject to dissolution.
Respectfully I salute His Majesty.
Should I again meet my Lord the King
In one of my future rebirths
In the cycle of Samsara
Begrudging him nothing
I would lovingly forgive him.
Impermanent is my body of blood.
Anantasuriya.
Anantasuriya was a chief minister in the Kingdom of Pagan
under King Naratheinka (C.E. 1 170-1 1 73). When as a result
of a palace revolution Naratheinka's brother Narapatisithu
seized the throne, Anantasuriya was ordered to be executed.
On the eve of his death he wrote this classical poem entitled
"Dhammata" (The Nature of Things), which is one of the
literary treasures of the world. (F.L.)
Karma can loosely be translated as destiny as ordained by
the ethical consequences of one's acts in previous existences.
Samsara is as explained before the cycle of deaths and
rebirths until Nirvana is reached.
97
IJ^Ss^^e^^O'^^S^O 4^5111
CO3ICSOG3C00I
J'
?'
9'
J
Si
Ol
rDOjoosscos
U o T L U L
Co n c
COCM 0US§CDS33G[C^C0©I
c c nc"
yoooii
c ro c
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OaCOGCQO - SOCpQOCD I
Q C
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o
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O O C OC /O 
gsaD^s§c(o^o)ii
C C OC c
©ogoGcooyps gqcqiucd
O Cf-G C
OCOCTDg CDGCOOCSII
37
SOURCES AND REFERENCES
(Titles of Works in Burmese)
1. Thi-khying padetha.
2. Kabya pan-kon Professor U E Maung
3
.
Kabya pan-kon a-phye zon Hanthawaddy U Ba Yin
4. Kabya pan-kon a-phye thit Editor Saya Magha
5. Khan hman Myan ma za U E Maung
6. Tan myin kabya phve nyi kyam U Pho Ngve
7. Kabya pan-myaing U Thein Naing (B.A.)
8. Khet-thit kabya mya U Wun and U Thein Han
9. Zasodaw mya atthuppatti Bo-gyi Ba Thaung
38
BOFANICAL GLOSSARY
PAGES
Bodhi (Bawdi) 10 Bo-tree, Pipal (peepul)
Nyaung Bawdi Ficus religiosa-Linn
c no
GgOCGOlQ
Gangaw 4 Poached-egg tree
nOGCQO
o
Mesua ferrea
Kan flower 11 Carissa carandas-Linn
6uc
Kazoon creepers 23, 28 Watercress
rofo^s Ipomea leaves
Khabaung vine or
(Kabaung) leaves
15 Calamus longisetus
SGolcS
Khabaung tree 15 Strychnos nux blanda
Khatauk flowers 28 Thalictrum foliolosum
(Kandauk)
OGCOono
Khatta flowers 15 Eurycles amboiiiensis
3C0D
CO
Kyaw
(Akyaw)
15 Acqiiillavia agallocha
GCOp
Kala-met 15 Mansoiiia gagei
nr)S|yfD
Kin-bon 23 Acacia concinna DC.
TOCSO
L
Acacia rugata-Lam
Lai-ka-nyo
(Lai-ka-nyun)
28 Asparagus racemosus
COUOCOgJ^CCO
39
Mayo
(Ma-yo)
o
Mayo gyi
Mi-chaung vine
Migyaung
o c
yGcqncs
24 Milk weed
Calotropis procera
24 Calotropis gigantea
15 Crocodile flower
Derris scandens
Nan-tha
Hatha
Natha-pyu
>^atha-ni
Nwe-gyo (kyo)
Nwe-cho
|oSo|
Padauk
o c
oscoono
Pet-sut
Pilo
'JGODO
Sabe
o C
©003
5flg^ flowers
©noos
15 Milletia ovalifolia
15 Milletia piseidia
15 Red Sanders
Pterocarpus santalinos
Burma liquorice
Thurbergia laurifolia
5 Pterocarpus macrocarpus
4 Eriobotrya bengalensis
23 Corchorous spp.
1 1 Jasmine
Jasminum pubescens-Wild
17 Michelia champaca
m
Su-pou
Subok
Subok'gyi
30S00
IL L
Tama
coyo
Thabye
Tharaphi
Tharapi
Q
Thazin
c
COCC
23 Accacia pinnata
10 The Persian lilac-Pride of
China, India.
Azadirachta indica-A Juss
4, 10 Eugenia spp.
10, 25
Laurel-Alexandrian
Callophyllum amvenum-Wall
„ kunstlevi-King
,, parkavi-Fischer
Orchid
Bulbophyllum spp.
Burmese words for trees, shrubs, and flowers, often differ
in different sections of the country. Naturally a single
Burmese name will often apply to a great number of different
latin botanical names and at this late date it is a little difficult
to be positive just which specific latin-named plant a poet
was seeing in his mind's eye. The above list was compiled
with the "help of some Burmese botanists and from the
following
:
List of Trees, Shrubs, Herbs, and Principal Climbers, Etc.
Third, Revised and Enlarged Edition, by H.G. Hundley,
B.Sc. (For. Rgn.) Silviculturist, Burma, and U Chit Ko Ko,
Herbarium Curator 1961, Superintendent, Government
Printing and Staty., Union of Burma, Rangoon.
Journal ofthe Burma Research Society Vol XXXIIl Part II,
A Key To The Trees and Shrubs of the University Estate,
Rangoon by Nant Gladys Kwa.
A Check List of some Common Roadside and Garden
Plants of Rangoon F.G. Dickason (unpublished pamphlet).
Burmese classical poems. Selected and translated by Fiedrich V. Lustig
Burmese classical poems. Selected and translated by Fiedrich V. Lustig
M PL
3984-
L87
Lustig, Friedrich V..
Burmese classical poems
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
Burmese classical poems. Selected and translated by Fiedrich V. Lustig

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Burmese classical poems. Selected and translated by Fiedrich V. Lustig

  • 1. Lustig, Friedrich V. Burmese classical poems PL
  • 2. UNIVERSITY OF TORONTO LIBRARY WILLIAM H. DONNER COLLECTION purchased from a gift by THE DONNER CANADIAN FOUNDATION
  • 3. **e5l^® ^ ^Bl^'^ cocyo^oi^* CO OC COOOOSCJOOS - ooooooosooc10 T I 5©€|5»0^|0-CgjqcS(§J £ OC one O C" 33OCOO00D000COkj&S000p3 II BURMESE CLASSICAL POEMS SELECTED and TRANSLATED by The Most Rev. FRIEDRICH V. LUSTIG Buddhist Archbishop of Latvia
  • 6. t( ©5|§©OC0g^O'5 05(^'D^1?I >p CG or s© 5) c ?^ -5 ^ I o ' c |} g ^1 cj j8 a^ooaoooocoocoglaqco^ ii
  • 7. BURMESE CLASSICAL POEMS . SKLECTKD and TRANSLATED by The Most Rev. FRIEDRICH V. LUSTIG BuJ'iliisi Ai-ch!--^^ho!' oj Laivic Sole distributors in the USA S. r j PARAGON BOOK GAiIer;"!™ H EAST 38th STREET ' NEW YORK. N. Y. 10016
  • 8. No part of this collection of translations may be reproduced in any form whatsoever (other than in Burma) without express permission of the Advisory Editor Margaret M. Kardell. PL L27 .// ^">N % Printed and Published by U Khin Pe Gyi, Managing Director, Rangoon Gazette Limited, Rangoon. (Printer's Registration No. 0490). (Publisher's Registration No. 0338).
  • 9. Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/burmeseclassicalOOIustuoft
  • 10. -^ ? ^"i I & in 4 :£^?rv9ia?e^ fi^?g!?»s|S ooc oo o r'cQ cpc OOO CO II yyeil33C0CT) 3DC0UI2350: [C^|OjGOS(7:>y?|qC?l yOUO^GCD^COgCD oopSso^lqcsbc! roisuco cxjococo qg9ooc?<^-hL_.ilLJLJooJ:pllli. (opoc - opocj no ooosocGwTboopaii
  • 11. To Knovvlccfgc wc acquire knowledge by aiviiig arid receising. Robert, King o^ Naples (as quoted by Petrarch. C.E. 1304-1374)
  • 12. soomcoooi GCOIS(?SCOCCOOl 393 I-- ens^cSccc^ooc^ot^-ssi G3DSC0CO COCOGCOSGQ GCOOCGCOO COGolcSCO OGCQOODGQo) cugicogGcoojro,!^ (gco§qJ|s) GCQ0C5 uccocooqyios GCOOCOSol c c ooax)ss 32C0] Cf5 COoS« OGOSGCO0«p ©03 Gcooossyjos GQODOJ =i) o wco©ycoG©s»[c (33 coco COOSTO y(J0G9 <i Q I —-> gSepGODjO CO[C00OG3]cC0C O I —'C coicycooQccooq 60 c OCOQCS "G jspso SOOSCOSOGpGCOO J ? 9 g 00 00 09 oS 07 00
  • 13. CONTENTS PAGES A cknowledgements Foreword Short Pip 3 Lu-ga-lay Mountains and Forests The Month of Tabaung The Golden-Yellow Padauk Carved Bullock-Cart Song of the Forest Sea Snails The Royal Kason Jasmine Deliverance Cannot Be Far Distant Military March Forest Flowers Dearly Loved Son Rain Pake to Heart (A Father's Admonition to Son) Selections Mae Khwe Author unknown Author unknown Author unknov/n U Kyaw U Ya Kyaw Princess Hlaing-Teik- Kaung-Tin U Kyin U U Kyaw U Ponnya Shin Maharattathara U Kyin U U Kyaw Author unknown Myavadiwungyi U Sa Sahton Sayadaw 1 2 3 4 5 6 8 9 10 11 12 14 15 16 17 18
  • 14. ©ocQCOt)©; jy|s©[cg' oc c c GQ0?aDJCOrO3Q00C CO 03 coy 03 CO c a c c c QCJOSGyjO c c c r~o c o ^ c SIODSSCCDykjQCOSO - 333JC ro o c bisyCDCJO gcoj^o 2^f^ OOGOO c c eocGos A o T 0yCO ^yj CDS [^coco o) ?!s^°S^^^ <D032Oyj0S qcDGwoo^GsTG^GoTyjos yC0G9 Of suGScoqDeo3pC o c oc ic c CDICOOyGSlCCOC jL Gyocooos ©coQnoco^cGsyjigycj c c nc OOCGCOjOGOlC CjCGCOGCOCOOGj Q oc £S3C © I —' © £SG|cgOCDS © I —' © gSG|cgocos G3$§.coqco Too It I JO JJ J? J9 JD J7 JO Jg ?o ?? ?9 <f^SF^^^*^^**^^
  • 15. CONTENTS (Contd.) PAGES Mya Man Setkya U Ponnya 21 Present of a Cheroot Mae Khwe 22 A Peasant Wungyi Padethayaza 23 Paddy Planting Song Author unknown 24 I Am Longing Princess Hlaing Teik- Kaung-Tin 25 Love in Secret Encountered Maung Thwa 27 I Would Smile UKyi 28 Noble Wisdom Chaturinga Bala and Nemyo Min Tin Kyaw Khaung 29 Donations (Dana) Shin Tezothara 31 Remorse U Khaing 33 Painful As It Is... U Kyaw Thamee 34 No Cooling of Anguish UKyawThamee 35 The Nature of Things (Release from Anger) Anantasuriya 36 Sources & References — 37 Botanical Glossary ... 38
  • 16. CDlloi^ 33GyG|OD|. COOCOOOCOOS OOCCO^SCO COOGCpOD SOg^o^S fmccoo oDccohoDoiopicDQ [^|yoc|OD|sGcoS coJl^co co|^y^cf7Dj^y QCOa§C0J0330§l CoJi SOCpCOyOS CDg§|^©CD 33C|C330S|0§C GCOSO GUSoloDpSlI 33S|C330^|090 |^|yO(JOgGCT)JSO§CCDODI |^|yOOT(^ G^W oocy39!qci oocoocooS GQooscocooccoloqpSoohci gcocoocococos L JL I— J LO a IL LI II — •& LJ 6 o L Gscooc|^oy1cogii 33QCC?30§§0^ GSOrDGJ^OCSyO OCOOCOOSCOCOCOGp GCOOCSCO GOcoiDii 00 5GOO cojyogcocogi copGaDi§y,^(jSu(jo S3yj[syJ[sgi fo^lg COyjOS GSOOCC003S]CO |^©COg§C 33201 COpGCD]?yGQSQp§C UCOCDCO coocojci coiuoaDioS|y|[y|i CDsoocgcojyc soscog cogcoogoItococo GCDO COOcj^OyOII fo^OJJQj^OCqCl 32o5(Dc8sIsCOO?2I CjCS330§ Gys (ilss^ii [yccoojyg usjo^J l^ccooGcoooSu (College de France) coc olGyooDsocfcujo.^cocooJi ooyi GSGQCOCS COOCOOOODOSyjOSCO 30pSsO?9<^ll 320DCd(oo)s^OCOC COCOOSUOOSQ O3C00C00 QCOSSGCOOCoS CiLo /jA Slo it oL OCGCpCOSGOCO^ II 3^GQCi)jOSG3C02 0^Sg3CJ0 COOSCOOsdi II COqu[y^§C oc oc" c CI— ' oc c r^c n ^ c c COC§§CCCOC rDOC033CD|.[cgoyj GSOOCSGUCOg ll [^syo[Cjgcoc co^3 c/ cc cc oc rG pc oc°cnc" c CD^ f 0'^js.©Q|rD ©CQcgGsooccoogsi [^|yo§cc§c [ysyoyo co33oos Co[qC OCoJloCOOSCOOGyi^ll OgSjQ GyCOCOC CodisOSpl^'DOC) COODDSOUC Cg" C / C CI—' c oo (-•' c c o'c CO CQCSQOCSf C'jeil ^SJCgoSSjODOSQI Ua333§(J0|(J2^C0C GS.00CCO|C0SJG000 3COCCO0Sy0S CO 33S|C330S§0330S COOQOSCOOS COOCOSOUCCOCO §Cg32U oSoSGUODgii QQGjC330^§0^C COj^yCD GC090G30SG§s|raC0g333lc0C E|yO coejoyjosGQos sqocoucoocdoco [ylooQl codcoocoosgsoo^ ssIgoco GCO^G|u1cOgll C0j|yC0CDCOgSI OCSols330§GUg[QS COUclg 33GC00C c TIC" c po cc occ''nc ccGQOOg GUl GylrDG3Q0C |Op^3UySG]|,! C0^3Q0S COCDCDSSOlcOg II ^CQC O3cjcco|6co (yyoo^co) §ccoco 33gjScoco|ys |s©5cp C|(jo|§gcoo yjOS<^ 33CX)33^^C CO^COCJC^S ©CQCulGCQOCOg II
  • 17. ACKNOWLEDGEMENTS A young Burmese Upazin (monk) who was one of the first pupiis in my American Conversation classes later introduced my husband and me to his Guru, The Most Reverend Friedrich V. Lustig, whom we found to be a most interesting expounder on Burmese culture, the Burmese way of Hfe and Buddhism. Having lived midst many different cultures for long periods of time The Reverend Lustig's background is such that ha brings to any cultural discussion a broad symphony of understanding. He was born in Estonia in 1912, studied Oriental Languages under Professor Sylvain Levi at the College de France in Paris, and joined the Buddhist order in Latvia at the age of eighteen. He has traveled exten- sively in the Far East having spent quite some time in China and Thailand. For the last seventeen years he has been living in exile in Burma, a country in which he is deeply interested. (I) In May of 1962 after the demise of his Guru, The Most Reverend Archbishop Tennisons, The Reverend Lustig was elevated as Archbishop of Latvia by His Holiness the Dalai Lama who is now Hving in exile in India. In the course of our discussions with the Reverend Lustig we found that he enjoyed interpreting Burmese poetry and so we encouraged him to set down a number of his translations of Burmese classical poems. This he did in conjunction with Reverend Eindawuntha and other monks of his acquaintance. (1) In 1952 the Government of the Union of Burma published a musical colleciion entitled "Ciassical Burmese Music"—Prepared For Piano By the Right Rev. Friedrich W. A. Lustig. After The Piano Presentation By Saya Myaing Under The Supervision of U Po Lat, Secretary, Ministry of Union Culture.
  • 18. yo5Gsoy|0§330§i looojqpSopqi gsoiosssGos (Dcoolocooscooj^g?! OC^ OO - OC ^ C nC Q C CO occi—'n c COOTCS 00^ 900SSCG330C [^IsjQ^ S^°^l^ COCOCD^?|cgolcog li ^cDcojc coocoogi ^rDc)jocojy§rD oJucx)D5GOCj|if7Di|yco sosgco c o c n c 9IC09ICOC0Ulc0gll OOGSOCOI COlIyCOCOGCD Co5c|§CQ (0COc|^ulGCOOCOgll cog[^occ Qicsi C0S391CSI udIoI 3qgs320oos^cooodi coocoo[y|9Dyi (DOSoSi 33C03330I yOjCo[yO§G330C COODDo[y|soyc033COrD [o^SOy SC|UlcDg II Icclaosooosyios [ylyocooioro QQoq9©os|cG©G|^ oosoaycjCSosoGCOo 33C0CS COCDlGQSyo GQCOSOC 03GG|s[o^SCOGO0DpD II C0.^U^32G^O3000§ c''c 'nco"'c C OCOCC c 30SS00GQSI 0D0C09kj|£O91C0yi0?GQ0S C09§CC09 §CS(J0p30|>S©© GOCS^ GQSI C09C00|ul30£|I COCGCOOy^S j^syOCOOlOyiOS G|0G(3©G900CSGGjS ©COpCOSSCOCD [ylyOCOOlO o]cO|.OQCyiOSS(C COGCOCOy1 0§(^ S3COS3g3 ODCOgS COQulcDgll COOCOO[yS COUCSSOD COOCT)CGSC0yi0S33O0CQ 33OoSoC09C00 [ySSO9in0C00y(T) [^SyOCTDOIOnOCOgS USCO CQc|^0005 c cpc" CO c c o c r~o C C T''^ C o cogyc|c^Dcpi ccscQ3QGs§c coisycoa |nr)suyg9icx)33Gol 2 oouy ceo coc c cpc" C 33GCpCCQCCOnO CQC§CC0p3yc|c^0GUdl 11 OCon c o o c oc r" o c c .^CCgOSCOOODOSjU COSgCD COCDOOlZDCDC'c GCOJOj) ococooog 339rD339C09q(^ II QDCDpCOl COpGCOlSyi 3QC033S0 32GCO'.32GQ? CO% ljI L L. l L u JL IL d L CTDCJOCODDCOOCOO - CDyCS33©g33CO0 ©CDgOO Co[yOS9irDGoTcOC «COg^ coy|_scoyJ[§^ccoyj|s33oq90os9icooD cosjusoTepg co^ Gjcolcyco^ osfyc I^C COSjUGoTcOOSCDCQGOCOg 1! COOSS.CCOpS C09JCycOpS§ COGOyp II 330OSC0[(^C 3QGQC0CS(^ OGols GQGCQS33G9r ODGCOOCOGpSyiOsJi SCOS OCT) CDy OCOS 33Oo3u000COOQOCO COGs|cc[^0§CDOSypSCQ O30o1oS |y|sOSpg 39yJ[syJ|gl G0o[yOSCOO§CQCQGUCO^II ^ gJ0035O J^OgJ^OCOGQSGQCOCO 339^I(J0^ GQ|n^pOCID GOtCD^lCDO OCIO^ICD^^^QOOO [^^yo^C |cc|^0SC09S yCQGQ0yi0§330S GCX)|gC?S 3300SCOCC|ul(^ II 3300§Co|^C 336cOUCOOCOo[gC ©C7D?Cp2 COpOOO y©©0|I
  • 19. We shared these interpretations among Burmese and foreign friends. Much interesting discussion ensued and many people urged us to share these poems with all and this we decided to do. We then set to work in earnest and had to decide on such issues as strict line and style translation versus interpre- tation of ideas and opted for this latter approach as we feh it would prove more interesting to most foreigners. To Burmese scholars and philologists we leave the more impor- tant academic tasks of analysis of style, comparison of various translations, and the presentation of a compilation of all Burmese poems that lend themselves to translation. For the "armchair" translators we have included the Bur- mese Text so that they might have the enjoyment of improv- ing upon our work. As any student of a foreign language soon learns, there are many ways of expression in his own language which do not have exact equivalents in other languages due to differences in climate, culture, philosophy, religion, and history. These differences are perhaps most difficult to overcome when moving from a philosophically oriented Buddhist script language to the theocentrically based International English language used by most world travelers today.
  • 20. ODSCOOogci 33QC330S§0 foOCOTOGCDO C C (—0 I « c _§coscocQe}l bog-cTDo 'e c''o o ' Q ODSCOnoOD COOOCOS OCD 03C033gDGUSX) GUc°[a^GCOO e^j^eiii"f^^^^ o © o c ro o c - "• c -"^^ yCOG30yp2330§'COp02 GCOISes olcOCOgSI 3CCOC001^^ 03^S330D05l GOOO^gof33(5u1^^ I, vp c o cx)|qo?3jroyjosc] c C OC o c E OC ^QO<|CCOOCO 330COO 03cocgoo, op^c^.^yoec^»yjog« ^§co3o s^Gcos^ggc: kf^^f^^a>«joo^ Goo.^.gpooo.o.Gg:p° §f^>S""' =§«^.c6 ODy ooS. ^c^co°(5 cooDDQa)^|3^soGG]2coco oygcoo6©osoDCDspGC7DocsGODo coucfsy§g cx)^Sl'^cojfy^ 4y£ oS§c)o1aD^„ odojocoso^ ddocoooodos odqsoS OJCOgy o«co|sroo!cooygoc g(0GOo:)gii G cogs 00 ^5i © r cop§§c >g(sS.oGtDor»ooa3oco po cjo5i yoocjODi 330I odo?g(co)i
  • 21. We are indebted to many Burmese and foreigners who helped and who gave their time and ideas: particularly 10 Mrs. John W. Neave for her assistance in helping us to achieve a smoother presentation in English, to Professor U E Maiuig for his helpful suggestions, lo U San Maung Tor his independent translations which we used to check against The Reverend Lustig's, to Daw Dolly Khaing for the typing of the f3urinese sections, to my Burmese gardener v/ho disagreed with the botany books, and most of all to those who have read the manuscript and given their suggestions. Certainly our lesults are a composite effort and many points strongly argued had to be compromised and will be disputed. We know from reading Burmese English language newspapers for the past three years that there is probably no more interesting subject in Burma than that of the proper interpretation of Pali and of poetical Burmese into rnodern Burmese or into International English. And quite obviously no interpretation of a poem in any other language of sounds can give the exact true flavor and meaning as in its own language of sounds but one can try. And in the trying perhaps we may encourage others to try and we shall all gain from our further mutual understanding. Margaret M. Kardell, Advisory Editor, October 31, 1966,
  • 22. e ODOlOCOO^OCOpSl COCOpS C0G(J00v"D390S CC°cS UCOOfSCOlCOOCTD oo c V cr-Hr tq -p c ' oo c V oc c „ O'JQCCOinD COp'iCqgGCbg 32GC0SS3G9| cogs Oy €]COD^G©§C<SHl! r-^cc cc C9|—'C ocoV co !rnySCOyS3;T):OGQ0GC00 COOCOySSQSGJCgOC GCOGOCJOysODCODJCOQGCOO o en c snc croc'cpco cocc (DCO0lcD33O3 - COOIOCOrDOl^CCOO -COggyCDg03|C5©CO GCpCOGO^C^ 1! a)Sp§330s[^C£OC|CDjC COjIoCO G^^Og |nr)GCOG^S|GC0O COOC 0003^330° COpSsi 3I03C§©oScO(jSgC0033[^OCO GGprD£|G(DC|^ COOJOCOCOOCOCDOODJC UG300CGU§§CGUC0p0 II 'cOpGCQiSy'uOGOOOOCOOSQCO GQOOlCOCTD COC0C§<^ (DC0330q330S CO ^GSOOGOslccO^I COOlO^C [y^OGCOO 3©0S3jTO«J0s[^CC00 COGjU nn oc c o c c o en <^ Q ope ( —' e e e GGI GO?§C©ySQGOC0gll mjCOGCOO OCD|^uyj|§ €|i^CSG[O^OCOC oco c nc" c cc o eroorQ pc o o c 30SGC00 [ysyocoojoq aD|§u3Qoq CDugygs [^|.ooo3C|iocq ycocQ ©OSCO QG^|cGCOO 33[^'5y][§CD GqpCO^COOGjjgCSUC [^©GOCOpD I! CO GCOofDCOc coquGcsTcGpcoos yio§[yoscoGO(^ii j^syooDoiococ COO^COCDCOrD^ OC03Q0^300Sy§C ©O^COGQSCp 33GC033[np^yiO§rD OOSOOSCOCQ COGjUGCsToOOgGOCOp II CD0y|cOCQls©0S COpS<^ 00O33GOD 33|op°(T) GcosGcos ^(DS(X) coqu GoToooscpoj y|rao3aD sScocooc o c nn n c c nc o c c pc o c OOCOGjUGOl y UlOCGCOO COOjOCOpD OC033[C^©CO G3C0C0C0CSgC?(T)UC OC0G|G]GOC0gDII OOgJ^OCUC OC03DSGC00 |^ly033§OpD0CD^ §©Gu1cS Sc cr^ c c oc °eoc c'^cnnOGgocscooGcoogoscopbs coG^^oonococ ocfDycoyco oocoooodoIo! [^C QQGCOSGQGCpC [^CDO G000rDG^0c|y GCOOrDG[yOCGS(DO COdjO o1cO^OC|CCOa ©00330^3302 33|yCOy5 CO ^G£Oo|sQOGS9DUc[g(DGU<^ II l^^yOCDOJOODgl C0jJ(J33C0C0C 0OSO3G000 330o]cOrD GSOOCCOICQ ^Gudlii [^^yocoyJIscDCD^coos ©o^oyoDcps |^goco<^ii c]^3©o§ 33UGCO0 ©OpycOCO^S 33C0|3d|^|330§[^C §|cOg GCDJ?Cs[y^C0C0<^ II coyj[§coy5|s33G^^c cyscjcsoc ooo5d3| g^ocg[^oo5co<Iiii CjC?CO00p
  • 23. FOREWORD Poetry enpbles a person and elevates him above his petty environment. It can guide a wavering mind through the daily rough course of life to a safer position. And, in a way, it can make our everyday life a thing of beauty. Only poetic, elevated emotions, stirring the imagination of all, can lay bare the meaning of a culture. For this reason I am attracted by Burmese lyrical art and find the poetry of Burma irresistible. Apart from universal human themes, ever present in Burmese poetry is an intense expression of a spiritual way of life and the ethical experience. The profound active humanism of the common man is verbally outhned in a form which often turns their poetry into music. That is why the Burmese lyrical art with centuries-old traditions, rich and variegated, arouses a wondering and eager interest. Burmese poetry has for me a quite special significance. A people of rich and responsive human sympathy, the Burmese are very gifted as a race. They built Pagan, a striking testimony to their spiritual insight. A nation which has such capacity possesses inexhaustible possibilities.
  • 24. CCSCO<^ ©CO0lcOG€|SCp (DySgOaDCj^SoOCOColoCO COODGCO 00[y€pG€pC0 c"*" TGOc oo roQOC c C"^c; CD^ qygs§CGCOo uo cocogcoo |^^yJ|sfT)COg§ cogGSOOCDsei) ii (D-SsGSOOC SCGCDO 32€|g QQGCDSyO ycTDSgOS §CG330CUC GjOsjyOS Tn n nf o s oc o pc o c cosGol (Qol [yl-wo nooioyiosno 33ocou coocooco [y^socpg 339u1oS 0°rDiy|co|GOG]^^C CT)OJ0®090<^l 330GCDO32C0CS S|G^G©G].^1 coc c ccf~o c ncoc or-c r^c CDCQ§cco£j]i rDj§u|op^§oys ooosulcogii coGcoo coojocT) [ycrDoyj[c^c rDOjO©090(^ ©cooDSOOcp ocGepco 9Ds§©c€jOopD 32GCj§yo ycococo COGUil C03J0U©0C0qUC0l COCQ3lo5o3COCOI oBcQCOJCOJI 3QG|^00rD sicycopSs oocoGoygii cogcoo coj§y39G^§c cocoycoco^s Ul'&l" oysuys GsoocQcocoooGucopSii ^coiysco |y^©cp2 scdogcoo mop yjogco s^ysocoboGogcogi 32Qcco§6co r0yo©Q(JOj (gooqcd^i GCOJOCgCOCOl GjIcdI) §CI CTDCOOOCOCOGGpCD 330033^ GOSGCOO GyOCG330C3C CDS^OSCO^^S GCOJSCJSGQOOS COCQGUCO^ II [^syocooioycoc oq coco ©cop3 32c6coyi gqco^coooos coy i COCoEcOOl COOCDD|GyGJcOC?G©y ©Cobc 33c6s30sbci COOCOO.SO Goioco(jS[GOG©copD ©usoyyjoscogs yiosjyoscoGOoopii C03393lcOC gjcocoGcoo cDoioyJIsco GQQolco GoToocoGcisyo ycouScDCOGoii OSCOCOgJ^OCQOGODO [^syOCOOlOa ©U£0(3§^y CDC©0§y 32©G]CO^COyo one q" C QQ POC I ' C C pC " Q 33oulcocoyJ[2oocT)yrDcoi G3y][gyj|g Goo|yo§§cGCDOG[raocuc [(^©Goefiii c ccncc c cc coo co°c c COSQC0g^©GOlCS§©€p3^33C0CSgCOgSC0OUnD0G|U COSCOCO OOSSCDOS COOyOD 02g[^0Cs[^^^ 5t^'^ Go1u00e]2l ©COOSCUS 39CO©3330S?yiOSi s39o1(jS 32co©333o|syios |ygcojy§coo3GUcop5 II 33sij|©coo§cosyiosyo 33CDS^^s|^S Gu]cpaD32[^©C0 G^OCSCODDOSQGOCOp II ^SScfmoCS g[^ocuc j^lyocooioco [^lyocogsoccojc cod|o©o30(^ yQC§ 33ogcqo oc c ° c r^c oc pcoc * p o 3300CSI yG|CS3300C33[^C S2CDCI y[^C§CGCOOCOI OD[CjOSGCOO 33C0 33|^c|^CCO0l q|^CC0COGO(^ II o8g[^OC CQSGOCQC0OjO32sfflcOj,C00CD0 y^SOQpgl 333C0330COgS GC03QG0(^ II
  • 25. Tn translating these Burmese poems I have tried to catch the correct meaning and to remain scrupulously faithful to the author's expressions. But to see what a poet or poetess saw passing before his or her mind's eye when the original lines were composed, is something which cannot be solved like a mathematical formula. I worked patiently and conscientiously, and am grateful to Rev. Eindawuntha, a Buddhist monk of Bawdigone Kyaung, Rangoon, who offered counsel to me in analysing the most perplex metrical lines; and to Maung Aung Khin for his practical assistance. The Burmese patterns of intonation and well recognized melodic phrases of the times obviously governed the original compositions. Today to decipher such particular words or groups of words sometimes makes one uncomfortable, because Burmese word arrangements may often express more than one meaning. Also during the last two centuries or so the Burmese language has been greatly enriched by the accession of new words and nev/ meanings due to scientific advancement. In the process a large number of old words and arrangements have become obsolete ; and the Burmese reader often has a present understood meaning quite different from the original. Some of the difficuhies encountered in translating older poems stem directly from these circumstances.
  • 26. (JO 3^coo CO o|y I l^^yooDOioyjosco cocqc)S|gcoo §cc[^oscoos OOpSOOGUDOnOCOg OCOSoIgCOO (^lyOCDCMOg OCQCCOOSraO CDOJO pOCID^pS|ycOOGCOO [^^yOCOyJ[sCO(ll 33GC0S33G3T 33CX)30SO^C 300S 3CD 33OO300S GQ|.^iC(J0yjOC |^DG© qCQCQ [^CCOOTCOgCO SOCOJCOC ^noi«s[y^os|raJ]s ^uGojycjD cosoyGOcocogs ii 935103^0^^0 c© oc COOOOSCOOS O3000C0S0OC 11 to T I CO© CQ C O900O00SSSU00S COCX)O§aD0§§C C CO C « co©cx:)33css(joo§€i) oooocpeoii GQCOoGOCoGooolrnsi Gjsnosk) 11 OgGG - 31 cwcoQGjonoGSii
  • 27. T shall consider my labor amply rewarded if these translated Burmese lyrics prove interesting to today's foreigners and help them share, even in a very small degree, the innermost thoughts and feelings of the talented Burmese people. Friedrich V. Lustig (Ashin Ananda), Buddhist Archbishop of Latvia, Sangharaja for Estonia, Latvia & Lithuania, Great Shwedagon Pagoda, Rangoon. April 26, 1966.
  • 28. CSOSCOCQ c ©3DiCQ30 CQQ^G'X)OrX)l GGjOGOOOCOGCQOGOSI o c o c o c o cpc rrp c o c ococoTOo:) ocDCOooci UDCocousno cQrocoooci IL I I ct IL L LJ I I—IL OL c c c c c GC0 0ODG©3|C| CDCOCCOG GOOOCSCQI o gD§^G]G0j51l II « c »
  • 29. SHORT PIPE A pipe... a pufF... short as a finger... I give you for smoking. "If I do not take it you will think me crude If I accept it you will think I like you. If you want me to smoke it put it near the bed, my dear one." Mae Khwe. Mae Khwe was the daughter of the Mayor of Sittaung and she was married to a Maung Swe. When King Bodopaya (Bodawphaya) ascended the throne in 1782 C.E., Mae Khwe became a Court Poetess. C.E. means Christian Era.
  • 31. LU-GA-LAY Oh little boy crying! I would I could Catch you a pigeon White, blue or black Oh Uttle boy How hard it is To catch a pigeon White, blue or black. A lullaby. Author unknown. Lii-ga-lay may be translated young son or little boy as the song although originally sung by those caring for small princes is now sung in the same fashion by modern mothers and fathers.
  • 33. MOUNTAINS AND FORESTS Ah... beautiful... The mountains The forests The quivering buds The trees caressing one another. The birds frolicking with joy! Author unknown.
  • 34. ooeolcsco c oc nn c Q o GCOOCOOUGOl GO §C09|IG§0COI J A IjL J oL gl^COSCO COQDOO II onoaDCono'JO co9|y'j|si colsjysgfQii nc c CO e COGOlCSODGj'JOJD UGCOO.^1 COaoi COGCOOUSSII UolsGCOOCGCOOCOOCO II LU GyscoosjODsolsii
  • 35. THE MONTH OF TABAUNG On mountain tops sweet nwe-kyo creepers Bloom midst other blooms And thabye leaves dindpet-sut flowers Are once again pure bright colors. On the Festival of Tabaung Tharaphi and gangaw open into flower And fragrance pervades everywhere On Mount Popa. Author unknown. For more detailed information on flowers and trees see page 38, The Festival of Tabaung is on the full moon day of March which is the last lunar month (February-March) in the Burmese calendar. Mount Popa is over 4,000' above sea level and lies in Central Burma near the ancient city of Pagan.
  • 36. occo-^d!)©^,©! cooolssGoyi 32COOD2u1coi IqIqcssqcjocd oc n SCGQOMI il conococDyscooEci cocoussgcoo ©ycoco i Do T IL IL s§y oIcocDuyooDi ugccoogqisqcoo TsilTii jj o aJ COUOCOCOI eQOQOOODOl II CO§(DCOC OOPCOCOGOOI COOOCOC OOCjrDCDl c en c I ' 6 ro c c OCDSCDQCDOOll OCQO CQO UICOOCdI I! [yycscocooli [^jicocscoosji.coyGcooi GG]OCQ30CCQG22^^^"^^^9l 3l3D|(3^Oy0^ cr^c oc oc o c pc GGp(X)[y^GCOOI CD^C0GG|00^GOCO GC00r7DC0[yCI COySCOGCOIOrDCOCSoloDl 30S?C0GC00ODycOCS§CC0SI u^soGcoocoyc?i ii (O I—• «
  • 37. THE GOLDEN-YELLOW PADAUK Tn the month of Tagu From emerald green leaf-clusters Bloom forth golden-yellow flowers. Truly what other flowers Can compare with these in beauty There in paclauk's cool breezy shade Where the flow of sweat ceases At the entrance to Nanda Cave— Retreat of the Pacceka Buddha. During one month in a year During one day in that month During that Day for the Buddha Padauk blooms forth in the forest. Summertime ! The time of Thingyan has arrived. And glorious is the golden pollen Mistily blown from padauk And spreading its fragrance Along forest roads. No one can describe all the marvels Of this royal flower Padauk I U Kyaw, U Kyaw flourished in the reign of King Mindon (1853-1878 C.E.) Tagu is the first Burmese lunar month (part of April and of May). Nanda Cave is a mythological name for a cave supposedly situated somewhere in a jungle and to which no ordinary being has access. Only super beings—Buddha, Pacceka Buddhas, and Nat Spirits or the like—may stay in this cave. Pacceka Buddha is a Buddha who has attained enlighten- ment but who does not preach to tho world.
  • 38. C9^s«^§eco5^[§(cccs^^[8) C C f CO U90CGC00 [C]COGUSG|^y CO^SCOgGCOO [TO[raGCOSS|CD^^ o o CO nn QQGCOICOCO COCDOGSl II L o L 'L COqJ[(D G3J000| COGOQO^'jS QOCOCgOOGCOO |yGCOI03uS Co|s003DC^OCX) GSJUOCOC QGCpCOGjySGjCO^^ OCX c c CO OOIOOC OSOOCO 30|.°CO'J0CO c CO r^c I • c CDOOOp oGCOocco [^^s[a^coco r' c c T' cc c CD G|yOCS|SGOl COUDG^OnOCO cogs GSOOC(j|SGUl II ro c c c n o COQICCOO SOGODOCTDCOCJICO aUL J ^ oL ro C C pc 01 [I gl coo 0GCO0OD30C0|CjC c c c o c GSOODCOgSiT) GG|COgS(T) GCDp GCJOCJQ G3Q0CO GCOOCSpOGp^S GCpCOGSjOCO GOOCSh^GCOSII
  • 39. CARVED BULLOCK—CART In his carved bullock-cart He takes his girl to the pwe Many are the beautiful girls In his village district; Some are better dressed Than the girls in town And as they go to the pwe Sitting up front in the carts Attention they attract With their blue, black And violet hued kerchiefs Round their necks And small satin stoles On their shoulders. Each young man and his girl Snugly sitting side by side. As the cart from behind Overtakes the cart in front Bells of wood and metal ring; Young men yell across to each other Racing with their carts Moving abreast of one-another One cart on the road The other close-by. A pwe is a stage performance including music, dancing repartee, singing and folk opera. Most of the poems inclu- ded in this book were first heard by the Burmese people at some pwe.
  • 40. C033COJC cpyoc |^co]|op°Gcooycoco Q C C 1 c c OTioDQC QCOl3^C0G330C GQOSG^ScOS CDOn00yGOSG©t5 ^OSOoSuoI 00u[^0?rDGCO§Cj(J0^ ( —'C « O o o ^OSJCg^O OCC00GO?C0CO QSGyOCO G§S90G|mOC L • J J I 1 o 5)?GCOJ OCOGOSII e eL «Q CM gJcpGTOJO
  • 41. To be first at the town's entrance And to be first at the pwe means praise And to be first means a better place. The boy is excited—he must try hard — No longer distant is the place. Proud is he of his bullocks — Purchased for over a hundred kyats. And proud are his perfect bullocks With their white-spotted foreheads. Restrain them with reins And bullocks look skyward — And the pace suffers — So slacken the reins. U Ya Kyaw. U Ya Kyaw gained celebrity in the reign of King Thibaw (1878-1885 C.E.). U Ya Kyaw was considered a master of realism. The kyat is the Burmese monetary unit.
  • 42. CCO'Dj^ or c c c noc c c c c oc32^^sca)^ci |op^cco|sca3ococ]gi GQCoJ^OGICclyOCSCOCOGCOS II or c n c c O Cfo c o GjCDCSCOOl COC§[CjOCO|<OCI coco[^j_coccoi TOJ|1_S€|Cg[^0§0I GC|g[^CQl GoTcpCOOSCI QGpOTGCOjSCuScDI GGjoJcOoS COgyUOGySSJCCOl O&oIgCS CoIyG§Sol§Cl G|^SGC|0yU0GCO§ll « o c oe nc C)> COICOOOGSiCOOC
  • 43. SONG OF THE FOREST Fragrant and fresh Are the whole branches Brimming with nev/ life ; Brilliant are the leaves All golden lights. Pleasant are the forests At Thingyall's festival time. One delights to see Lingpya birds building nests ; To hear cuckoos in pairs Making heavenly melodies; and To see a parakeet's lovely airs Makes a maiden long to To feed him in a cage . "Oh darling! Catch him without delay He is about to fly away.' Princess Hlaing-Teik-Khaung-Tin, Princess Hlaing-Teik-Khaung-Tin (1833-1875 C.E.) was a gifted poetess and musician as well as one of the most beautiful women at the Mandalay Court. She married the younger brother of King Mindon and was therefore the consort of the Heir Apparent of the Court.
  • 44. E)<DOo |«cao§y (j6©o(joii E|o1^oco©§ci sqcoocoooOc^si COySGODUCQCOp li GQ9cc6 ooofajusci co|cjo[ycouocoaDi ^oSycjocojsooosii C C r^C C I ' CO O O OCCODUI |QCQDC0C0|cggv5Cpl 00 COCO COpCOCOOS^CI 33C033§0g|^0CGjC0C01 solgGslcooyJ^s II e-Q'^e'
  • 45. SEA SNAILS If you meet If you see You believe. So quaint to see On curved sea shores Clusters of snails Whites, reds, yellows and blues Moving and displaying themselves, Some golden penholders Others hard iron traps Still others—fairies' hairpins. Oh? Hermit crabs! Coming here or going there And everjrvvhere Attention attracting By borrowing Empty sea snail shells To Hve in them And move about in them. Bizarre indeed are these. U Kyin Uo U Kyin U wrote poems and enjoyed great renown in the reigns of King Bagyidaw (1819-1837), King Tharrawaddy (1837-1846 C.E.) and King Pagan (1846-1853 C.E.).
  • 46. oo GCJoyS Gacolco:p[a5GCOoi gcoodjo Co© r^c " cr© GOCOSrpSOCOl GCD[y|.CU^G3003iyi 11 OCGJI OO.T)l GC|OS|COOIoo|GO§C1 qIogo copScoGOCocDcyi pDocoyGJrocoygcD© 0,3SGfcn0C| 3200^G'CO GX>.")0ODulcUI oqOG3 I , L_J o d i^ L °L L I a C © coyo§oorDcjoi Gco]?g©oi ii OCCoIs COjPcOgJ^OCCOI GSjCOCCCOCDGCO G§o[u§GC001 G'^OCCOjC COCOGCOGSpolcOI GQCOGqfopqcJOrD Co|c6-^l QO^^C COOGOSl L /ilL_J I £> 1 ij cJ 1 J o A cno cooo c ossbli coospcg qoDGoyi oco^yo Qo^ys^lucoj yycopOGy5G|ocDi gcoocdqd^ c coco opo c r^ c GpDOCGSlODSS ^Yt^ GC5l yOG320C G!^rD|S GO C O C 3DC0I coysconocoGcos II
  • 47. 10 THE ROYAL KASON As the hot season Revolts against the cold — In the pattern of contrasts — The firmament becomes cloudy And winds are hot again. It is summer. Leaves on trees turn yellow, To fall—to show new leaves- Stems twist or break, yet Sprouts on tama trees Are now soft greens Like parrot eggs. While in summer trees thirst In foothills thazin flowers Are climbing thabye trees Eff'using fragrance Mixing with the wafting air. At sunset crow-pheasants are cooing, And from afar come the cuckoo's notes. Now and again thunder is beating Through heaven's expanses Like lambara and deindi drums. And I... Oh, I think Of the pouring of water On the Bodhi tree And of the absent companion In the Golden Palace of Victory, And I am mournful. U Kyaw. Kason is the Burmese second lunar month (May) and its full-moon day is the day on which the Buddha was born, obtained enlightenment, and on which he also passed away. Bodhi tree is the tree under which Buddha obtained en- lightenment.
  • 48. od c o c c c nno c o OSS©OCOI SSSCOCJOQGUl SCOCOOQl 33COODGC00C0SC0CqO| 9OCC0c6sii ^SSGjGOl ySSG[^ OOCDCOICGCOOI OOSS9C COOCOG^^COCOI GCQOGCOQOCO? II 8"".^
  • 49. 11 JASMINE When jasmine Is not in bloom In palace gardens Courtiers must Bedeck themselves With kan flowers. When jasmine Is in full bloom In Mandalay's Palace gardens Courtiers never Adorn themselves With kan flowers. Then kan flowers Find favor only Among villagers. U Ponnya. U Ponnya was known as the best of the poets in the reign of King Mindon (1853-1878 C.E.). The King gave U Ponnya a noble title and some land as a fief. Jasmine has a sweet odor and is beautiful whereas kan flowers although beautiful have no odor.
  • 50. CO^OCQOI OCOC090I S^rOQD ©OOSll L L a L A L I c c o o Q o c c oc c C71|Q0CO§ODI COCDS'JSSDDCi G<|00CSSOCGCO0 ll| ©0CDCU^§1 33Gg5,4 e^^COCOl COCogcSOOIj OD^CD.'DcIa)! §0500C1G]1 gsU9SODCOJCI ODOGODJSCSI 3300SCo[yCl OpDjS|5(JOI QOOCyGuTl yGCOJOGCOXI CDOOCOSSII J A o (— o c I —' C CO C o c GQQbpsCOCQI [O^.TDQCOCOCOI 320SC0C0QyCI OCDCyssI OimyGysl GSOSG^SGSpG^Ol GJyOGCOO OGOOI G03jUG€|[gCI CQSGOSOSSCOOI COCGSjolcOgSI CQuSoOOCIDQCI GnOjSGOOOOC^yil ©OCOCUOCOI (DiySOOyjCDI GC0C0WGG|0CI g|^0CO(D^O021 coicQcoicoolscoi cocoosoyoi GconcDOoroooD^i oScpQGGQOCI fmGSOOCGCOroiCDl GS^CDGQQOICOI §C0OC0S|Q| ODOSGOIOCO^I CQOGuTcOjCl OlpO©CCCD| COCOCUGOOCX'I o c c I —' c o <^r^^S! 30GG|SGSpC0C0l CO|G[O^0C7D9e|l CX5CO[^3C| GCTDjOcococuyoi GCDcocpcoi cj^oycojcgi SOSCS^gS^OI Cd[^0§OCOI y[^0|CQGCO|0(-Dl 3$9lCG000C0GCO0ll
  • 51. 12 DELIVERANCE CANNOT BE FAR DISTANT Listening, thinking, questioning, answering Examining, writing, praciicing, and memorizing- Daily these eight disciplines need wearing As one wears flower garlands. Constantly, with a spirit of competition and With diligence the beginner in fundamental lore Must practice recitation... and If he tries as hard as ever he can He will become a famous learned man. If one does not try with the eagerness Of a daring eagle that firmly catches a hen; If one does not study and ponder, Does not question and does not discuss, and If one cannot give a discourse— • Knowing only how to read palm leaves — How can one become a well-known man of letters ? Like a cat eating a shrimp with special enjoymicnt A learner must study all texts—omitting none — And he must learn all by heart. He must become sharp as teeth of a saw Penetrating deeply into all discussed matters. Thus reaching comprehension Indelible as a stone inscription. Then when perfect in understanding He will be ready to say all by heart. Then on any matter at any public concourse He will be ready to give a perfect discourse. To unravel the subject from beginning to end, Without fear—like a lion — To stand in the midst of the crowd, Like a pillar of stone unshaken, Going over into every detail And replying to all without fail.
  • 52. op s3Gcooo5cococDOi olooouiccoosi ocoosooocogi c c G r~© coo ore c c ©OQpGQSCQSI ©CDO?jCQ§COI ©COgoOOOl OlOOOOOl-OOl GOcoQoopDSi oos^gsoyo n coc oc ccc CO gqcodxo'jIci G390o5oocog^i roox)CoaDOi cocoqpcoco^i uyo.T)Cosi s330sosyi Li , A J L A I IL pOylcOODCOl CDSCO SCOOCOI 33^'DiaQCQ'JO L_. aT L A L ILO T AJ OOG05GCOOypO| J L_j cjoicyuooqcoooQoicyuooGj
  • 53. 13 He must be familiar with verses in Pali, Various forms of address and old difficult words. He must know the meanings and formations Of elements, use of metaphors and versification, Grammatical method and annotation. And how to reason forwards and backwards. Then if he knows all this he will have recognition. He will be celebrated in this life as a man of erudition. In future rebirths in this Samsara He will come near Buddha Aiya Maitreya. Then for him not too far distant will be Nirvana. Shin Maharattathara. Shin Maharattathara (1468-1529 C.E.) was a famous Buddhist monk. Written in the sixteenth century, this poem reflects the spirit of scholasticism. However, laying stress on thorough- ness as it does, it has a message for our age as well. (F.L.) Samsara is the phenomenal world, the repeating round of births and deaths. Buddha Arya Maitreya is the expected Buddha of the future.
  • 54. c © n c c ci—O ' c c coc c c qc c c c o o coc c rot (. (. t u OSCCCOQCCOSSI |yiC©3.^SoiOI gQjySCC0G^g5l occ c ccocr^coo c COrDDiCOGyOCSCCOSCI QOOGCiOCSCOSJ^COCOCOI L L_i J o J U UL J cro cnoc-o oc oc co §cbcoc|^^CQycoi gccdico^ G^ocsj^csaDyi CDrDOICTDOCJOGCOSlI ps!ogc£
  • 55. 14 MILITARY MARCH We are not afraid of anything! We are daring and brave Ready to sacrifice our lives With Parpahein marching to the royal city On this day fixed as the day of victory. At our camp in the forest Verdant are the branches Full of small flower buds ; Sweet are the sounds Of the military drums and gongs In the soft evening's twihght. Just as mists and clouds are dispersed So too must we destroy our enemy The elder brother Zeyathein. U Kyin U. Zeyathein is an imaginary prince, an heir appaient, and one of the chiefcharacters of U Kyin U's play entitled "Parpahein Pyazat". In the denouement of the drama Zeyathein is being attacked by Parpahein, Zeyathein's younger brother, and in the fighting loses his throne to his younger brother. The above excerpt is of course only a small part of the whole play. (F.L.)
  • 56. |icOo|^^ 33GCoScSo5u1cOi "C0g33CGy033CDCQ90COi GCDpCDS^OCOCOODrD Gy?COCQCOI oc OQC3 ceo oy33(T)SGoyi sj^gs oco^ycoi UqI^^ OIUQOGCDCDI OSCO0OCOCOII qogEEc copD39co^ooGcooi 3oaGG|S|c ocoscooyij coco c croc c (— OC" c C0g|i^§^3C ©UCOCCJOI b|CCOU0O |Oj)CGCO0CS|| ncc c coc ceoGulcsuci cocoGyocscuycogcDccoi f—oc c c CO c c o o [CQy§COCOC CDygCjGOCI GCO.^CGp GCOCSSCOCOCOI §©33g[3 GOCOGQCO [ySGCDOl GSIOCCOO GCOOCCOCD C0QSC51 U ILJ 11 oU IToL SOSSGUOGCOOCSCOyi O|§GCyGC0j0C§ll XO I —' »
  • 57. It FOREST FLOWERS Budding branches sway daintily in the winds Blooming forth into abundance. Red-dappled white flowers of nan- 1ha And blooms of sandalwood Sweetly scent the foothills. Summertime ends But it is not yet the season of rains. From the ground below Rises khatta's overwhelming perfume While from above Jasmine's small swinging branches Send down their fragrance. Climbing the forest trees Khabaung flowers sway in the wind Like rain-soaked silver strands. Later in the rains their stems too Will be all a silver hue. And in the valleys Surprisingly charming too Are the strange flowers Called by the villagers Crocodile flowers. U Kyaw.
  • 58. QSGOGCOSODCO COOCO^OSCOI GCjCOOSCO o o ceo rr ^.. 3G€jC0 COSOOCO^CI C0S3U00§|Cjgil CDgySCOpDGCOGCO^CI GCX)GOGO GOSGO OOgCOUOll coysGulccDGcosii
  • 59. 16 DEARLY LOVED SON With the army She has entrusted him, Her dearly beloved son, She must not pity him. On the way to Thailand Many are the rising rivers and streams Violent are the rains and strong is the storm. But his own mother has agreed, "Let him die.. .(if need be)..." "In my heart too, No distress lingers.' Historical song. Author unknown.
  • 60. O froCOlQOSI ©C00S3D(DG§0C II c c G~OCOGCOS| yGOSOmOCOGQDCO I S>S>i(JDCnGCOOC pCOODO O^SGCOOCO'jSi [^Co|2oSroGyOC II UG320Co4o5|sil SDgCDOOl |^^ODG330C y30CCO0§C| €|D3CyO Sec c c o 11 booowcsjOQg pg©
  • 61. 17 RAIN When soft breezes blow Rare fragrance spreads From the saga flowers Growing on the not far-off Mountain of the Giant's Palace. Dark becomes the horizon Enveloping us from the south in gloom. Melancholy assails my heart. Oh, Rain God, do not cause us sorrow! Do not cause us sorrow, Rain down and All the eight directions will look gloomy. And the rain will sadden us in many ways. Myavati Mingyi U Sa. Myavati Mingyi U Sa (1766-1853 CE.) was not only a great poet but also one ox the most remarkable creators and preservers of Surmesc music. He is the composer of the celebrated FItumachana Thachingan. The eight directions are N.,E.,S.,V., and NE., NW., St., and SW.
  • 62. oo (330000 000303 SOSOSSSJ yoooo ocQi gososycDosi L L o o c cr—: ooocooscDi ycocooscD^[cgi oc on o <^ " ys-3o[y32ii GygcQCOcoejsi T L ol J L OI©§?CO00pDl COOSCOGCjGCOOCi COOOpSgGsIci I |.02G000C^C00I GOGCSOGODOII 9SpC0Qgl cogyp33G[mocsi gcoocsgcoooojcocoi ©OGQOOCDCOI COOg^CDCOOl cocoGGgoclgGcooii oijoccdooi UL o LI ygcoyi GcojocojGCicDi COOUDGjI GjOD^SCjCOy II c cpoc o oc c G^occo3oco|ngyi g|§o|.yicx)§oi (jyoyoci [ocyoyGcpcoi GCooyoGypcocoi G[qGoooo5coiT)©i J U oL U L ^o]cocoio5i coyio5co^y?i CDGolcDOSg^CI CODDygCOGoll IL T J o IL ^^ IL « ooGoDOGcoouoi coq|vcoyi cy ocuc|rDygooc(^cops ii
  • 63. 18 TAKE TO HEART (A Father's Admonition to His Son With this poem Let me give you, my son, A parent's admonition— A true garland of emerald flowers— As useful to you As your right hand. The love in my heart For you my son Is like a mountain of gold • So listen carefully To the not to be lost heritage Which is Good Conduct. Traditional knowledge, My dear son, you must master. For if you do not acquire knowledge You will be hke spilt water — Not a whole man — And you will feel shame. Repenting ten times over You will grow pale of face And in the world lack good place. Like monkeys in the forest, Who have hands and feet too , You will be a wasted ragged fellow - A useless purposeless man. As a man of no solid substance— By others held in contempt — Ashamed you will be, dear boy.
  • 64. 00gR0C030:GX>§I CUDSmtGCOtCD', ooc n coGqscoqpi QD-yclcoi IL 1 IL L ji o J L GOD]OCSOo[«G^I ©OGOCOCODCi o c o c o c o CDCOICCDOCOI COyCDCOGQSi oL jj "L "-L J cL I o op o o o c COGySCOGGl COG^iCOCDCl OL ci. U cL I oL L oc oi—' o o c cx)rDCcocoi corDOorDssi 01 L clL_A •-L A ^L Ll O o o o o COCOgCD©! CDCOCOOOOSI oL L OLA oL ^L o o CO cooODOOSCOGOOOCOI CDGCOlOrDCOSOi oL oL iL jJ oL L ooo c oco o COrTDCOODICI CO§CCOCDJI SI ooo n CO COQSSCOI yCO§gCDOOI ^LJI L L U L J A coossospcoi ySCOQICOl COOSCOyCSGQI QGyGOSCli J jil o J o GOGQGyscoi oocoyiooi « I A J Ml ')CD-CDOScoGQSOsi gjorooooo
  • 65. Therefore from childhood. My dear son, it is necessary To learn about all human matters : To stay in school firmly and to study To read as told, To write as told. To ask as told. To reply as told, To sit as told. To rise as told, To stoop as told, To use what told, To change as told, To partake of food and drink as told, To address persons as told To behave as told, To approach persons as told, And to honor lovingly Your teacher as directed. Beloved son, Bo not forgQt all this Your Father's message- Mentally note it^ Carefully heed it^ Keep it deep in your heart. Let me say more^ So it will be indelibly Written in your heart. Listen gladly! Do not make friendships with drifters, Pleasure-seeking low-thinking men. Or vapid men seeking only evil. When sometimes the^se types come near you Seeming to befriend you or in play
  • 66. c coc coco COp2C5JO§OCQ(D9l C0C$<|.y|33l §ocoyooscooi gooocsossogccoi c c c c COGCDOyCDCOl COCDCOCOGCGOCSIl c c c COU2GC00CSSCI GGcoocsyyiOsi II IL JO -iL U Gscocgolscopi Gcoorrjoo':;(-i:©oi c c CO '30CO(DI OCOpOCOCOCl GOrOOCSiCI GOJOCjCCdCOSl o c o nc- p o n COyCDyjO^COl GOiCggOSGSil lrJoocoox)pD?i GO^DOCOosroi OOC C O C Q sl^cycopoi cooscococjorT)j[§i op cro oc no 0|yg[C55aDWl [op^gGODCOOSCOl yocoyii'^i wcdigI^ouoi yocossccoosi coocoosroi Jo I C|C330SG]^I COOSCOOCOGOOjCi^COCOSII aaosooaocpGooo
  • 67. 20 Keep away from tlieni, At a distance stay, Then your welfare Perfect will be Dearest son! Without fail Try to do everything Just as instructed. Do not push aside Your Father's speech. Take it gladly And live by it. This is cognizancej5 My son. Sahton Sayadaw. (Buddhist monk, probably 18th, Cent. C.E.)
  • 68. §fe'>|s®(^'3 |y©G"n21 GSQCSGCOOSOCQCO GCOGCO! 3D5COryOygGQ|2 II G^^GjCOgIo^OI ggODCD00|sO-jg|3]l OCp'(DG|OC|TOG(JCOl QSQ^l' o c n o c cf^c c c pcpc 0300prD|olcUI SOCC093CQ(Cj|GCO00jCI 0OCDOj|^O|yC II ysyGcoocosci |^©|^cu833Co§yoscoGco! cDoyoco|«§caDODi [^c §gOuSoi GqDrDCO(J0G330CSC0'J0GCOl 33UUCDSSII o CO r~ ° c c CG c cr^c r^c © <> i ' c C0C03?[cg©^l COC§G€pC^G030C0C0 9C0[C]| II 1^^0^333S|C0C7DS02 &C006(X)J°I ©CQ€|CQC0c6i ^^[^9030011 ro c c c|—' c p c Q oc o I^CDG^OC G030.-D-a399.-OI GfDJ 9>X)© [o^ 2^gG[^90>p^l 90C?33 gllr e-^cK'
  • 69. 21 MYA MAN SETKYA The royal steamer Man Mya Setkya Now proudly flying for the King His own Golden Peacock flag Makes her way to Mandalay Carrying diirian fruits To the King. To accompanying echoes Of whistles and trumpets Steadily Oii steams Mya Man Setkya Days beyond Hanthawaddy Until finally at dusk Samalauk village is seen. From Samalauk village on upstream To the mainstream—Irrawaddy — She continues making her way. On through the night she steams Her captain and crew, oblivious To beautiful passing scenes, Thinking only of reaching Their next stop on the stream. Even at the secret time near dawn She moves on. And from the river Rebounds to villages sounds of her Revving engines rending the skies. Just below Kanaung town at dusk The anchor is dropped at last And now the captain and crew May sleep and rest. U Ponnya. U Ponnya is understood to have written this poem while traveling upstream on the Mya Man Setkya—a steam vessel that had been presented to King Mindon (reign 1853-1878 C.E.) by the British then in control of Lower Burma. The Burmese historian U Tin Ohn, the author of the "Biography of Yo Atwin Wun U Po Hlaing", claims that the plan of the British was to kidnap King Mindon while the King was inspecting the imposing interior of the first-class ship given to him as a present. However, King Mindon fearing the danger (he was forewarned by Minister U Po Hlaing*) refused to go on board the Mya Man Setkya. (F.L.) Hanthawaddy is the name of the district in which Rangoon is and was located.
  • 70. JJ csoscSococoessoc C C CO OOUOCOSI yCD3SC0O(T0©l iL a o L oc ygyODl GSOyoyCOC330SCDI OOOSCjCOCO G3OGpG330ODy0l c coo 9CtGZO0CD<3CD c o c o o S033S0SI GQCOOS^CCDCOCOCDI T ojI A J o L oL L tOSnGCQOCCOUGQOSi OSyCOl oloiglp COUC€](DCO(JO^CI CoSoifDGOOC GQOODOSCOI olscOCOCOGCOSlI II GCJOGD
  • 71. 22 PRESENT OF A CHEROOT The cheroot leaves I do not buy, but pluck myself. I do not dry them on the fire I do not spread them in the sun. But for your smoking — I dry them under my bedclothing. And with my teeth I trim These aromatic leaves. The cheroot I do not bind with silk But with common cotton thread To give it truly to you^ My youthful lover in Ava. Mae Khwe. "Youthful lover" can also be translated sweetheart from childhood. Ava was the capital of the Burmese Kingdom of Ava.
  • 72. J? odcScoeos OCoIoDOCDI WSCOJCOgCOJCl GOJ0G0|0o1§o]3| feiCOOS^C GSOCCOCDCII COCOOOCCOsfqCCI CDC0C0CS9OCQ J o ^ A I— I L a o £Q cr[o CO qc c c c c U30S 32CD ©COKJQi SjpSGolCS COCDCOCOCOODSCGCOS II ygGQOCOoSi 33OC0C0uS9o1 II CDOSCOSCOl COCOOOSGOCOCDOll GSOSCOcocDOi cdo5cdooo|g|C§ii COCOCOCDCOCOCOOCI OOSGQSCCl GG|OCO(D^COCSC(JO^CGCOS1I II n '^C C C nc OC C © olsGolcocsccoi bcsucocsocoii SqOGCOOl GCpG§O^OaOCOCJOII C0CSC|C0C0C0§^CX)1 COCOUOCO^O^S II QOgUUCOuScOCSOl O^CDSOI OSCCDOGODoibygCOpD^CGCOS II ILL Li» LLILL LoilLA I—iJ " GCOOCSGJyOCgGSp^COOII ofyCOGSpCOsll COJCCOQjCoj^pDII ooycgcQOi cocscDui G||iQ||cooc]ys cejCDrocjoscGcosii G3COUC0(JOeCpC00l CCQ-DGCOSGCOOCOgll COOSGEsCCOyOSJOl COCOgDOGOOSGCOOODgD! » ci-Q r OSIOQSOGOOOGpCO
  • 73. 23 A PEASANT Rainy season it is ! And when it rains Happily husband and wife — In red cotton turbans. And tattered pasohs and aingyis— Carry along their children Rain-wet and without clothes Body warm in their arms. A short pipe between his teeth — The peasant ploughs his field ; And in his rice fields Are water-filled holes Homes of many small crabs. Tossing these into his shoulder basket Together with frogs, snails, Su-pou plants, kazoon and kin-hon leaves, And pilo—all for his curry — Stoopingly he goes back home. Sweet and juicy is the curry Cooked on arrival and laid out quickly With kyan-hing and kywet-na vegetables. The rice is hot And the curry is hot With pungent Shan chillies That make one suck tht, tht, tht. Scooping sizable handfuls, Bending he eats — Surrounded on all sides By robust sons and grandsons Of these happy parents, Wungyi Padethayaza. Wungyi Padethayaza was born in Ava in 1672 and died in Syrian! in 1752. He flourished at the Court of Ava in the reign of King Sane (1698-1714 C.E.) during whose reign he was a Minister. He later lived in exile in Lower Burma. His tomb stands on the northern slopes of Kyaikkhauk Pagoda in Syriam. Pasoh is another word for longyi which is the tubular skirt worn by both men and women in Burma. Aingyis are the blouse Uke jackets worn by the Burmese.
  • 74. J9 0l§C0yC0(D9 QGOSQI OOSgUcfmSCO hoCDODGQCDI Q0S0.S?c6gGC0 COCO c c ocr^ c c coc c c o c c CO'JO,X)SI GOanDL"UO[mg SOSGCOOCSSOCI C0p§CG330C COpCOfDSjpD! cc c oc oc nc- c GG50COCCOC0 Gjoyqcsi C0CSGQ|C]p5cOC0^0?ll cc oCOQ CSQ cnc'oo CO G(X)SG|0§030COI S3SCC0OD0000SI C5JC33C7DJ COOGQIcDSOSOI OJ[UG]SGCO COCOOQSSyOI CDSSCDCOCOyCJOOSII c cc ooooco qocc o o coCOj OXCOgUOSI QIOIOSOOUlsqcoaDI OlcOCDOlg (X)33Oj[y01 COpSOD y|moi yqsSsoGSOOsyoi cTDSoIcolqosfqosii ilLJol l' Uil ^ l j l T olU U
  • 75. PADDY PLANTING SONG No need to pay the goldsmith ! From the palm tree conies our gold ! Rolled palm leaves are our earrings Chains of flowers are our necklaces. Pleasant to look at are we— The well-mannered rural folk From the village of Aung Pin Lay Near golden Mandalay. Rather shortish are our skirts And our cotton jackets Are dyed from bark of trees. Yet fine and tidy are our seams. Our cheeks are smartly thanakad. And As we move swaying from left to right Our braids shine like buffalo- horns" Our beauty is all from nature. And Even our hair we adorn only With white mayo flowers. Author unknown. Thanaka is a pounded power made from thanaka tree bark and even smaller branches. This dust is then used as a powder or a paste, as a cosmetic, an astringent, a medicinal application, and/or as a decoration and sun screen for the face.
  • 76. P---.5 J!) (Dl|^|[°[^OGgOCI COGQpCCOCSolcOl osGC|[y||_ lycocscuScD Qcoscyjoi COSQJCOOgGCQO ^roGSOOgC§0:)COGCOSl COCs[ySCOG.|.01l II COCCCOCSUICOI OCS|Cj|GUl I cooiscuS ycJOGOJOCOl coodcogcoocosi G'OOGpDCOCOSolcOl OSGCjCOCOCOC! fGDGC|SCO^©CI COOCCO^GSOSCOODGCOS! GC0s[mCO(T)SjC II 11 CO€iOGCo5©§C)1g©I 333SC0OCI C O C( 'CN C C C 3CGCOSC0 Gyoc|rgcci cogcocococcoi G^OCGOO OCOolcO^-UOGCOOGOil |^39GC0I CQCOOCOCCOCOGCOSI ©SgDoj^CG^II n
  • 77. 25 I AM LONGING Gilt glass filtered moon rays Light my stately diamond-studded couch Where alone J hear the drum's sweet sound Announce the third watch of the night. Dawn is no loncer far-off. On my thazin scented couch Alone I await your coming. Hands to my forehead 1 cannot but muse Over all that has passed And 1 am filled with pensive sadness. On oath you promised never to shun me Always to be loyal to me Solemnly you swore, "If I become King I shall make you my Queen. Even if a Goddess tried to seduce me, Never would J surrender to her."
  • 78. j6 OoGaDOGOIulcOl G330CGC?C0|0^^§l yCOGioGQoIsCCOSCI Gq03S2GC003l La Al I JO I A I GC QCC 5 C C o OGUOCOySI G3O00'JC0X)3X)31 ^2X)X)vX)U0l COgGyOOCCOSolcDI [^C050SC(X)C0-^I QO|0SO0COC0p0nD§CI QOOCQSlqOSl L U J IL L J o iL T.J GGC00y330SS||G.-7D0l QJTOOOOSGOO 003^1 cr'Cfc ( —'c o c c oc c osio'^^cbci y|mccocoG30o ©y?CQ'JOGcosi oc o c o c ussucocoy|. II II U O C O C O C CM coiccooGSlcoo';
  • 79. 26 "In coronation's splendid display I shall give to you the place of chief Queen With eight Brahmins and many pages attending you And at the time of libation's ceremonial I shall cause all men to worship you." I believed you and gave you my love. Novv...hov/ different is your manner. Oh, Prince of Kanaung how stern is your face. Where is the former brightness of your face ? Where are the loving caresses You so fondly showered on me? Oh, prince of Kanaung. Princess Hlaing-Teik-Khaung-Tin. (1833-1857 CE.) This is only part of a very long song sung originally by Princess Hlaing-Teik-Khaung-Tin supposedly while waiting for her husband to return to her chamber. The sequel is that he finally hears her sweet voice, remembers her and comes back again to her from an adjoining chamber.
  • 80. sioolsccoyfoDcosoi g^coosccooccocdi gO^SCOpOCCOCOGCOSII II corDcocoSwysii ysosGjGOQOci ssycococjoi I — "COCO c cr^ c c c ccoojCQCQCOQ©Cp Qj(DGCOOC[yaDCOgi S3COCOGO(JOyCOSlOSCOI COCDCQSGCOGroO 11 COGCOOCoSw «91©l COGSpj^OCOpD! y§©K|ui GysyJ^scuSysosi j^ccj^cocosulcoi ceo Goqc co oySSCOODI |QCOOJSG(DOCCOI Gy0CG330CC0SC0ll II c c c qc c n c " ycsGCJOOcmosco|si sj^oo^sslcoci ulsauScooucoSyyySi II ycoccosygDoci QCOSOGQ GCOOSyiCOyCOOSI nClD[o^§3| GCOSII II GyDCOOOS
  • 81. 27 LOVE IN SECRET ENCOUNTERED By chance Secretly I fell in love With a lovely girl, Emerald fresh, And of gentle birth. As a consequence I had to grapple with Grief vaster than the sea. My life is unbearable. First pretending to love me This maiden was like a cock Courting round a hen; Then suddenly she flaunted ojff. In many ways she broke the trust So naively placed in her. How wrongly I beheved in her. It wasn't true love, just pretense. She loves me not, all is in vain. But for this lovely garland Containing many sweet smelling flowers, Not long shall I wait To be decorated with it. I am a man of sufficient worth. Soon the time will come As comes floresence of all plants And I shall have a true love. Ah no ! My dear young lady You are not made of jewels. You vain and conceited girl I have not long to wait. Maung Thwa. (Date unavailable, probably second Konbaung period 1818-1885).
  • 82. /> g o e COC0G0p^CfJO§CI yCOCOGJQCOOSjOl GCOOoSclsCuScOOl COCgfyO^OGOSGCOOCOODJO^CI GCOGCOOCOSpOoj^ |[l c c c o c c y(DCO Gooycoy^GCOOGCOOi cososscco L IL A o T A 1 GQGolcSOCCOl COpCOCO'JOGCOSII II c G c n 9 I —' c c c c o ©©OCOCCDI KJOUGQICgCOl GO OCDCOCCCOCDI c c o o o o | ' c COC0C0(DC03l G1?CO|CO|| COI COCUCOlO^Cl yco§©ycoys©ooccoroQCG5>aDsi T d £:, °l iSt Ji T lT copocooysyocoi oacoyscooooGCooi L_. J J J Ci. L o GooycDcocouSyoi GQys^ucDrDOOj^^sulcDi &jyCDCJOGCOSII «e I—o >j U Kyi rose to fame at the Court of King Tharrawadd} (1837-46 C.E.) who for the second time in Burmese history moved the capital to Amarapura. U Kyi was a poe whh a great command of imagery, he speaks of the thing: on which the world is forever pivoted. (F.L.) Sit'sali are whistling teal and Mauklin are Uke coot.
  • 83. 28 I WOULD SMILE Round our village How pleasing To see Growing in profusion Lai'kci-nyo creepers Living among The paddy rows With blue khatauk Its fragrance Fining the air. Surrounded here By such beauty I cannot help Missing my lover. Oh, how lovely The beautiful Kazoon creepers Rocking gently On the water; And in the fields Blue v/ater hens Mauklin, and Sit-sali birds Are billing And cooing. Poor me! Here alone Midst this beauty With my lover away T am overcome With sadness. Now too, The sky is overcast Thunder heralds rain. Yet if my lover Were here I would smile. U Kyi.
  • 84. Jg jeSogso C0So1s[^C0!DDI QO:)|.0§CI QOCOOUCOl oo c c '-'cr^c p c o Qpgcocqji g[^0[^CC003I |ypO©COCDO§l QO cocno cc CO SCOCOICOCOCOGGSOCI COCQOGSOOCO'o-i JL U A ° CO ^^GOoocQssoli o^copSoocoosi u^^oyjo'^i GaD0aD^'?S32>S(DI [^©C0p3C0OyC032O3CI o|QCSOGpl GCDOCSCOyCQGSOl Q^COGCO^I QGO^GOjysi coOTG[QOrD€'y§yi [ypDaDjy-scocol Co o c O o c pOODGCOOCOCDI GCDJSCSOCOgl l|>COGS|,|CO GCpCOC scops II
  • 85. NOBLE WISDOM To the Three Noble Jewels! And To Mother, Father and Teacher! To these Six with pure faith RespectfLilly having paid homage, I shall compose into easy verses, So we may learn orally The text Lokaniti, so full of lore, Yet so difficult in Pali. From Lokanitfs maxims Much wisdom will all receive. It will be like admonition From one ripe in years, A parent, a teacher and a good friend. Then vastly learned one will become; Full of knowledge and insight Harvesting benefits untold, One's name will shine as the purest gold. (contd.) The Three Noble Jewels mean the Buddha (the Enlightened one), the Dhamma(the Teachings of the Buddha, Doctrine, Truth, Law, Norm), and the Sangha (the Buddhist Order, Community, Ecclesia). Lokaniti or "The Ways of the World"—and the right conduct relating to them—is a collection of excerpts from various Pali treatises. The collection consists of seven chapters and its maxims are piercing and enthralling. "The Noble Wisdom" is only a small part of the LokanitL Chaturinga Bala and later Nemyo Min Tin Kyaw Khaung rendered into Burmese verse the whole text of this celebrated work. Pali is the language used in Buddhist sacred writings.
  • 86. SCOGQ§oSl GCT)JgC?s[rauScOOSI OCOOJODCDCO 30^SO^[^GCO01 OjC?COCDga3l cocoys3COcoi Q03a3OT32I 33C0C0C0C?COjCI COCDQ^CgCOl OCpuloSyi gO^y^l CjCOCDCOQl Scr" c c o c [''C c g|^9jo3ci ycoy'^yccog II o c c c o o oc yaD>X)|cys|i o::)Qcocoyoi ui?'CQSopcoyi QjygcDOcoDi y^cocoyi s3co||_Gcoocsyi cooSro[q33ii Gcooc?yyco|i ^oo^oooDyoi QCDola^ii j^ooycoGcoi cocogJ^ocogsjcqi GCjGcycoi QgoDycjii ^Gcooco^i o^^OGQspi yco^scoocogDii O^OckjOCSjODI GSOCCOO'ODgDoi COoGo?G|yOCl 3|y?C00G0D0CC0pDi ;. L_i LJ U I— • c c c c , CO GCQOCyCDGCUO CQCOCSCOpDS :^ IL o ; o — - (( E C ftCC C'C> oooG|noco§CGSynsycgoocGTOiPG3ic
  • 87. Study and acquire recorded knov/ledge So full of treasured benefits. Be lazy and where will be knowledge ? Without knowledge where is wealth? And for one without wealth There will be no loving friends. When there are no friends Where is happiness? When there is unhappiness How will you do good deeds? Again, when there are no good deeds, How will you get lo Nirvana? In this world the best friend Is knowledge hrmly acquired. That, no thief can steal away. And in your next existence too Knowledge will follow you And happiness bring you. All mankind note ihis way (Follow it each day.) Chaturinga Bala and Nemyo Min Tin Kvaw Khaune. Chaturinga Bala lived in the 14th, century C.E. and Nem o Min Tin Kyaw Khaung in the 19th. century. The fornier wrote his "Lokaniti'' in Pali verses and the latter later rendered it into melodious Burmese poetical language. Born in Prome district, Chaturinga Bala distinguished himself in the reign of King Ngah Sih Shin Kyaw^swa of Pinya (1342-1350 C.E.) and after that served ' as Home Minister to King Leh Sin Shin (also known as Thihathu) who reigned 1350-1359 C.E.) Nemyo Min Tin Kyaw Khaung rose to fame in the reign oi" King Thibaw (1878-1885 C.E.) as a significant contributor to Burmese aesthetic thought.
  • 88. ycDco3jc§i©||o^§csa3jcoi g[^oc©csco31! coj|_oSolcogsi COOODp r->c o c » o cf-oo CO c cro cro c c po c bcoi cocoocococi ys|co|pi (Dcolo^ococDaDi ^©gi^cog^cocojci y|aj)CQ GC00S30S! CoJ|_SfgSo1sCOpSi .^oScOOSGSOl G^COCjII o c o oo CO yoosoi cocDcoy^i yysjgsoDO! yjo§©o33cuj[i Gogcojcycogsi CpCOGpCCOOl COODCpCOCI g©^§c[y?l O©gSC0CD| Ggsjy^l ^©GpCQilll! yycopSscoiii cocoulscoi ©suIsoSgooi Isgsoogo^i ^G©coyi cocoa: foyi oocDODCOogi ^co33[^©i 0|oooc7Di [^OQ©©ojysoooi g^csIgcooc; KoSt ©pS©yCD)C0a^o5l Gu1[TOC0G[3GG|iy|gG£O^o|§l COCDOO^sdlll cDrDOTssGcoocgyi |^^G©co^coi cooDco|csgi yyyco|[i G^coycoos ooDDG^oSsii 5©«p'®o§i eT^ge°' ?Hfe°i' ^^^^^-^i^s qO^OGOO^CI yj[sGQ0OC0CI COOSg[^s[^Ci^ II
  • 89. 31 DONATIONS (Dana) '*Unsimilar is human destiny. At the time true rehgion is no more Some will still be full of faith And desirous of giving in charity ; Though they will see no worthy recipients Yet with genuine devotion They will give gifts To those they do not like And the result will be poor." Thus spoke Buddha to Angura Deva. He who does not urge other men To do meritorious deeds, But practices his largess alone, Will in future rebirths Have many possessions But no attendants at all He who gives and urges others To give things in charity Will be reborn rich Surrounded by numerous attendants And holding vast possessions. He will be a shining moon In the assembly of men. He who earnestly exhorts others To give donations freely, While himself offering nothing, In future rebirths will be Deficient in material belongings Yet many attendants and relatives Sons and grandsons will be In his entourage.
  • 90. CCOyOOslGQOCSl COOG|yOCSGCOOI 90§GCOOGg[^©UOo5l (J0CSOo5(q|CQOjI ocouoGcoocsi oygGolcsjy^oi cQSjQjcojCi oogQyooci OOOCSOCCOOgl GOSCOjCCOOOl OT^[U,COOCJOI Sj92COOyQI OysyOCOpDIGCQUOSSOCgQCOp? II €|CGC0GeDCO0G|
  • 91. 31 Whosoever Neither himself is munificent Nor urges others to be Will encounter eil fate After his body's dissolution: Never feeling satiated, Scarcely finding eating plants. Showing hunger day and night. He will become a hungry spirit- Meet in 2 all kinds of miserv. Shin Tezothara. (Dale unavailable The Buddhists beheve that munificence (the giving of gifts) is one of the highest and most noble virtues. Charity (in Pali Dana) always leads to happy rebirths on earth or in a heaven of the Dcvas (Gods). In the practice o' giving the Burmese excel other nationalities. (F.L.)
  • 92. ?? yooDyslnqg sc-Qpoqcoii coeoo Sec CO C '^ c S€|©COCOCOOTDO§Cl 33OC0O30CDOI rDCSOlQQCO CDgCOG§ GCOQODCCOCOI 91 05oloOGQCOCOD3(JO| coa!)0(joy qqcsh J Ji GciTyGSOOci o^'CoicoGQiocooi sIgooccoW JL iL U •U A Jl iL O TQ )rDI GSGC L LJ '•-a GGCOrOI |qgGCGCO[^CSl «o oo- gS3C
  • 93. 33 REMORSE To gain the prize of lUuminafion I have made up my mind. Then shall have liberation From the bondage of craving {Tanha) The all consuming darkness Of ignorance (Avijja-asava). Seeking a womb for rebirth In other after-death conditions Many times I have experienced Different forms. But in whatever sphere Never can it be pure. Thus no longer do I seek a consort. Satiated with a layman's Hfe, I renounce it all and go To muse in the Dhamma cave. U Khaing. The Dhamma cave is a cave for meditation.
  • 94. o c o c c ocoyiOfDOjcQcaDroycoi IL jj IL oL L o c c o o cr^c n o COQCOOSoSOjOCSCOCOI OgC0032.:O^|C]CSUlC0l QCcocgyocD ycocssuSi cocscouDcoGCOsy^si n C09GCOI SCOGOololoCSQoSc^l GCOSGOCO eGOQCSGjCO^Ci 339aSyCS §.CSGC]§CC5J^SII U9 I —• O »>
  • 95. 34 PAINFUL AS IT IS Painful as it is... Let me state my trouble. How full of anguish most dire Is one tormented by Universal Fire. As if seven suns blazed fiercely Equally burning is pain the world-round. Nowhere can a cool spot be found. My heart's trouble seems a death agony. But presently beautiful maidens appear. "If you want to alleviate my pain. Sprinkle me with rose scented rain." U Kyaw Thamee. Poetess U Kyaw Thamee was a daughter of the poet U Kyaw who lived in the reign of King Mindon (1853-1878 C.E.) and who had received unanimous acclaim as a poet of extraordinary talent. By Universal Fire is meant the catastrophic fire which will destroy and consume our universe at the end of the Kalpa according to Buddhist beUefs. Kalpa is the "World Age" or "World Cycle" extending to millions of years.
  • 96. ?3 CO^33i5<DC0Cyi O33C0(d|o^CO0|^^I oo c c c o c '] (JOy©! yi (DG390C GCO0CO0§C| CDOOODOl oL J L » ^ J <* oc oc o oc npcpc c _ COCOOCCOCOI O^S§ 3l|^^[y^3DCG(DGCQ0| escyosi II ^ o T C0GQS3]GSCOG|^0CgG|CCO! g[^GCOOCSCO r-' c C [—oCOOCX GbcOCCO|l [a^0^CDO(DC0©| GyCOCQCOGjOl G|G|c5[^ OCO OJ^OGCQOI S oc C C C C CI ' CI—• CO o yocoouco|oo^^ci Gyocyjcx)G)g[o]g|a^g®coi C o osgcoyoii
  • 97. 35 NO COOLING OF ANGUISH In human life We meet constant renewal. Slowly like tree-cotton Burning without ceasing Day after tomorrow and the next One day after another day Descends upon us But there is no cooHng of anguish. Though the sun and the moon Will not change in the future Always shall I seek succor And seeking it I shall fret. My anguish I try to forget. But no! Day after day anguish Hngers; My tears run in a steady flow. *'Oh, softly dry them one by one With the best cloth of Bassein." U Kyaw Thamee.
  • 98. ODCOpSCOGUOOnOI GnDOCSCOGCpfTDyi COCOG'JOOODQOI OICQCOCCOOCOO - QyCQOCO.ODS II it J U ° o 1— . GQ339^Is§CI jO^CSSCOpsai OCQGolc^COJCTDI c oocroc c oc GUjOOQu[Gyi Gpgooycooi yc23|yscoovT)OSi coyospi GQyjrD^oxi>"Di qcoojocdoo^i c c c GQOCOOOO - C0CD.T)COI0CDg§ll (mcsocoso?! cIsSOoyDDCOi COSCOCOODiO^SI ycoco[myoi cooocoocoi 3|03ccoig 33C0pSy[^l GolcDCOCOCOCD^I OSjCOOCDO - CQOTolcOgDS II OO CC C CCoCQ9SGC00GQ0I UG(?033rD]S| OSOCDSill o cr°o 1 c o CC po c c c 3CQXT)OOlC0l C0300©CQgl [OJ) 03030000.^91 o o I —' c OO c c ceo co^ococoi [cgppDooooo^i OOSCO^COl c o c c n*^^ <^ <^ ^. S|SCO(DC€©l 33k]©yGQ2l SCCOJCGOSei) t con c GOOSOOp33§©0 - C b§000pDS II OSSSCOQCO
  • 99. 36 THE xNATURE OF TfflNGS (Release from Anger) Often a man suffers destruction In order that another man Might enjoy well-being. Such is the nature of things! A courtier's satisfaction In enjoying kingly confidences In golden palaces And a King's own good fortune Are merely bubbles On the surface of a vast ocean Momentary and evanescent. If dictated by commiseration i were to be released And freed from execution I would not escape Death. Inseparable am I from Karma All sentient beings Being subject to dissolution. Respectfully I salute His Majesty. Should I again meet my Lord the King In one of my future rebirths In the cycle of Samsara Begrudging him nothing I would lovingly forgive him. Impermanent is my body of blood. Anantasuriya. Anantasuriya was a chief minister in the Kingdom of Pagan under King Naratheinka (C.E. 1 170-1 1 73). When as a result of a palace revolution Naratheinka's brother Narapatisithu seized the throne, Anantasuriya was ordered to be executed. On the eve of his death he wrote this classical poem entitled "Dhammata" (The Nature of Things), which is one of the literary treasures of the world. (F.L.) Karma can loosely be translated as destiny as ordained by the ethical consequences of one's acts in previous existences. Samsara is as explained before the cycle of deaths and rebirths until Nirvana is reached.
  • 100. 97 IJ^Ss^^e^^O'^^S^O 4^5111 CO3ICSOG3C00I J' ?' 9' J Si Ol rDOjoosscos U o T L U L Co n c COCM 0US§CDS33G[C^C0©I c c nc" yoooii c ro c ODC)jO(j|s}^|^CII GQCQCOO COOIOOJOSII olGyonopseGQocii o © C UOCOOOCO - gSCOQCl OaCOGCQO - SOCpQOCD I Q C pseGooc II o pSCSSGC li O O C OC /O gsaD^s§c(o^o)ii C C OC c ©ogoGcooyps gqcqiucd O Cf-G C OCOCTDg CDGCOOCSII
  • 101. 37 SOURCES AND REFERENCES (Titles of Works in Burmese) 1. Thi-khying padetha. 2. Kabya pan-kon Professor U E Maung 3 . Kabya pan-kon a-phye zon Hanthawaddy U Ba Yin 4. Kabya pan-kon a-phye thit Editor Saya Magha 5. Khan hman Myan ma za U E Maung 6. Tan myin kabya phve nyi kyam U Pho Ngve 7. Kabya pan-myaing U Thein Naing (B.A.) 8. Khet-thit kabya mya U Wun and U Thein Han 9. Zasodaw mya atthuppatti Bo-gyi Ba Thaung
  • 102. 38 BOFANICAL GLOSSARY PAGES Bodhi (Bawdi) 10 Bo-tree, Pipal (peepul) Nyaung Bawdi Ficus religiosa-Linn c no GgOCGOlQ Gangaw 4 Poached-egg tree nOGCQO o Mesua ferrea Kan flower 11 Carissa carandas-Linn 6uc Kazoon creepers 23, 28 Watercress rofo^s Ipomea leaves Khabaung vine or (Kabaung) leaves 15 Calamus longisetus SGolcS Khabaung tree 15 Strychnos nux blanda Khatauk flowers 28 Thalictrum foliolosum (Kandauk) OGCOono Khatta flowers 15 Eurycles amboiiiensis 3C0D CO Kyaw (Akyaw) 15 Acqiiillavia agallocha GCOp Kala-met 15 Mansoiiia gagei nr)S|yfD Kin-bon 23 Acacia concinna DC. TOCSO L Acacia rugata-Lam Lai-ka-nyo (Lai-ka-nyun) 28 Asparagus racemosus COUOCOgJ^CCO
  • 103. 39 Mayo (Ma-yo) o Mayo gyi Mi-chaung vine Migyaung o c yGcqncs 24 Milk weed Calotropis procera 24 Calotropis gigantea 15 Crocodile flower Derris scandens Nan-tha Hatha Natha-pyu >^atha-ni Nwe-gyo (kyo) Nwe-cho |oSo| Padauk o c oscoono Pet-sut Pilo 'JGODO Sabe o C ©003 5flg^ flowers ©noos 15 Milletia ovalifolia 15 Milletia piseidia 15 Red Sanders Pterocarpus santalinos Burma liquorice Thurbergia laurifolia 5 Pterocarpus macrocarpus 4 Eriobotrya bengalensis 23 Corchorous spp. 1 1 Jasmine Jasminum pubescens-Wild 17 Michelia champaca
  • 104. m Su-pou Subok Subok'gyi 30S00 IL L Tama coyo Thabye Tharaphi Tharapi Q Thazin c COCC 23 Accacia pinnata 10 The Persian lilac-Pride of China, India. Azadirachta indica-A Juss 4, 10 Eugenia spp. 10, 25 Laurel-Alexandrian Callophyllum amvenum-Wall „ kunstlevi-King ,, parkavi-Fischer Orchid Bulbophyllum spp. Burmese words for trees, shrubs, and flowers, often differ in different sections of the country. Naturally a single Burmese name will often apply to a great number of different latin botanical names and at this late date it is a little difficult to be positive just which specific latin-named plant a poet was seeing in his mind's eye. The above list was compiled with the "help of some Burmese botanists and from the following : List of Trees, Shrubs, Herbs, and Principal Climbers, Etc. Third, Revised and Enlarged Edition, by H.G. Hundley, B.Sc. (For. Rgn.) Silviculturist, Burma, and U Chit Ko Ko, Herbarium Curator 1961, Superintendent, Government Printing and Staty., Union of Burma, Rangoon. Journal ofthe Burma Research Society Vol XXXIIl Part II, A Key To The Trees and Shrubs of the University Estate, Rangoon by Nant Gladys Kwa. A Check List of some Common Roadside and Garden Plants of Rangoon F.G. Dickason (unpublished pamphlet).
  • 107. M PL 3984- L87 Lustig, Friedrich V.. Burmese classical poems PLEASE DO NOT REMOVE CARDS OR SLIPS FROM THIS POCKET UNIVERSITY OF TORONTO LIBRARY