The benefits of chanting
The authors of this script
are: John D. Hughes,
Pennie White, Isabella Hobbs, Maria Pannozzo, Evelin Halls, Orysia
Spinner and Leanne Eames.
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According to the Oxford English Dictionary the word ‘chant’ is both a
noun and a verb, also (now Scottish) chaunt, compared with the late 17th
Century, old and modern French verb, ‘with chant’ which is derived from
the Latin, ‘cantum’.
The word ‘chant’ is defined as:
1.’ a song; singing’ from the late 17th Century,
2. ‘in Music, a short musical passage in two or more phrases each with a
reciting note to which any number of syllables may be sung for singing
unmetrical words; a psalm, canticle, etc. so sung’ in the late 18th
century.
3. ‘a measured monotonous song, a musical recitation of words; a
singsong intonation in talk’ from the 19th Century.
This history of chanting extends beyond the time of the known origin of
the word which is listed in the Oxford and Etymological Dictionaries.
In the Oxford Companion to music on the subject of Church music Scholes
states that:
‘It must be remembered that there are in the musical exercises of
religion other purposes than the helping of the worshipper to experience
those moments of mystical communion or of making an ‘offering’. In music
lies the one effective means of communal expression. The largest bodies
of worshippers may join in expressing their faith, their hope, or their
charity in song whose necessary simplicity seems to detract nothing from
its emotional strength when it is sung with unanimity and fervour. The
duty here imposed upon those charged with the ordering of music in the
service of religion is the provision of a large and varied body of
religious poetry and accompanying music, dignified yet simple.’
Some persons support the use of bad music to lead men into good ways,
since usually they are, from some natural incapacity, or through lack of
early musical environment, incapable of feeling the difference between
good and bad in music, and sometimes, even of realizing that ‘bad’
exists. There is good and bad in everything else, so it is reasonable to
suppose that there is good and bad in music.
This is the Christian Orthodox view of music.
Association with the ‘bad’ in any aspect of life has a darkening effect
on the mind, whereas association with the ‘good’ brightens the mind. If
two pieces of music, good and bad, have equally strong attractive
qualities, the ultimate end in view will be better attained by the use
of the good. And ‘good’ yet highly ‘attractive’ music does exist and has
powerfully aided religious movements from the beginning of Christianity
to the present day.
In the meaning of art, the highest form of written expression is
calligraphy. Poetry in calligraphy is written in classic arrangements.
Diverging from this was frowned upon by the ancients.
As calligraphy is to the eye, so is chanting to the ear.
Therefore, in deference to and in acknowledgment of powerful wisdom of
the ancients, we train our minds accordingly. In a Dhamma ending age,
there are plentiful examples of chanting that will not give practice
fruit. We choose to follow the methods instructed by our Teacher in
chanting.
The Buddha stated that we should not ‘sanskritise’ the Dhamma, that is,
do not to put it into short rhyming stanzas.
So we chant with pauses between the syllables. We do not attempt to flow
the syllables into a continuous melody, for if we did, we would be
sanskritising like Hindu chanting.
For example, we chant ‘na’ silent space...’mo’ silent space...’tas’
silent space...’sa’ silent space and so on. We do not chant under any
circumstances continuous melody such as opera that is sung with high
pitched continuous melody. The ability of the singer, say a soprano, to
hold a note without a break is considered to be a virtue in western
music. If we chanted like this in the Buddhist world, we would be in
error.
When we sing, ‘ti voglio bene assai, ma tanto tanto bene assai’ in
Italian high key, we sing it as ‘tivogliobeneassaimatantotantobeneassai’
with no silent space. It becomes a feat of breath control and technique
to express this type of expression. The popularity of opera is that
there are definite melodies which are easy to copy up to a point by
inexperienced singers who when they phase the words run out of breath.
Running short of breath tends to cause tension and aggravation of the
mind so it could not be conducive to samattha meditation.
The disturbance of the mind through the aspiration of the breath is a
form of excitement because shortage of breath is associated with many
emotions such as fear or passion. The aim of Buddha Dhamma chanting is
not to arouse fear or passion (raga in Pali).
In essence, there is a totally different approach to the sounding of
Pali chanting compared to an operatic aria.
It is true that both forms generate some sort of feeling, but the
akusala (unwholesome) fears such as grief, affliction, agony, anguish,
woe, remorse, regret, wretchedness, pain, fury, passion, fervour,
rapture, misery, tragedy, obsession, madness, despair, treachery, anger,
sense of loss, intoxicated sense of love and all the machinery used in
the business of opera, emotion generation that makes the breath of the
listener to bind up or even cease for a second.
By such tricks on the mind, the attention of the person becomes focused
and committed to a fantasy world that has no bearing on reality. The
belief in such fictions as generated by the operatic performance causes
the audience to become deeply involved in the plot, believing the
falsehood of the operatic plot are real. It is this type of performance
that was available in Buddha’s day that forms the basis of one of the
prohibitions of the vinaya (the rules of the monks and nuns). They are
prohibited from spending their time viewing live performances.
It is totally logically consistent with this rule that the Buddha did
not wish to form a body of performance based on fictional stories being
chanted. What we chant is different layers of the description of the
truth of states of mind or states of matter or a list of what is the
highest blessing or things are useful in everyday life. A fictional
story has no place in Buddha repertoire. Performers who chant fiction
and use their minds to hypnotize the audiences into their belief system
are likely to be born into a laughing hell in their next life. Hypnosis
is prohibited as a method in Buddhist teaching systems because it
weakens the will of the recipient. In Buddhist practice much emphasis is
placed on generating will (in Pali: cetana) to practice each for himself
or herself. Although a teacher may encourage a student to practice, the
practice must be in accordance with the quiet dignity that is displayed
in expounding the principles of the teaching.
In teaching, the Buddha used many stories, but all of them were true.
Stories of former lives (jataka tales) were often used to explain cause
and effect. It is permissible to chant the Pali Buddhist text word for
word and each part has some beneficial use provided it is given at the
appropriate time.
When in Thailand recently for the conference of the 21st World
Federation of Buddhists (WFB) held in Bangkok, Thailand from 5 to 10
December, 2000, our Teacher and Members of the Centre visited a nearby
Buddhist Temple in the morning while the Monks were having breakfast.
They asked for permission to make offerings. They offered flowers at the
Buddha altar, and then chanted in Pali.
Because the chanting was in Pali, all the Monks and laypersons
understood instantly what they were doing. This is because Pali is the
international language of Buddhist chanting.
All the delegates at the WFB conference speak different languages, but
Pali chanting is a universal form of communication among Buddhists,
providing an important international link.
We believe international links such as the use of Pali chanting are
important for accessing tacit codified knowledge.
International links are especially important for small and middle range
countries such as Australia. These links are also important in
facilitating access to major international forums, and are best fostered
through active collaborations.
This also accords with our view on chanting in Pali.
The four inappropriate times and places for offerings and teachings have
been discussed in earlier broadcasts.
The stories chanted are more like catalogue lists of minds that are
conducive to the well being of many, or the properties of a matter in an
almost scientific catalogue list.
Gotama Buddha lived about 2500 years ago when there were no books to
preserve the Buddha Dhamma Teachings. The only way to recollect the
Teachings was by memory. Chanting forms our oral histories. The regular
chanting of the discourses helps to recollect and practice Buddha Dhamma.
Chanting, especially if done in the original ‘Pali’ language is a
powerful method to learn Buddha Dhamma and is used by practitioners all
over the world.The famous Chinese monk of the 7th century, I. Tsing,
mentioned that chanting has six benefits:
1. It enables us to understand the Buddha’s virtues,
2. It teaches prosody,
3. It helps to teach language,
4. It exercises the lungs
5. It exercises the chest, and
6. It helps one overcome reservedness while in front of others.
All these are good reasons to learn and practice chanting regularly.
When the Sutras are chanted, three great and powerful forces are
activated. These are the forces of the Buddha, the Dhamma and the Sangha.
Buddhism is the combination of these ‘Three Jewels’ and when invoked
together they can bring great blessings to humankind.
Some persons may think that chanting is an expression of devotion to the
Buddha, Dhamma and Sangha. Better than devotion would be confidence (Pali:
Saddha).
Our Members will now chant the ‘Iti Pi So’, which are the Qualities of
the Buddha, the Dhamma and the Sangha:
ITI PI SO BHAGAVA ARAHAM
SAMMA SAMBUDDHO VIJJA CARANA-SAMPANNO
SUGATO LOKAVIDU ANUTTARO
PURISA DAMMA-SARATHI
SATTHA DEVA-MANUSSANAM
BUDDHO BHAGAVA TI
SVAKKHATO BHAGAVATA DHAMMO
SANDITTHIKO AKALIKO
EHI-PASSIKO OPANAYIKO
PACCATTAM VEDITABBO VINNUHI TI
SUPATIPANNO BHAGAVATO SAVAKA SANGHO
BJU PATIPANNO BHAGAVATO SAVAKA SANGHO
NAYA PATIPANNO BHAGAVATO SAVAKA SANGHO
SAMICI PATIPANNO BHAGAVATO SAVAKA SANGHO
YADIDAM CATTARI PURISA YUGANI
ATTA PURISA PUGGALA
ESA BHAGAVATO SAVAKA SANGHO
AHUNEYYO PAHUNEYYO
DAKKHINEYYO ANJALI KARANIYO
ANUTTARAM PUNNAK-KHETTAM LOKASSA TI
***
At the beginning and end of each radio broadcast our Members chant the
Vandana for Buddha, the salutation to the Buddha:
‘Om Namo Tassa Bhagavato Arahato Samma Sambuddhassa’
It can be translated as:
I pay homage to Him, to the Exalted One, to the Worthy One, to the fully
Enlightened One.
There are various English translations used for this Vandana.
The word ‘Namo’ is very powerful. "Na" and "mo" are the names of two of
the four elements. At another level of understanding, this is like
wielding two of the great elements to cut and subdue problems.
The "Om" in front adds great energy.
If we want to gain benefits from chanting, we have to avoid the
hindrances. Chanting is not done as ritual. Chanting is practiced
without ritual. While chanting, the mind should be in the present.
Chanting helps to develop mindfulness. Chanting is not like singing a
tune. It will never reappear. So we must keep the mind in the present.
Because the Lord Buddha is a superior teacher we chant ‘Namo Buddha’ or
‘Namo Buddhaya’. This is why we do not worship but respect. The meaning
of the term ‘Namo’ is vast; it means respect, veneration, gratefulness
and honor, to mention just some of the meanings. You should find the
meaning in your own mind. You then place 100 per cent sincerity on the
meaning you find in your own mind. You will then create good causes to
have the Teaching of the Buddha come to you fast.
The Buddhist practitioner does not worship the Buddha, does not ask for
worldly favors, but respects the Buddha for His Supreme achievement. The
Venerable Dr. K. Sri Dhammananda Mahathero (1999) says in his book What
Buddhists Believe: "When Buddhists respect the Buddha, they are
indirectly elevating their own minds so that one day they also can get
the same enlightenment to serve mankind (sic) if they aspire to become a
Buddha."
Chanting is a means of recalling the great virtues of the Lord Buddha,
whose virtues and good qualities are inspiring and a guidance to develop
the confidence to follow His Teachings.
Chanting can help to clear the mind.
When we chant, we know the impermanence of the formation and arising of
the sound. The mind has the potential to know the elements and meaning
of language, and when it brightens it is saying the highest form of
knowledge - the truth of what is what. Chanting cleans and quietens the
mind. As the mind becomes clearer and quieter it also becomes brighter.
***
The Five Groups that describe the three characteristics of existence
are:
ANICCA - impermanence
DUKKHA - sorrow, suffering, unsatisfactoriness
ANATTA - no-self, emptiness
As applied to the five groups making up body-mind, there are:
RUPAM - form, body
VEDANA - feeling, sensation in the body
SANNA - sense of existence of any kind, perception, memory
SANKHARA - all kinds of thoughts, moral and immoral
VINNANAM - consciousness as thinking, knowing with intention.
We will now chant The Five Groups:
RUPAM ANICCAM DUKKHAM ANATTA
RUPAM ANICCAM DUKKHAM ANATTA
RUPAM ANICCAM DUKKHAM ANATTA
VEDANA ANICCA DUKKHA ANATTA
VEDANA ANICCA DUKKHA ANATTA
VEDANA ANICCA DUKKHA ANATTA
SANNA ANICCA DUKKHA ANATTA
SANNA ANICCA DUKKHA ANATTA
SANNA ANICCA DUKKHA ANATTA
SANKHARA ANICCA DUKKHAM ANATTA
SANKHARA ANICCA DUKKHAM ANATTA
SANKHARA ANICCA DUKKHAM ANATTA
VINNANAM ANICCAM DUKKHAM ANATTA
VINNANAM ANICCAM DUKKHAM ANATTA
VINNANAM ANICCAM DUKKHAM ANATTA
***
The Tibetan mantra ‘Om Mani Padme Hum’ is the mantra of one of the
Bodhisattva attendants of Amithaba. Unlike Metta (loving kindness)
Karuna (compassion) is limited. It is better to chant on a component of
Metta (loving kindness) than on a component of compassion.
The teachings explain that each of the six syllables of the mantra has a
specific and potent effect in bringing about transformation at different
levels of our being over a world cycle or two. In one human rebirth,
there is not enough time available for the six syllables to purify
completely the six poisonous negative emotions, which are the
manifestation of ignorance, and which causes us to act negatively with
our body, speech and mind, creating samsara and our suffering in it. But
repeated use of this chant may give us a rebirth in a Pure land.
There are many reasons why it is beneficial to chant. We do not only
chant for ourselves. By chanting the Metta Sutta, for example, we send
loving kindness to other beings: that they may be free from hatred, be
free from hurting others, be free from harming others, be trouble free
in body in mind and that they may preserve their own happiness. Also,
the merits made by chanting can be shared with many other beings.
The mindful direction of the merits can help numerous beings to get to
know the path, realize the path and follow the path of Buddha Dhamma
provided you radiate Metta in 10 directions evenly. But unfortunately it
requires a lot of practice to achieve equanimity towards the 10
directions. So practice. Chanting if done correctly is a way of making
higher merit and blesses many beings. It can wash away negativities that
obscure our mind from understanding the Four Noble Truths.
Paritta Chanting is the recital of the Suttas for the blessing and
protection of the devotees. It is usually done in the Pali language as
uttered by the Buddha. These Suttas were originally written down on ola
leaves about two and a half thousand years ago.
Chanting a protective Sutta shields ourselves "from various forms of
evil spirits, misfortune, sickness and influence of the planetary
systems as well as instilling confidence in the mind" (Dhamananda
Mahathero 1999). The vibrant sound of chanting creates a pleasing
atmosphere to the beings within mind range.
Also of importance is the rhythm. For example, monks adopt different
intonations to harmonise with different Suttas. Significant
psychological states of peacefulness and serenity in the mind of
listeners can be produced by certain rhythms of the human voice. Certain
intonation levels appeal to devas, and certain rhythms can create a good
influence over lower beings like animals.
The correct rhythm is an important aspect in chanting. In all religions
the practitioners follow certain rhythms when reciting texts from the
holy books, such as the Quran rendition by Muslims, the Veda Mantra
Chanting by Hindu priests in the Sanskrit language, and chanting by
certain Christian groups, especially the Roman Catholic and Greek
Orthodox sects.
The chanting or listening to the Buddhist Suttas activates the three
great and powerful forces of the Buddha, Dhamma and the Sangha. Chanting
can help to reduce sickness and other mental disturbances. Chanting also
helps to hold the precept of ‘no lying’. Dr. K. Sri Mahathero (1999)
writes that "the power of Truth has become a source of strength in the
words uttered by the Buddha with great compassion. However, the power of
the Buddha’s word alone in not enough to secure blessing without the
devotion and understanding of the devotees".
You can read chanting sheets online at our website
www.companyontheweb.com/buddhatext. The chanting text is written in Pali;
some English translations are also given. If you would like to read a
transcript of today’s broadcast, you can find it on the internet at
www.bdcublessings.one.net.au. For further information contact our Centre
on 03 9754 3334.
May you be well and happy and practice the correct form of chanting for
you this life.
The authors of this script are: John D. Hughes, Pennie White, Isabella
Hobbs, Maria Pannozzo, Evelin Halls, Orysia Spinner and Leanne Eames.
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References
Ariyesako, Bhikkhu, 1995, A Lay Guide to the Bhikkhu’s Rules. Sogyal
Rinpoche, Introduction by Ven. Bhikkhu Sanghasena. Mahabodhi
international Meditation Centre.
Bourke, P., and Butler L., International Links in Higher Education
Research - Commissioned Report No. 37, May 1995, National Board of
Employment, Education and Training, AGPS, Canberra ISBN 0 644 45183 1.
Dhammananda, Dr. K. Sri, 1999, What Buddhists Believe, Yayasan Belia
Buddhist Malaysia. ISBN 983 40070 1 9.
The New Shorter Oxford English Dictionary, 1993, New York: Oxford
University Press.
Partridge, E., 1966, A short Etymological Dictionary of Modern English
Origins, London: Routledge & Kegan Paul.
Wat Ananda Metyarama, Buddhist Chanting, Singapore, The Buddhist
Heritage.
The Oxford Companion to Music, Scholes, Tenth Edition, Oxford University
Press.
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