The suttas were intended to be heard; long suttas were, and often still are, performative, listened to over sometimes several hours, embedded in rituals designed to highlight their efficacy. This article shows that the recital of key repeat passages within the long suttas is linked to specific and often distinctive literary and meditative effects, particularly adapted for oral performance. It suggests that such passages should not be marginalized but rather seen as central indicators of meaning.

An analysis of the function of the repetitions in the Brahmajāla Sutta (DN 1) and the Mahāsamaya Sutta (DN 20) and the role of community, ritual, and meditation in the reading of Buddhist canonical texts.

But the single mass of water at that time was utterly dark. The moon and sun were not found, nor were stars and constellations, day and night, months and fortnights, years and seasons, or male and female. Beings were simply known as ‘beings’. After a very long period had passed, the earth’s substance curdled in the water. It appeared just like the curd on top of hot milk-rice as it cools. It was beautiful …

In contrast with the brahmin’s self-serving mythologies of the past, the Buddha presents an account of evolution that shows how our choices are an integral part of the world.

When those seven days have passed, having emerged from their hiding places and embraced each other, they will come together and cry in one voice, ‘Fantastic, dear foe, you live!’

In illustration of his dictum that one should rely on oneself, the Buddha gives a detailed account of the fall of a kingly lineage of the past, and the subsequent degeneration of society. This process, however, is not over, as the Buddha predicts that eventually society will fall into utter chaos. But far in the far future, another Buddha, Metteyya, will arise in a time of peace and plenty.

I see some fervent mortifiers who takes it easy reborn in a place of loss. But I see another fervent mortifier who takes it easy reborn in a good place, a heavenly realm.

The Buddha tells a naked ascetic the true meaning of austerity.

Potthapada—having other views, other practices, other satisfactions, other aims, other teachers—it’s hard for you to know whether perception is a person’s self or if perception is one thing and self another.

The Buddha discusses with a wanderer the nature of perception and how it evolves through deeper states of meditation. None of these, however, should be identified with a self or soul.

Let the king provide funding for those who work in trade. Let the king guarantee food and wages for those in government service. Then the people, occupied with their own work, will not harass the realm. The king’s revenues will be great.

A brahmin wishes to undertake a great sacrifice and asks for the Buddha’s advice. The Buddha tells a legend of the past in which a king is persuaded to give up violent sacrifice and instead to devote his resources to supporting the needy citizens of his realm. However, even such a beneficial and non-violent sacrifice pales in comparison to the spiritual sacrifice of giving up our attachments.

Ninety-one eons ago, the Buddha Vipassī arose in the world, perfected and fully awakened…

The story of the Buddha Vipassī which later came to be grafted onto Buddha Gotama’s biography.

… it is impossible that they should teach the path to that which they neither know nor see

The simile of the blind leading the blind followed by lovely similes for the chords of sensual pleasure and the hindrances, as well as for their overcoming via the limitless, divine abidings.

… there’s no other ascetic or brahmin—whether past, future, or present—whose direct knowledge is superior to the Buddha

The Venerable Sāriputta extols the Buddha’s many remarkable qualities.

For a comparison of this sutta to its parallels, see DiSimone 2016.

Interesting to note: one of the methods mentioned was tried recently, with results exactly as reported.

Thought is the source of desire.

A fairy sings a love song for the Buddha, and Sakka asks a few deep questions.

Is it possible, venerable sir, to point out any fruit of recluseship that is visible here and now?

One of the greatest literary and spiritual texts of early Buddhism, this sutta gives a thorough account of the path and benefits of renunciation.

… literalism, if not originating from artistic representations, would certainly have been encouraged by them.

Venerable Anālayo makes a compelling argument that fire miracles in the Canon came from symbolism and early Buddhist artistic motifs that came to be taken too literally, showing one example of how early Buddhist art influenced the texts.

The narrative of MSud also tells the story of Mahāsudassana’s withdrawal from his city into its inner sanctum, the Palace of Dhamma — a journey from the outer world of the city to the inner world of the Palace of Dhamma

Rupert Gethin puts our attention on a myth in the DN we’d normally skip over and wonders how ancient Buddhists would have understood this tale.