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(ပထမပိုင္း)

၁. ၾကားပိမ့္သူျမတ္၊ အမ်ားမွတ္စိမ့္၊ ဟိတတၱိက၊ ၾသ၀ါဒျဖင့္၊ ဆံုးမပီးလီ၊ နား၀င့္စီေလာ့၊ နီသို႕ထင္ယွား၊ ဘုရားတရားသဃၤာ၊ ရတနာထြဋ္္ထား၊ ျမတ္သံုးပါးကို၊ ဦးဖ်ားထြဋ္ထက္၊ အၿမဲရြက္ဆို၊ စံုမက္သဒၵါ ၾကည္စီမင္း ။

၂. အသက္ရွည္စြာ၊ အနာမဲ့ေၾကာင္း၊ ေကာင္းလွစီခ်င္၊ ပဲ့ျပင္နိစၥ၊ ကြပ္ဆံုးမသား၊ မိဘဆရာ၊ စကားနာ၍၊ က်မ္းစာသိျမင္၊ တတ္ေအာင္သင္ေလာ့၊ ေပၚလြင္မျပဳ၊ ေကာင္းရာတုလွ်က္၊ ေကာင္းမႈျမတ္ႏိုး၊ ေကာင္းေအာင္ႀကိဳး၍၊ ေကာင္းက်ိဳးကိုယ္၌ တည္စီမင္း။

၃. သူႀကီးမိဘ၊ ဆရာစသား၊ စိုးရသခင္၊ ေက်းဇူးသွ်င္သို႔၊ ျပစ္တင္ေမာင္းမဲ၊ ရိုက္ပုတ္ဆဲလည္း၊ ၀မ္းထဲယံု႔ယံု႔၊ ယုန္လွ်င္က်ံဳ႕သို႔၊ ဆိုတံု႕မ၀ံ့၊ ေစာင္းမာန္ညံ့ ၍၊ ေၾကာက္ရြံ႕ရိုေသ၊ သီးခံေထြျဖင့္၊ ေကာင္းနီႏွလံုး ယဥ္စီမင္း။

၄. ဆႏၵာေဒါသ၊ ဘယာေမာဟ၊ အပါယ္က်သား၊ ဓမၼေလးမည္၊ ဂတိတည္လွ်က္၊ နတ္ျပည္လူ႔ရြာ၊ ခ်မ္းသာေကာင္းမြန္၊ စံစုန္ဆန္၍၊ နိဗၺာန္ေရာက္ေၾကာင္း၊ က်င့္ေကာင္းသီလ၊ လွဴဒါနႏွင့္၊ ပုညလယ္ၿမီ၊ စိုက္ႀကဲေထြျဖင့္၊ ပ်ိဳးၿခီအပင္ စည္စီမင္း။

၅. ကိုယ္ႏႈတ္ႏွလံုး၊ ေစာင့္သံုးၿမဲစြာ၊ သတၱ၀ါကို၊ ေမတၱာသက္စီ၊ လွဴဖို႔၀ီ၍၊ စိတ္စီၾကည္သန္၊ သေဘာမွန္သား၊ ပစၥဳပၸန္သံသရာ၊ ခ်မ္းသာစီးပြါး၊ ႏွစ္ပါးျမင္တတ္၊ သူေတာ္ျမတ္ကို၊ မျပတ္ခ်စ္ခင္၊ မိတ္ကၽြမ္း၀င္ရ၊ ၿမဲပင္စင္းလွ်င္း ေပါင္းယွဥ္မင္း။

၆. ပညာမ်က္စိ၊ ျမင္မဟိရ မသိတရား၊ အယူမွားလွ်က္၊ စီးပြားမေမွ်ာ္၊ က်ိဴးမေပၚသား၊ သူေတာ္မဟုတ္၊ ယုတ္သည့္စရိုက္၊ လူသူမိုက္ကို၊ မႀကိဳက္မခ်စ္၊ ရန္သူစစ္သို႔၊ မႏွစ္သက္ပဲ၊ ဝီးစြာခ်ဲ၍၊ အၿမဲခြာယွင္း ဖဲၾကဥ္မင္း။

၇. ပါဏာတိပါတ္၊ မသတ္သူ႔အသက္၊ ခိုး၀ွက္မမူ၊ မယူသီစာ၊ အိမ္ယာမမွား၊ မုသားမဆို၊ ကိုယ္ကိုႏွိမ့္ခ်၊ ေစာင္႔သီလႏွင္႔၊ ဒါနလွဴ၀တ္၊ ရက္မခၽြတ္လွ်င္၊ မျပတ္ေဆာက္တည္၊ ဆုႀကီးရည္၍ ၊ မၾကည္ခိုက္ရန္၊ သူက်ဴးလြန္လည္း၊ ေစာင္မာန္မျပင္း ယဥ္စီမင္း။

၈. မိခင္ဖခင္၊ ေက်းဇူးသွ်င္ကို၊ ခ်စ္ခင္ျမတ္ႏိုး၊ ဂူပထိုုးသို႔၊ ရွိခိုးဦးတင္၊ ၾကည္လင္ျမတ္ေလး၊ သိမ္းျမန္းမႊီး၍၊ လုပ္ေကၽြးခယ၊ ရိုတုတ္ကြလွ်က္၊ ႀကီးထ(လွ)သက္အို၊ မ်ိဳးဆြီကိုလည္း၊ ၾကည္ညိဳညႊတ္တိမ္း၊ ပိုက္ထုပ္သိမ္း၍၊ ခပ္သိမ္းမယြင္း ၿငိမ္းစီမင္း။

မိခင္ဖခင္၊ ေက်းဇူးသွ်င္ကို ခ်စ္ခင္ျမတ္ႏိုး၊ ဂူပုထိုးသို႔ ရွိခိုးဦးတင္၊ ၾကည္လင္ျမတ္ေလး လုပ္ေကၽြးခယ၊ ႐ိုတုပ္ကြလွ်က္ ႀကီးလွသက္အို၊ မ်ိဳးဆြီကိုလည္း ၾကည္ညိဳၫြတ္တိမ္း၊ ပိုက္ထုပ္သိမ္း၍ မယိမ္းစင္းလွ်င္းၿငိမ္းစီမင္း --။ (အဘိုးသွ်င္စာသား)

၉. စတုဒိသာ၊ ေလးမ်က္ႏွာမွ၊ ေရာက္လာအမ်ား၊ ပုဏၰားရဟန္း၊ ဆြမ္းပန္းခ်ိဳ႕တဲ့၊ ရိကၡာမဲ့ကို၊ ယူခဥစၥာ၊ အိမ္ေလွာင္ခါ၌၊ လြယ္ကာထားယူ၊ ထိုသည့္သူသို႔၊ လိုတူမွတ္သား၊ သနားျမတ္လည္း၊ ၀တ္စားပီး၍၊ ေကၽြးမြီးထံရင္း ၿငိမ္းစီမင္း။

၁၀. အနိစၥႏွင့္၊ ဒုကၡအနတၱာ၊ သံုးပါးလကၡဏာ၊ မခ်ာေအာက္မိ၊ တစိစိလွ်င္၊ အေလ့အထ၊ ကြပ္ဆံုးမ၍၊ ပဥၥခႏၶာ၊ ငါးျဖာနာမ္ရုပ္၊ ျဖစ္ခ်ဳပ္ႀကိ္မ္ဖန္၊ စက္၀ဟန္သို႔၊ ဖန္တလဲလဲ၊ ၀ဋ္ဆင္းရဲကို၊ ၀မ္းထဲသံေ၀၊ ထိတ္လန္႔ေထြျဖင့္၊ ရိုေသသည္းတြင္း က်ိန္းစီမင္း။

၁၁. ေလာဘေဒါသ၊ ေမာဟသူပ်က္၊ နိတိုင္းဖက္၍၊ အမ်က္လည္းလြန္၊ တဖ်င္သန္လွ်င္၊ ၿပီးလြန္ဖင္ဖင္၊ အာရံုျမင္က၊ ခင္ခင္မြတ္မြတ္၊ လိုက္တံုတတ္သား၊ ထူးပြတ္မဆိုင္း၊ စိတ္ဆင္ရိုင္းကို၊ သံုးပိုင္းမခ်ာ၊ ယဥ္စိမ့္ငွာလွ်င္၊ ပညာထိန္း၍ မွိန္းစီမင္း။

၁၂. လယ္လုပ္ကုန္သြယ္၊ ေရာင္း၀ယ္ၿမီခ်၊ တြက္ဆစိတ္ျပား၊ အပါးပါးလွ်င္၊ အပြားအရင္း၊ လတြင္းတက္တိုး၊ ထမ္းပိုးႏွစ္လည္၊ ခ်သည္မျပတ္ အိမ္ေထာင္၀တ္ျဖင့္၊ အမွတ္ၿမဲၿမံ၊ လုပ္ႀကံႀကိဳးစား၊ ကၽြဲႏြားဆိတ္၀က္၊ ၀မ္းဘဲငွက္ႏွင့္၊ ၾကက္ကမၾကြင္း၊ သိမ္းမီြးျပင္းလွ်က္၊ မ်ားျခင္းစံုစီ၊ တႏၵီပယ္ေရွာင္း၊ ထပ္ကာေလာင္းလွ်က္၊ ပဲေျပာင္းစပါး၊ က်ီျပည့္ထား၍၊ ခြက္ျပားေရႊေငြ၊ ဆည္းပူးေထြျဖင့္၊ မ်ိဳးဆြီမွီတင္း ၾကြယ္စီမင္း။

၁၃. ထံုးတီးနည္းနာ၊ အျဖာျဖာ၌၊ ပညာရွာမွီး၊ မႀကီးသက္ရြယ္၊ အငယ္ေသာ္က၊ ႀကိဳးလံု႔လလွ်က္၊ တုပ္ကြပုဆစ္၊ ဆရာစစ္၌၊ ေၾကာက္ခ်စ္ရိုေသ၊ လုပ္ေကၽြးေထြျဖင့္၊ စာပီတတ္ေၾကာင္း၊ တေခ်ာင္းေခ်ာင္းလွ်င္၊ ၿခိမ္းေမာင္းသီးခံ၊ ဆရာ့ထံ၌၊ သင္အံ့က်က္သိ၊ တနိတပါး၊ မွတ္သားပါလီ၊ ၀မ္းထဲၿခြီ၍၊ အေထြအထူး၊ ဂုဏ္ေက်းဇူးကို၊ ဆည္းပူးသန္႔ယွွင္း ေက်စီမင္း။

ထံုးမီွးနည္းနာ၊ အျဖာျဖာ၌ ပညာရွာမွီး၊ မႀကီးသက္ရြယ္ အငယ္ေသာ္က၊ ႀကိဳးလံုးလလွ်က္ တုပ္ကြပုဆစ္၊ ဆရာစစ္သို႔ ေၾကာက္ခ်စ္႐ိုသီ၊ စာပီတတ္ေၾကာင္း တေခ်ာင္းေခ်ာင္းလွ်င္၊ ၿငိမ္ေအာင္းသည္းခံ ဆရာထံ၌၊ သင္အံမွတ္သိ တနိတျခား၊ ပြားမ်ားစံုစီ ၀မ္းထဲခြီ၍၊ တလီတထူး ဂုဏ္ေက်းဇူးကို ဆည္းပူးသိျမင္ႄကြယ္စီမင္း ။ (အဘိုးသွ်င္စာသား)

၁၄. ဘိုးဘီးစဥ္ဆက္၊ မပ်က္သံုးစြဲ၊ က်င္႔ၿမဲလံု႔လ၊ စာရိတၱျဖင္႔၊ မိဘအလိုက္၊ စရိုက္က်င့္ရိုး၊ အမ်ိဳးႏြယ္လ်ဥ္၊ ေစာင္႔စည္းၾကဥ္၍၊ အယွဥ္အေပါင္း၊ ခင္ပြန္းေကာင္းႏွင့္၊ သူေဟာင္းသက္ႀကီး၊ ထံုးနည္းတီးကို၊ မၿငီးမေငြ႕၊ က်က္မွတ္ေလ့လွ်က္၊
ေျခာက္သြိစကား၊ စပ္ၾကားသူပ်က္၊ ကုန္းတိုက္ဖ်က္လည္း၊ ရက္ရက္မယံု လြယ္ႏွင့္မင္း။

၁၅. သူေတာ္တကာ၊ တတ္စရာသား၊ အဌာရသ၊ သိပၸအျပား၊ အတတ္မ်ားကို မွတ္သားသတိ၊ ပညာဟိရို႕၊ တတ္သိအပ္စြ၊ ထိုသိပၸကို၊ ႏွံ႔မွ်လံုၿခံဳ၊ မတတ္တံုလည္း၊ တစံုတစ္ခု၊ တတ္ေအာင္ျပဳ၍၊ လူမႈအိမ္ေထာင္၊ စီးပြါးေဆာင္ေလာ့၊ ညဥ့္ေမွာင္မသိ၊ ၾကက္မ်က္စိသို႔၊ မိမိကိုယ္ဖို႔၊ အတတ္ခ်ိဳ႕လည္း၊ သူရို႔ျပစ္တင္၊ ဆင္းရဲျမင္အံ့၊ ထင္ထင္မ်က္ေျမာ္၊ မေကာ္ေရာ္သည္၊ အိုေသာ္သူမရယ္ စီႏွင့္မင္း။

၁၆. ဃရာ၀ါသ၊ သမၺဓဟု၊ ကိစၥျမားေျမာင္၊ လူရို႕ေဘာင္၌၊ အိမ္ေထာင္သက္မီြး၊ ျခႏွယ္ၿပီးသား၊ လူေရးေက်စြာ၊ အျဖာျဖာကို၊ လိမ္မာအတတ္၊ ခ်ားရဟတ္သို႔၊ လွည့္ပတ္ၿပီးမွ၊ ႀကံတြက္ဆလွ်က္၊ လံု႔လပင္စည္၊ အရင္းတည္လွ်က္၊
ခက္ရွည္ပညာ၊ ခ်မ္းသာအသီး၊ ႀကီးစရြိရြိ၊ အဓေလ့ျဖင့္၊ မမိမက်န္၊ လူမႈပြန္လွ်က္၊ ေစာင္းမာန္မဲ့ဆံုး၊ ေတာ္ေျဖာင့္သံုး၍၊ ႏွလံုးသန္႔စင္ ၾကြယ္စီမင္း။

၁၇. ေလးကၽြန္းထိပ္ေခါင္၊ ျမင္းမိုရ္ေတာင္ႏွင့္၊ ယွဥ္ေဆာင္ႏႈိင္းလည္း၊ အတိုင္းမသိ၊ ေက်းဇူးဟိသည္၊ အမိကားတိုက္၊ သိုက္ကားမယား၊ သားကားႏြယ္ဆက္၊ ခက္လက္မ်ိဳးဆြီ၊ ကၽြန္ေျခြေရႊႏွင့္၊ အုပ္ေထြမကြဲ၊ လူခပဲအား၊ ဆင္းရဲေဖ်ာက္ပယ္၊ ခ်မ္းသာကယ္၍၊ လူ၀ယ္လူေကာင္း၊ ျဖစ္ေတာ္ေခ်ာင္းဟု၊ လူေပါင္းေျပာပ၊ ခ်ီးမြမ္းရလွ်က္၊ ေၾကာင့္ၾက ေဘးဘ်မ္း၊ ေဖ်ာက္ႏိုင္စြမ္းသား၊ စိတ္၀န္းေျဖာင့္တန္း၊ ဆြီခင္ပြန္းကို၊ ခ်စ္ပန္းနံ႕မျပယ္ စီႏွင့္မင္း။

၁၈. စိေျမ့သိပ္သည္း၊ ရြိရြိဆည္းေလာ့၊ စရည္းအိုးခြက္၊ ႀကီးစြာလ်က္လွ်င္၊ စဥ္စက္က်မ်ား၊ ျပည့္ေသာလားသို႕၊ ပ်ား၏နည္းထံုး၊ မွတ္က်င့္သံုး၍၊ ျခပုန္းေတာင္ပို႔၊ ဖို႔သည္းျခင္းရာ၊ လူလိမ္မာရို႕၊ ဥစၥာဆည္းေထြ၊ တတ္လွစီေလာ့၊ ၾကြက္သီတခု၊ အရင္းျပဳ၍၊ ၾကြယ္မႈတတ္ဆံုး၊ သဌီးထံုးကို၊ ႏွလံုးမူလွ်က္၊ ႀကံစည္နက္ကို၊ သူ႔ထက္ကံုးကယ္ ၾကြယ္စီမင္း။

၁၉. လံု႔လပညာ၊ လိမ္မာတတ္တံု၊ ဆင္စြယ္စံုသို႔၊ ကိုယ္လံုၿမဲၿမံ၊ ေကာင္းေအာင္သံသား၊ လုပ္ႀကံေသသပ္၊ ေယာက်္ားျမတ္ရို႔၊ မွတ္သည့္အတိုင္း၊ ျပည့္လႈိင္းခ်မ္းသာ၊ စီးပြားရွာအံ၊ ပညာခ်ိဳ႕တဲ့၊ လံုလမဲ့ဟု၊ ကဲ့ရဲ့သၿဂၤဳိိဟ္၊ သူမ်ားဆိုလည္း၊ ကိုယ္ကိုမခ်စ္၊ အက်င့္ညစ္သား၊ အျပစ္ဖြဲ႔ပို႔၊ လူသြမ္းရို႕ကား၊ မည္သို႕မသိ၊ ပ်င္းရိရိလွ်င္၊ ရွိသည္ကိုယ့္ဖို႕၊ ကုသိုလ္ပို႕က၊ ငါရို႕နီရာ၊ စီးပြားလာအံ့၊ ၾကမၼာကိုယ္ခ်ည္း၊ မွတ္ထင္ရည္း၍၊ က်င့္နည္းညံ့ဆံုး၊ သူပ်က္ထံုးကို၊ ႏွလံုးမၿငိတြယ္ စီႏွင့္မင္း။

၂၀. ေက်ာင္းေတာ္ခရီး၊ လမ္းမႀကီး၌၊ ပင္ထီးပေညာင္၊ ျမစ္တေထာင္ႏွင့္၊ ျမားေျမာင္ခက္လက္၊ ရြက္လည္းစိပ္စိပ္၊ စိစိသိပ္လွ်က္၊ ရိပ္လည္းၿမိဳင္ၿမိဳင္၊ လီမႏိုင္လွ်င္၊ ပင္ခိုင္သီးမွည့္၊ အျပည့္က်ီးငွက္၊ စားလွ်က္ေသာင္းသဲ၊ မွီ၀ဲလူဗိုလ္၊ ရိပ္ခိုအမ်ား၊ ခရီးသြားရို႕၊ နားနီေပ်ာ္ရႊင္၊ ထိုသစ္ပင္ကား၊ ၀င္လာေသာသူ၊ ခပ္သိမ္းလူကုိ၊ ပူဆာၿငိမ္းေအာင္၊ စီးပြားေဆာင္သို႔၊ လူ႔ေဘာင္ေကာင္ၾကြယ္၊ လူကံုကယ္လည္း၊ ထိုႏွယ္လည္းေကာင္း၊ ျဖစ္တံုေခ်ာင္း၍၊ မ်ိဳးေပါင္းဆြီပါး၊ လူအမ်ားကို၊ သနားၾကင္နာ၊ စီးပြါးရွာ၍၊ ေမတၱာမကင္း၊ မ,စ ျခင္းျဖင့္၊ ထံရင္းမွီကိုး ကြယ္စီမင္း။

၂၁. ပ်ဴပ်ဴငွာငွာ၊ လူတကာကို၊ သာသာခ်ိဳခ်ိဳ၊ ခ်စ္ဖြယ္ဆို၍၊ စိုစိုျပည္ျပည္၊ က်င့္မူနည္ျဖင့္၊ လည္လည္ပတ္ပတ္ ၊ေလာက၀တ္၌၊ ျပတ္ျပတ္သားသား၊ အျပားျပားလွ်င္၊ မႈမ်ားခပ္သိမ္း၊ ေဆာင္တိုင္းၿငိမ္းလွ်က္၊ သူစိမ္းသူက်က္၊ ေပါင္းဖက္သရြိ၊ မိဘတြိသို႔၊ မြိမြိေလ်ာ္ေလ်ာ္၊ ေပ်ာ္ေပ်ာ္ပါးပါး၊ ႏႈတ္ခ်ိဳပ်ားႏွင့္၊ ၀တ္စားေထာက္ပံ့၊ ျဖန္႔ျဖဴးႏွံ႔လွ်က္၊ အလြန္႔ကၽြန္ေက်း၊ ဆီြသားၿမီးကို၊ ေကၽြးမီြးမညိွဳး ငယ္စီမင္း။

၂၂. ေလာကသာရ၊ က်မ္းအစ၌၊ ဆံုးမစကား၊ မ်ိဳးေလးပါးကို၊ မွတ္သားစိမ့္ငွာ၊ ပ်ိဳ႕လကၤာျဖင့့္၊ နည္းနာေထြျပား၊ ထံုးေပါင္းၾကားသည္၊ တျခား ပထမပိုင္းတည္း။…….။

(ဒုတိယပိုင္း)

၂၃. ျပည့္သူ႔ထြဋ္ဦး၊ ဘုန္းေရာင္ျမဴးသည့္၊ ရန္ငူးလူ႔ေဘာင္၊ ထြဋ္ေခါင္ရာဇာ၊ ဆံုးမနာေလာ့၊ ကမၻာအစ၊ မဟာသမၼတ၊ ခတၱိယရို႕၊ နီၾကက်င့္ရိုး၊ ေကာင္းက်ိဳးအလွဴ၊ စြန္႔ႀကဲမူလည္း၊ စိတ္ယူေျဖာင့္စင္း၊ ႏူးညံံ့ျခင္းႏွင့္၊ သီတင္းေစာင့္စည္း၊ မ်က္နည္းသည္းခံ၊ ၿခိဳးၿခံသမႈ၊ မျပဳညွင္းဆဲ၊ ဆင္းရဲမရွာ၊ ေမတၱာသက္ျဖန္႔၊ လူအ၀ွန္႔အား၊ မဆန္႔က်င္ၿပီး၊ ဤသုိ႔ ရီးသား၊ ဆယ္ေထြေစာင္႔ၾကပ္၊ တရားကြပ္၍၊ လက္ထပ္ေခၚျပဳ၊ သၿဂၤဳိိဟ္မႈလည္း၊ ေလးခုအစိ၊ ျပကတိျဖင္႔၊ က်င့္ေလ့မၾကြင္း က်န္စီမင္း။

၂၄. ျပည္ႀကီးေသဌီနင္း၊ မင္းတုိ႔ေသာ္ကား၊ သူတပါးထက္၊ ဆယ္ဆတက္၍၊ အိပ္စက္နည္းပါး၊ လူအမ်ားကို ၊စီးပြားခ်မ္းသာ၊ နိတုိင္းရွာေလာ႔၊ အခါခပ္သိမ္း၊ မုဒိမ္းခိုးသူ၊ မပူစီရ၊ ဆုံးမကြပ္ညွပ္၊ ပညတ္အလြန္၊ ရွိးမင္းမြန္ရို႔၊ ညြန္ခဲ႔ေသာတိုင္း၊ က်င့္သမိုင္းျဖင္႔၊ ႏႈန္းႏႈိင္းမယြင္း၊ တမ်ဥ္းခင္းသို႔၊ က်င့္ျခင္းမခၽြတ္၊ တည့္မတ္မတ္လွ်င္၊ လူနတ္ခ်စ္ဖြယ္၊ ေက်းဇူးၾကြယ္၍၊ က်င့္ႏြယ္လမ္းရုိး မွန္စီမင္း။

၂၅. မမိမေလ်ာ႔၊ မေပါ႔လုပ္ႀကံ၊ ကၽြန္ကိုယ္ရံလည္း၊ ၿမဲၿမံေစာင္႔ေယွာက္၊ ထက္ေအာက္တြင္းျပင္၊ မြမ္းျပင္အျပည္႔၊ အိပ္ဖန္ထည္႔လ်က္၊ အၾကည္႔အရႈ၊ အမႈမလင္႔၊ အက်င္႔မေကာင္း၊ အေဟာင္းအသစ္၊ ထြက္၀င္စစ္၍၊ ကၽြန္ခ်စ္ကၽြန္ယုံ၊ ထမ္းကုန္မႈမ်ား၊ ရီျခားေျမာ္ျမင္၊ တိုင္ပင္ႀကံသီး၊ အမတ္ႀကီးကုိ၊ အနီးထံပါး၊ သက္ေစာင္႔ထား၍၊ ယုံမွားမဲ႔လွ်င္း၊ နွလုံးသြင္းလွ်က္၊ ခ်စ္ျခင္းသူ႔ထက္ လြန္စီမင္း။

၂၆. ျပည္ထဲအေရး၊ ေပါက္ႏွင့္ေက်းသို႔၊ ႀကံေတြးလွည့္ကာ၊ မသိသာတည့္ အရာျမင္ျမင္၊ မျဖစ္ခင္က၊ တုိင္ပင္မျပတ္၊ ကၽြန္မူွးမတ္နွင့္၊ ၾကန္ဘတ္ဟူးရား၊ ပညာမ်ားသား၊ ပုဏၰားရဟန္း၊ ရွိတြင္၀န္း၍၊ ကိန္းခန္းဒသာ၊ အခါမီးမူ၊ အရွိအေနာက္၊ ေတာင္ေျမာက္ရီၾကည္း၊ စီစဥ္သည္းလွ်က္၊ ေစာင္႔စည္းရံတား၊ ကင္းေထာက္ထား၍၊ ၿမီျခားသူမလြန္ စီႏွင့္မင္း။

၂၇. သူ႔ျပည္သူ႔ရြာ၊ သူ႔ရပ္မွာ၌၊ ျခင္းရာသိေၾကာင္း၊ ဥာဏ္ေကာင္းေရး၀င္၊ တိုင္ပင္ႀကံေထြ၊ သူလွ်ဳိစီ၍၊ မနီစုံစမ္း၊ ႀကိဳးပမ္းလုပ္ေဆာင္၊ အားအင္ေထာင္လွ်က္၊ ေနာက္ေနာင္ၿမီးသား၊ စီးပြါးရွည္စီ၊ တည္စိမ့္စီေၾကာင္း၊ ႏႈတ္ေကာင္းခြန္းသာ၊ လက္ေဆာင္စာႏွင့္၊ စီပါးစင္းလ်င္း၊ ထိုထိုမင္းကို၊ ခ်စ္တင္းမီးျမန္း၊ ဆြီခင္ပြန္းဟု၊ မိတ္မွန္းကိုယ္ကို၊ တံတစ္ဆို၍၊ ခ်စ္လိုစကား မွန္စီမင္း။

၂၈. ငါ့ျပည္ငါ့ရြာ၊ ငါ့ရပ္မွာ၌၊ ဇာတာအလို၊ ၿဂိဳဟ္လည္းမေကာင္း၊ ထပ္ေလာင္းထိတ္ထံု၊ ပ်ံတံုက်ီးငွက္၊ ႏႈတ္ထြတ္စနည္း၊ ေႏွာင့္ယွက္သည္းမူ၊ ေစာင့္စည္းရံတား၊ မႏၱရားႏွင့္၊ သမားကြယ္ကာ၊ လြတ္စိမ့္ငွာျဖင့္၊ ၿဂိဳဟ္စာပို႔ပီး၊ သႏၱီးပူေဇာ္၊ သႀကၤန္ေခၚ၍၊ သံုးေဘာ္ျမတ္စြာ၊ ရတနာကို၊ မကြာကပ္ဆည္း၊ ေကာင္းမႈခ်ည္းတည့္၊ ျဖင္ပည္းေျပာထူ၊ စြန္႔ႀကဲလွဴ၍၊ ၾကည္ျဖဴစိတ္ထက္ သန္စီမင္း။

၂၉. ခပ္သိမ္းျပည္သူ၊ ရဟန္းလူကို၊ သိမ္းျမန္းပိုက္ထုပ္၊ ၾကက္သားအုပ္သို႔၊ မလႈပ္စီေၾကာင္း၊ လွည့္ျဖားေယာင္းလွ်က္၊ က်င့္ေဟာင္းမလြန္၊ တုတ္ခြန္အျပင္း၊ သနားျခင္းျဖင့္၊ ႏွိပ္နင္းကလူ၊ မပူစီရ၊ ကြပ္ဆံုးမလွ်က္၊ ထြန္းပေျပာင္ေျပာင္၊ မိုးထိပ္ေခါင္၌၊ အေရာင္ခ်မ္းလြန္၊ လဗိမၼာန္လွ်င္၊ ပူပန္မဟိ၊ ၿငိမ္းလီဘိသို႔၊ ၾကယ္တိရံကာ၊ တင့္တယ္စြာသား၊ ပမာပံုသင့္၊ လႏွယ္ပြင့္၍၊ လင္းပြင့္တိုင္းကား၊ စည္ပင္ပြားလွ်က္၊ လူမ်ားေကာင္းခ်ီး ထြန္စီမင္း။

၃၀. လူမ်ားအထိပ္၊ စိုးမိုးႏွိပ္သား၊ တံဆိပ္မွန္ကင္း၊ ထိုထိုမင္းကား၊ ေဖြနည္းစိစစ္၊ ရန္အျမစ္ကို၊ တူးပစ္ႏိုင္စီ၊ ရန္ျမစ္သီမွ၊ ရြာနီျပည္သူ၊ ခပ္သိမ္းလူကို၊ မပူမဆာ၊ ၿငိမ္းခ်မ္းသာအံ့၊ မလာႏွစ္ဆစ္၊ မိုးႀကိဳးပစ္သို႔၊ ရန္စစ္မ်ားကို၊ ေဖ်ာင့္လြင့္ၿဖိဳေလာ့၊ ရန္လိုမဟိ၊ ရဲစြမ္းျပည့္သား၊ မလွည့္ငဲ့ေစာင္း၊ သူရဲေကာင္းကို၊ မ်ားေၾကာင္းဆည္းပူး၊ ပီးကမ္းၾကဴးလွ်က္၊ ေက်းဇူးအလိုက္၊ သိမ္းျမန္းပိုက္၍၊ ခ်စ္ႀကိဳက္သနား၊ ရင္၀ယ္သားသို႔၊ ျဖည့္ျပားမင္းေရး ပြန္စီမင္း။

၃၁. ကာမေဒ၀၊ စသည္အျပား၊ နတ္ေလးပါးတြင္၊ တပါးမည္မွတ္၊ ေလာကနတ္ဟု၊ လူ႔ထြဋ္ဦးစြန္း၊ ဘုန္းေတာ္ထြန္းသား၊ လွ်ံ၀န္းစိုးပိုက္၊ မင္းသို႔လိုက္၍၊ ျပည္၌ျပည္သူ၊ မင္းမတူလွ်င္၊ က်င့္မူမလြဲ၊ သံုးစြဲေလ့လာ၊ က်င့္ကုန္ရာသည္၊ ရာဇျပဌာန္း၊ ၾကငွန္းမွန္ကင္း၊ မေၾကာင္းရင္းကား၊ မင္းလွ်င္တေယာက္၊ လွံမေစာက္ျဖင့္၊ မေကာက္မယြန္း၊ ေတာ္ေျဖာင့္တန္းက၊ ထက္၀န္းဗိုလ္ပါ၊ လူတကာလည္း၊ ညီညာေတာ္မွန္၊ မင္းအဟန္သို႔၊ ေကာင္းမြန္က်င့္မႈ၊ ႏွလံုးျပဳအံ့၊ ျပည့္သူမ်က္ပြင့္၊ ေကာင္းေအာင္က်င့္ေလာ့၊ ပံုသင့္က်မ္းလာ၊ ဥပမာကား၊ အရာအေထာင္၊ ႏြားကုန္ေအာင္တြင္၊ ရွိေဆာင္ႏြားလား၊ ေျဖာင့္ေျဖာင့္လားက၊ ႏြားမ်ားစင္စိုက္၊ ေျဖာင့္ေျဖာင့္လိုက္သို႔၊ စရုိက္က်င့္မူ၊ ခပ္သိမ္းလူလည္း၊ ထို႔တူလည္းေကာင္း၊ ျဖစ္ရာေခ်ာင္းသည္၊ မင္းေကာင္းေတာ္ေျဖာင့္ မွန္စီမင္း။

၃၂. မာသုကုဇၥ်ိ၊ မဟာရာဇ၊ မာသုကုဇၥ်ိ၊ ရေထသဘ၊ သမၺဳဒၶလွ်င္၊ ဆံုးမေဟာၾကား၊ ဤတရားကို၊ မွတ္သားလည္းျပဳ၊ သီးခံမႈျဖင့္၊ ျပည့္သူ႕ခမည္း၊ မ်က္ေတာ္နည္းေလာ့၊ ျဖဳတ္ခ်ည္းအမ်က္၊ ထြက္သက္မျပင္း၊ လူခပင္းကား၊ မင္းကိုေၾကာက္ေယွာင္၊ ေလာင္ပူရဲရဲ၊ ရွားမီးခဲသို႕၊ ၀မ္းထဲခ်ဲ႕ခ်ဲ႕၊ အမ်က္မဲ့လည္း၊ တုန္လဲ့ရြံ႕ရွာ၊ ေၾကာက္ကုန္ရာႏွင့့္၊ ျပင္းစြာအမ်က္၊ ထြက္တၿပီးကာ၊ ၾကက္သီးထ၀ွန္၊ အူခ်ာမႊန္မွ်၊ အလြန္အၾကဴး၊ ေၾကာက္မိန္းမူးလွ်က္၊ ဆူးဆူးရားရား၊ အမ်က္အားကို၊ တရားစြဲကိုင္၊ မခ်ဳပ္ႏိုင္သည္း၊ စိတ္ခိုင္တည္တံ့၊ ဆင္ျခင္၀ံ့၍၊ မ၀ံ့ႏွစ္ဆစ္၊ ႀကိမ္ဖန္စစ္၍၊ အျပစ္အေလ်ာက္၊ သံုးႀကိမ္ေျမာက္မွ၊ ေသေလာက္ေလ်ာ္ဖီး၊ မင္းဒဏ္ပီးလည္း ၊ ကြပ္ေရးဖန္မ်ား စီႏွင့္မင္း။

၃၃. ခပ္သိမ္းျပည္သူ၊ လူမ်ားထိပ္မိုး၊ ရီၿမီစိုးထ၊ ျပည့္ၿဖိဴးခ်မ္းသာ၊ က်င့္ရာအမ်ား၊ ခုနစ္ပါးလွ်င္၊ စီးပြားစင္စစ္၊ မ်ားသည္ျဖစ္၍၊ သွ်င္ခ်စ္ဘုရား၊ မင္းတို႔အားကို၊ ေဟာထားခဲ့သည္၊ ခုႏွစ္မည္ကာ၊ လူ႔ျပည္ေစာင့္တတ္၊ နတ္ကိုျမတ္ႏိုး၊ အမ်ိဳးဆြီနီး၊ သက္ႀကီးရိုေသ၊ ျပည္နီရြာသူ၊ ႏိုင္ထက္မူျဖင္႔၊ မယူသားၿမီး၊ မႈရီးတိုင္ပင္၊ ညီညြတ္အင္ႏွင္႔၊ လာခ်င္ထက္၀န္း၊ ရဟန္းပုဏၰား၊ သိမ္းပကားျဖင္႔၊ တရားမယြင္း၊ ျဖည္႔တင္းေကၽြးမြီး၊ မလာသိမ္းေသာ္၊ နီးဝီးရပ္သား၊ သူရို႕အားကို၊ မလားစီေအာင္၊ ေက်းဇူးေဆာင္လွ်က္၊ ျပည္ေထာင္အေရး၊ ရွိကေတြးသည္၊ ပညတ္မလြန္၊ လမ္းမွန္စိုက္စိုက္၊ ရာထင္လိုက္လွ်က္၊ တိမ္ထက္လွစ္ထြန္း၊ လအ၀န္းသို႔၊ ေလးကၽြန္းရိပ္ေမွာင္၊ ဘုန္းအေရာင္ျဖင္႔၊ ေျပာင္ေျပာင္၀င္း၀ါ၊ ၿငိမ္းခ်မ္းသာ၍၊ ျပည္ရြာတိုင္းကား ပြားစီမင္း။

၃၄. သမၻာရင့္ၿဖိဳး၊ ရွိးေကာင္းက်ိဳးေၾကာင့္၊ တန္ခိုးထြန္းလွ်ံ၊ လူ႔ထိပ္စံသား၊ ဘုန္းခၽြံရန္နည္၊ မင္းရို႕သည္ကား၊ အရွည္ေရးရာ၊ ျမင္ႏိုင္စြာသား၊ လိမ္မာက၀ိ၊ ပညာဟိကို၊ ပီတိခ်စ္ျပင္း၊ ႏွလံုးသြင္း၍၊ ဆိုျခင္းထြက္သံ၊ နားပါးခံလွ်က္၊ ထံုးစံနည္းနာ၊ တိုင္ပင္ရာ၏၊ ဥာဏ္၀ါကြန္႔ျမဴး၊ ဂုဏ္ျဖင့္ထူးသား၊ ေက်းဇူးေရာင္ၿငိ၊ ပညာဟိႏွင့္၊ ျပည္ႀကီးေသဌီနင္း၊ ျပည့္သွ်င္မင္းရို႕၊ မကင္းစီရာ၊ ဥပမာကား၊ ရတနာဂူ၊ နႏၵမူ၌၊ မဥၥဴပန္းလား၊ ေက်ာ္ထင္ယွားအံ့၊ ႏွစ္ပါးေပါင္းဖက္၊ အက်ိဳးနက္အံ့၊ ထမ္းရြက္ေဆာင္ျပဳ၊ ျပည္ထဲမႈေၾကာင့္၊ စိငုျမင္ၿပီး၊ ပညာႀကီးကို၊ ထံုးတီးစံုရီး၊ ပံုစံမီး၍၊ က်င့္ေရးလြန္စိတ္ ျဖာစီမင္း။

၃၅. ဆင္ျမင္းရထား၊ ၿခီသည္အားႏွင့္၊ ေလးပါးစစ္အင္၊ စစ္ဘုရင္လည္း၊ မြမ္းျဖင္ၿဖီးေထြ၊ မ်ားလွစီေလာ့၊ အနီမက်၊ ရန္စစ္ထေသာ္၊ ျဖျဖလိုက္လံ၊ စစ္ဦးႏွံမွ၊ ရြံ႕ေလရြံ႕ရြံ႕၊ ေနာက္မ၀ံ့တည့္၊ ဖို႔ရြံ႕ညည္းတည္း၊ ေၾကာက္ရြံ႕သည္း၍၊ သရည္းလီဖြယ္၊ ရန္စစ္သြယ္လိမ့့္ ၊မျပယ္လီသိမ္း၊ စစ္မက္ႀကိမ္းမူ၊ ပြန္းတီးမႈေဆာင္သူရဲေခါင္ကို၊ ဆင္ေျပာင္မုန္တပ္၊ မင္းစီးအပ္၍၊ ေနာက္ထပ္အမ်ား၊ ဆင္ျမင္းျပားလွ်က္၊ ရွိဖ်ားတည္တြင္၊ စစ္စီရင္ေလာ့၊ စစ္ဆင္သံုးပါး၊ အဖ်ားၿဖီးထပ္၊ ပြင့္ခ်ပ္ၾကာသြင္၊ ဆင္လည္းခၽြန္းတည္း၊ ျမင္းလည္းဇက္ခ်ဳပ္၊ ၿခီသည္အုပ္လွ်က္၊ စစ္ရုပ္အ၀န္း၊ ေကာ့ယြန္းတက္ဟန္၊ လွည္းသ႑ာန္သိုု႔၊ တတ္ပြန္းနား၀င္၊ စစ္ေရးဆင္၍၊ ေအာင္ျမင္စိမ့္ေထြ၊ ဥကပေဒျဖင့္၊ စစ္ၿမီအရပ္၊ စစ္မွဴးကြပ္လွ်က္၊ ရြပ္ရြပ္ထိုးခုတ္၊ ၾကက္ရဲစုတ္သို႔၊ အားထုတ္ႀကိဳးပမ္း လြန္စီမင္း။

၃၆. သာမ်ားမစၥ၊ စသည္အဂၤါ၊ ခုနစ္ျဖာကို၊ ျပည္ရြာျပကတိ၊ စံုစိလွ်င္းေအာင္၊ ျပည္ေထာင္ဟူက၊ ျပည္ကိစၥကို၊ လံု႔လၿဖီးထူ၊ ႏွလံုးမူေလာ့၊ ရန္သူေၾကာက္ဖြယ္၊ နက္၀န္းက်ယ္သား၊ ပင္လယ္က်ံဳးေျမာင္း၊ ရီနီေကာင္းလွ်က္၊ ရဲေလာင္းရင္တား၊ တံခါးတုရိုဏ္၊ ႀက့ံခိုင္ၿမိဳ႕ကို၊ တသိန္းၿဖိဳလည္း၊ မၿပိဳႏိုင္မူ၊ ႀကီးက်ယ္ထုႏွင့္၊ မ်က္ယႈလွတင့္၊ တန္ေဆာင္ဆင့္၍၊ သြယ္ျမင့္ျပေဆာင္၊ ျမားေျမာင္လက္နက္၊ ၿမိဳ႕ထက္ပတ္ေလွ်ာက္၊ စစ္တဲေဆာက္၍၊ ရင္ေလွ်ာက္ပတ္ကုန္း၊ သူရဲပုန္းက၊ စသည္မက်န္၊ တံခြန္ေလာက္လႊဲ၊ စူးရဲကစ၊ အနီက်လွ်င္၊ သဗၺကိရိယာ၊ ၿမိဳ႕တန္ဆာလည္း၊ မ်ားစြာျပည့္ႏွက္၊ ႀကံစည္နက္လွ်က္၊ ၾကမ္းခက္ရဲမာန္၊ ျခေသၤ့ဟန္သို႔၊ ရန္ကိုကဲမိုး၊ မိုးႏွယ္ႀကိိဳး၍၊ တန္ခိုးေက်ာ္ထင္ ရွားစီမင္း။

၃၇. အမ်ိဳးေလးပါး၊ ပုဏၰားပုေဏၰး၊ သဌီးသၾကြယ္၊ ကုန္သြယ္သူပင္၊ သူထင္သူရွား၊ ျပည္နီမ်ားလွ်က္၊ စပါးဆန္ရီ၊ ျပည့္လြန္စီလည္း၊ ေျပာင္းပဲလူးဆတ္၊ အထပ္ထပ္လွ်င္၊ အလပ္ၿမီနည္း၊ လုပ္ႀကံဆည္းမွ၊ ပစၥည္းျဖင့္ၿပီး၊ ျပည္ႀကီးလကၡဏာ၊ ရီဆာေလာက္ငံ့၊ စိႏွံသိုထား၊ ဆီးသမားႏွင့္၊ ဟူးရာမကြာ၊ တတ္လိမၼာသား၊ ေရးရာပြန္းတီး၊ မတ္ႀကီးႀကံထက္၊ တံု႔ဖက္တိုင္ပင္၊ ေျမာ္ျမင္က်ိဳးေၾကာင္း၊ ခင္ပြန္းေကာင္းတည့္၊ ေစာေလာင္းက်င့္အပ္၊ ေစာင္မကြပ္လွ်က္၊ ထူထပ္တိုင္းကား၊ ေအာင္ျခင္းမ်ားလီ၊ ျပည္ေထာင္နီမ်ိဳး၊ လုပ္ေဆာင္ႀကိဳးေလာ့၊ ျမင္းရိုးဆင္သည္၊ စစ္က်င္လည္သား၊ ခိုင္က်ည္သူရဲ၊ ရန္မဖဲကိုု၊ ခ်စ္ၿမဲျမတ္လည္း၊ ေက်းလက္ပီး၍၊ သိမ္းမီြးျဖည့္တင္း၊ ျဖန္႔ျဖဴးျခင္းျဖင့္၊ လြန္းမင္းခ်စ္သနား တည္စီမင္း။

၃၈. အေခါင္ၾကငွန္း၊ လူ႔ထိပ္ထြန္းသား၊ ဦးစြန္းအခ်ာ၊ မင္းတကာရို႕၊ ပမာပံုခင္း၊ ျခေသၤ့မင္းႏွင့္၊ က်င့္ျခင္းအညီ၊ တူၾကစီေလာ့၊ ေလးေထြအရိုး၊ ျခေသၤ့မ်ိဳးတြင္၊ တန္ခိုးႀကီးေခါင္၊ ေတာသံုးေထာင္ကို ၊စိုးပိုင္ႏွိမ္နင္း၊ စြမ္းအားျပင္းသည္၊ သားမင္းျမတ္စြာ၊ ေကသရာလွ်င္၊ အခါနိစၥ၊ သဘာ၀ျဖင့္၊ သူရဇာတိ၊ ရဲျခင္းဟိသည္၊ မိမိ္အစာ၊ ရွာလိုခါမွ၊ နီရာေက်ာက္ဂူ၊ ထြတ္လက္ျပဴေသာ္၊ ရန္သူယွဳၾကည့္၊ ငဲ့လွည့္မ်က္ေစာင္း၊ ၿခိမ္းေမာင္းေဟာက္သံ၊ ျမဴးထူးစံမွ၊ ခၽြံခၽြံစိုက္စိုက္၊ သားကိုလိုက္၍၊ သတ္ကိုက္စီးႏြံ၊ သြီးသံေသာက္တုတ္၊ အားကိုထုတ္၍၊ ကိုက္ဆုတ္ႏွိပ္နယ္၊ ႀကီးငယ္မဟူ၊ လူမ်ားထိပ္လယ္၊ စိုးစံပယ္သည္၊ ဘုန္းၾကြယ္ရာဇာ၊ က်င့္အပ္စြာ၊ ေရးရာေမွ်ာ္ယွဳ၊ ခပ္သိမ္းမႈကို၊ ဗဟုကိစၥ၊ ဟူသမွ်လွ်င္၊ လံု႔လပည္းတူ၊ အားကိုမူျဖင့္၊ ရန္သူစဲ၍၊ ျပည္ထဲပြင့္လင္း သာစီမင္း။

၃၉. နရာဓိပတိ၊ သိဒၶိထြဋ္္တင္၊ ျမတ္ဆံုးတင္သည္၊ ျပည့္သွ်င္ဘုန္းလိႈင္၊ က်င့္နည္းခိုင္၍၊ ဥဗ်ိဳင္းငွက္တူ၊ က်င့္ေတာ္မူေသာ္၊ ျဖဴသည္အဆင္း၊ မႊြီးေရာင္၀င္းသား၊ လိုင္က်င္းၿခီရွည္၊ ထိုငွက္သည္ကား၊ ေဖြနီအစာ၊ လွည့္ပတ္ရွာ၍၊ ျမစ္သာျမစ္ေလာင္း၊ ေခ်ာင္းေျမာင္းကမ္းနား၊ သြားလာမြိညက္၊ ၿငိမ္သက္ဣိေျႏၵ၊ ေထြရွဳစိ္မ့္စီ၊ မိန္းမိန္းနီလွ်က္၊ ရီမွာပြက္က်င္၊ ငါးကိုျမင္ေသာ္၊ ခုန္မင္လွ်ပ္လွ်ပ္၊ ရေအာင္ဟပ္သို႔၊ ျပည့္ကြပ္လူမွဴး၊ ေစာရန္ငူးလည္း၊ ဆူးဆူးက်င့္မူ၊ ဗ်ိဳင္းမတူလွ်င္၊ ဟူဟူသေရြ႕၊ အဓေလ့ျဖင့္၊ အမြိေစာင့္ေယွာက္၊ သာေလ်ာက္ျဖည္းျဖည္း၊ က်င့္သိ္ပ္သည္းလွ်က္၊ တိုင္တည္းသမႈ၊ ေျမာ္ၾကည့္ယႈမွ၊ အန္တုအန္ပ၊ အစေထာ္ေလာ္၊ ေပၚသည္အႀကိိဳက္၊ ကြပ္ညွပ္လိုက္၍၊ ေနာက္၌ရန္မလာ စီႏွင့္မင္း။

၄၀. ဗာဟုဗလ၊ စသည္တြက္ရီ၊ အားငါးေထြျဖင့္၊ တိုင္းျပည္ေသဌီနင္း၊ မင္းရို႕ေသာ္သာ၊ ျပည့္ႏိုင္ရာဟု၊ ျမတ္စြာဘုရား၊ ဤလူမ်ားကို၊ ေဟာၾကားမိန္႔ျမြက္၊ ေရႊႏႈတ္နက္ျဖင့္၊ မပ်က္စီေအာင္၊ ေက်းဇူးေဆာင္ေလာ့၊ လူေဘာင္လူ႔ထြဋ္၊ လူမင္းျမတ္တို႔၊ ဆင္မွတ္တန္းဆာ၊ ရတနာသို႔၊ မကြာၿမဲတည္၊ အင္ငါးမည္တြင္၊ အထြဋ္တင္သား၊ မ်က္ရွင္အလား၊ ပညာအားျဖင့္၊ စီးပြါးျမင္ႏိုင္၊ ၿမဲေၾကာင္းကိုင္၍၊ ျပည့္လႈိင္ေက်းဇူး၊ အထူးထူးထြင္၊ အမွူးစင္စစ္၊ ရွိလားျဖစ္လွ်က္၊ အျပစ္ခြာေယွာင္္၊ အက်ိဳးေဆာင္သား၊ တက္ေခါင္လိမၼာ၊ မတ္ပညာကို၊ စီပါသံုးစြဲ၊ ကိုယ္၌ၿမဲကာ၊ ငရဲမလား၊ ရွိယႈလားလွ်က္၊ ျမတ္ဖ်ားနိဗၺာန္၊ ခရီးညႊန္လွ်က္၊ သမႏၲစက္၊ အျမင္နက္သား၊ ပြားတတ္ပညာ၊ မတ္လိမၼာအား၊ ဆရာတစ္ဆူ၊ တိုင္ပင္မူလွ်က္၊ ဆံုးမခက္သား၊ သူပ်က္တစ္ေယာက္၊ ပါယ္မေၾကာက္ကိို၊ ႏွင္ေျခာက္ၿခိမ္းေမာင္း၊ စီးတစ္ေခ်ာင္းလွ်င္၊ ေထာင္းေထာင္းညက္ညက္၊ မ်က္ႏွာဖ်က္၍၊ ရန္ဘက္မညွာတာ စီႏွင့္မင္း။

၄၁. အပၸေမယ်၊ အနႏၲလွ်င္၊ ဆံုးစမတင္၊ ကမ္းမျမင္သား၊ ရီျပင္၀န္းက်ယ္၊ ပင္လယ္ျမစ္မ၊ သမုဒၵ၌၊ ငါးရာ့ငါးစင္း၊ ျမစ္ခပင္းရို႕၊ စင္းလွ်င္းမရွာ၊ စီး၀င္လာသို႔၊ ခ်မ္းသာေခါင္ေရာက္၊ မင္းျဖစ္ေျမာက္က၊ ထပ္ေလွာက္ရတနာ၊ မ်ားလွစြာသား၊ ဥစၥာေရႊေငြ၊ အေထြအျပား၊ အပါးပါးလွ်င္၊ ၀တ္စားတန္ဆာ၊ လိုရာရာတည့္၊ မၾကာမတင္၊ ေရာက္လာလွ်င္လည္း၊ လိုခ်င္သမႈ၊ မျပဳေလက်င္၊ ျပည္ႀကီးသွ်င္ရို႔၊ ဆင္ျခင္ေကာင္းစြ၊ စိတ္ေလာဘကို၊ တရာ့တစ္စင္း၊ ထီးေဆာင္းမင္းရို႕၊ လက္ရင္းက်ပ္သို၊ ကၽြန္ျပဳလိုလွ်င္၊ သို႔ကိုေသာ္လည္း၊ နည္းသည္ႏွင္ႏွင္၊ လိုအင္ျပည့္ခဲ၊ မေရာက္ရဲတည္း၊ ျပည္ထဲေသဌီနင္း၊ မင္းတို႔ဘုန္းအား၊ စည္ပင္ပြား၏၊ ျပည္သားျပည္သူ၊ ေျပာထူပစၥည္း၊ ျဖင္ပည္းခိုင္ၿဖီး၊ ၾကြယ္ေျမာက္ၿပီးမွ၊ သစ္သီးခိုင္ညြတ္၊ မွည့္မွဆြတ္ေသာ္၊ ေကာင္းျမတ္ရသာ၊ ခ်ိဳၿမိန္စြာသို႔၊ ပမာထို႔ဟန္၊ မွည့္ခါတန္မွ၊ တုတ္ခြန္ခိုင္ျပြတ္၊ ျပည္သီးဆြတ္လွ်က္၊ အလြတ္မစား၊ အခ်ိဳ႕ထား၍၊ အမ်ားေက်ြးမြီး၊ ၀ီငွပီးသည္၊ က်င္႔ေရးတတ္လိမ္ မာစီမင္း။

၄၂. ၀သုႏၵရာ၊ ေျမမ်က္ႏွာထက္၊ ၾကမၼာေရွးဘုန္း၊ ကုသိုလ္မႈန္း၍၊ ခါဆုန္းခ်ိန္သင့္၊ ၾကာႏွယ္ပြင့္သား၊ ရင္႔သည့္ေတဇ၊ တန္ခိုးပလွ်က္၊ လူမ်ားမ်က္စိ၊ နရာဓိတို႔၊ ဂတိေလးပါး၊ မမွားစီေအာင္၊ ေက်းဇူးေဆာင္၍၊ တည္ေထာင္ကမာၻ၊ အစစြာက၊ ဆရာမႏု၊ ရေသ့ျပဳသား၊ လူမႈဆံုးျဖတ္၊ ဓမၼသတ္ႏွင့္၊ ညီညြတ္မယြင္း၊ ေစာင့္စည္းျခင္းျဖင့္၊ ခပင္းမ်က္ႏွာ၊ မနာအားပါး၊ ႏွစ္ဘက္သား၏၊ အၾကားလယ္မွန္၊ ခ်ိန္ခြင္မွန္သို႔၊ ဧကန္က်က်၊ မီးျမန္းမွလွ်င္၊ မဆမေတြး၊ ရွံဳးႏိုင္ပီးေလာ့၊ အေရးအေလ်ာက္၊ မေဖာက္မွန္ကန္၊ က်မ္း၌မွန္သား၊ ရွိးလြန္နည္းမွီး၊ ထံုးတည္းမွတ္သား၊ ပိုင္းျခားအဟုတ္၊ စက္သြားခုတ္သို႔၊ စုတ္စုတ္ထြင္းထြင္း၊ ႀကံထိုးယြင္းလွ်က္၊ စင္းစင္းမတ္မတ္၊ တရားျဖတ္၍၊ လူနတ္ေကာင္းခ်ီး ျငာစီမင္း။

၄၃. မဟီပတိ၊ ယသႆိဟု၊ ၿမီႀကီးသခင္၊ စီးစိမ္ျပင္သား၊ ေက်ာ္ထင္လူ႔ျပည္၊ မင္းရို႕သည္လၽွင္၊ အရွည္မေမွ်ာ္၊ မေတာ္အလ်ား၊ မိေလ်ာ့ျငား၍၊ တရားမေစာင္႕၊ မေျဖာင္႕မစင္း၊ အက်င့္ယြင္းမူ၊ ထိုမင္းလက္ထက္၊ ၿမီႀကီးလွ်က္လည္း၊ သက္ခၾသဇာ၊ ေအာက္မွာရြိလီ၊ ထဲတဗြီ၌၊ နီဘိရကား၊ အျမားပည္းျဖင္၊ ေရာက္လွည့္က်င္သား၊ သစ္ပင္သစ္သီး၊ မႀကီးလံုးဖန္၊ အမြန္ရသာ၊ ၾသဇာမဟိ၊ ပ်က္သိသိတည့္၊ ထို႔ၿပီးအပ၊ ဆီး၀ါးစသည္၊ ေတဇမထက္၊ ပ်က္ခဲ့ရသာ၊ စားလီပါလည္း၊ အနာလြတ္ခဲ၊ ရြိရြိရဲလွ်က္၊ ေကာင္းၿမဲမေကာင္း၊ မိုးလီေႏွာင္း၍၊ ေသာင္းခေကာက္ပင္၊ ပ်ိဳးမရွင္တည့္၊ ျပည့္သွ်င္မင္းႀကီး၊ တရားမွီးမူ၊ ၿမီႀကီးရသာ၊ ၾသဇာတိုးတက္၊ ခ်ိဳျမက္သစ္သီး၊ အႀကီးလံုးလွ၊ ဆီး၀ါးစသည္၊ ေတဇထက္ျမတ္၊ ေရာဂါလြတ္၍၊ ရြာဆြတ္မိုးေကာင္း၊ ေကာက္မေသာင္းတည့္၊ မင္းေကာင္းရို႕ေၾကာင့္၊ တရားေစာင့္ေလာ့၊ သွ်စ္ေသာင္းၿမီျပင္၊ ရန္ကိုသင္လွ်က္၊ ျပည္တြင္းျပည္သူ၊ ခပ္သိမ္းလူလည္း၊ ဆုယူမ်ားစြာ၊ ခ်စ္ၾကင္နာ၍၊ ေမတၱာမိုးႀကီး ရြာစီမင္း။

၄၄. လကၤာဒီပ၊ သီဟဠဟု၊ နာမျပ႒ာန္း၊ သီဟိုကၽြန္း၌၊ ထြန္းသည္နီသြင္၊ တန္ခိုးထင္သား၊ သခၤေဗာဓိ၊ အမည္ဟိသည္၊ မင္းႀကီးက်င့္ထူ၊ ႏွလံုးမူေလာ့၊ နတ္လူခ်စ္ျပင္း၊ ထိုသည့္မင္းကား၊ ေစာင့္ျခင္းတရား၊ မယြင္းမွားတည့္၊ ခိုးသားပူေလာင္၊ ေခါင္သည့္မိုးႏွင့္၊ နတ္ဆိုးဘီလူး၊ စားၾကဴးလူသား၊ ေဘးသံုးပါးကို၊ သိၾကားနတ္တိုင္၊ ဓိဌာန္လိႈင္လွ်က္၊ အသက္စြန္႕စား၊ ျပည္သူမ်ားေၾကာင့္၊ ဖိတားေပ်ာက္စီ၊ မိုးေကာင္းစီ၏၊ က်င့္ေထြလိုလား၊ မတတ္ျငားလည္း၊ ရွိဳးရွာဆိုးေကာင္း၊ က်ိဳးတေၾကာင္းမွ်၊ မင္းေကာင္းမွန္ကဲ၊ က်င့္မူရဲေလာ့၊ ေဖာက္လဲတတ္စြာ၊ သက္ခႏၶာကား၊ အခါျမင့္ရွည္၊ မတည္ႏိုင္ဘဲ၊ ေက်းဇူးေသာ္မူ၊ သူေတာ္လူရို႔၊ ေျပာမူျမင့္ၾကာ၊ ခ်ီးမြမ္းရာလွ်င္၊ ကမၻာပတ္လံုး၊ ေျပာမဆံုးတည့္၊ ရွိထံုးနည္းခိုင္း၊ ေကာင္းက်င့္လိႈင္း၍၊ လူတိုင္းအံ့အဲ၊ ခ်ီးမြမ္းကဲလွ်က္၊ ျမင့္ၿမဲေက်းဇူး ၾကာစီမင္း။

၄၅. သဟႆေနတၱ၊ ၀ါသ၀ဟု၊ သကၠသူရိန္၊ ေဒ၀ိန္ထြဋ္ထား၊ မိုးသိၾကားလွ်က္၊ တရားေစာင့္သူ၊ က်င့္ေကာင္းလူကို၊ ေရးယူစိမ့္ငွာ၊ ေလးမ်က္ႏွာ၌၊ သြယ္ကာရန္ေထာက္၊ နတ္ေလးေယာက္ကို၊ ေစာင့္ေယွာက္ပိုင္းျခား၊ အၿမဲထားသို႔၊ တိုင္းကားအုပ္စိုး၊ ျပည္ထိပ္မိုးသား၊ တန္ခိုးထြန္းလင္း၊ လရို႕မင္းလည္း၊ က်င့္ျခင္းထို႔တူ၊ ဆင္းရဲသူအား၊ ကလူညွဥ္းဆဲ၊ မခဲစိမ့္ငွာ၊ ရပ္မ်က္ႏွာကို၊ ကြယ္ကာစိမ့္ေၾကာင္း၊ က်င့္ေကာင္းမြန္ရည္၊ သေဘာတည္လွ်က္၊ ႀကံစည္နက္နဲ၊ မႈထမ္းရဲသား၊ ခက္ခဲေရးရာ၊ လိမၼာတတ္ေျမာက္၊ မတ္ေလးေယာက္အား၊ လက္ေအာက္မွာထား၊ ေလးဖို႔ျခား၍၊ ေလးပါးဒိသာ၊ ရပ္ခန္း၀ါ၌၊ ျပည္ရြာကိစၥ၊ ဟူသမွ်ကို၊ ဆံုးမကံျမစ္၊ အျပစ္မေကာင္း၊ မပီးေကာင္းဟု၊ အေၾကာင္းစံုစမ္း၊ ရွိက်င့္တမ္းျဖင့္၊ မႈထမ္းအေစ၊ ကြပ္ညွပ္ေပ၏၊ လူ႔ဆြီသိၾကား၊ လူမင္းဖ်ားလည္း၊ ေလးပါးထပ္တူ၊ ပမာယူလွ်က္၊ ျပည္သူေစာင့္ေယွာက္၊ မတ္ေလးေယာက္ႏွင့္၊ အံ့ေလာက္လူ႔ေဘာင္၊ ျပည္ထဲေဆာင္၍၊ ျပည္ေထာင္ေၾကာက္ရႊံ႕ ယွားစီမင္း။

၄၆. အခါတပါး၊ ျမင္မိုရ္ဖ်ား၌၊ သိၾကားနီရာ၊ စစ္ျပဳလာသည့္၊ ျပင္းစြာမ်က္သွ်ိန္၊ အသူရိန္ကို၊ ေဒ၀ိန္သကၠ၊ စီးခ်င္းခ်၍၊ ေဒ၀သဘာ၊ သုဓမၼာဟု၊ သာသည္ဇရပ္၊ အမုိုးရပ္တြင္၊ ေနာင္ၾကပ္အၿမဲ၊ တုပ္၍ဆြဲေသာ္၊ ဆဲဆဲေရးေရး၊ ဟစ္ႀကီြးရြီရြတ္၊ တတြတ္တြတ္လွ်င္၊ အပတ္တကုတ္၊ ၾကမ္းၾကဳတ္စကား၊ နတ္မင္ဖ်ားကို၊ ႏြားႏွင့္အတူ၊ ငရဲသူဟု၊ ကလူကစာ၊ ဆဲေရးရွာလွ်က္၊ မ်က္မထြက္တည့္၊ ဆိုဘက္မထိုက္၊ ယင္းသူမိုက္ဟု၊ မွတ္ပိုက္ေသာေထြ၊ သီးခံစီ၏၊ ေရႊေျမရပ္စည္၊ ေရႊနန္တည္သား၊ နတ္ျပည္ေသဌီနင္း၊ သိၾကားမင္းလွ်င္၊ ခံျပင္းသီးညည္း၊ အမ်က္နည္း၍၊ ရီႀကီးေတာေတာင္၊ အာဏာေဆာင္သား၊ ဘုန္းေခါင္ထြန္းလင္း၊ လူရို႕မင္းလည္း၊ ပံုခင္းက်မ္းလာ၊ ထိုထိုစာ၌၊ ျပင္းစြာအမ်က္၊ မထြက္္ဖို႔ရာ၊ ခ်ဳပ္ျမစ္ထာေလာ့၊ ပညာတိုင္တည္း၊ မ်က္မာန္နည္းလွ်က္၊ လူလည္းေျပာေဟာ၊ နတ္ခ်စ္ေမာသည္၊ ေက်ာ္ေစာ ခ်ီးအံ့ ၾသစီမင္း။

၄၇. ေလာကသာရ၊ က်မ္းဂႏၱ၌၊ ဓမၼရသာ အလကၤာျဖင့္၊ တန္းဆာလည္းဆင္၊ ဖြဲ႕စီရင္လွ်က္၊ က်မ္းျမင္ေထြျပား၊ အပါးပါးတည့္၊ မ်ားသည့္ထံုးနည္း၊ မွတ္ဖြယ္ခ်ည္းလွ်င္၊ ပမည္းပမာ၊ နည္းနာနယ၊ ပြတ္ပံုခ်သို႔၊ ခတၱိယရာဇာ၊ ဇနာဓိပ၊ ဘူပါလဟု၊ ေလာကထြဋ္ဖ်ား၊ မင္းရို႕အားကို၊ စီးပြါးခ်မ္းသာ၊ ျဖစ္စိမ့္ငွာလွ်င္၊ ပညာေသတၱဳ၊ စည္းရံုးျပဳလွ်က္၊ က်င့္မူဆန္းျပား၊ ဆံုးမၾကားေသာ္၊ ေကာင္းဖ်ားမြန္ရည္၊ ေက်ာ္ေစာသည္ကား၊ အမည္ ရာဇာသာရတည္း။….။

တတိယပိုင္း

၄၈. မွတ္ကုန္ၾကေလာ့၊ ျဗဟၼာ့ႏြယ္ဖြါး၊ ပုဏၰားမ်ိဳးရို႕၊ ေကာင္းက်ိဳးစကား၊ ငါလွ်င္ၾကားစိမ့္၊ ရွိဖ်ားကမၻာ၊ မစစြာက၊ ျဗဟၼာပိုင္းျခား၊ ဆီးသမားႏွင့္၊ ဟူးရားၾကယ္ျမင္၊ ေကာင္းကင္နက္သတ္၊ တတ္သည္တခ်ိဳ႕၊ မီးပူေဇာ္သို႔၊ ေျဖာ္ေျဖာ္မန္းရြတ္၊ ၿဂိဳဟ္နတ္သႏၱီး၊ ဦးဆီးတျခား၊ ေခါင္အားေဗဒင္၊ သိျမင္ႏွံ႔စပ္၊ ေမးကပ္ကပ္ႏွင့္၊ ကလာပ္ဗ်ဦၨ၊ ဒ႑ီ၀ိဒဂ္၊ က်မ္းခက္ဗ်ာကရိုဏ္း၊ တတ္ႏိႈင္းတျခား၊ ဤေလးပါးကို၊ ပုဏၰားရို႕တြင္၊ မခ်ိဳ႕ေက်းဇူး၊ အထူးသမိုက္၊ မ်ိဳးလိုက္မွတ္သား၊ ဆီးသမားလည္း၊ ဆီး၀ါးတတ္ပြန္၊ ဆီးၾကန္ေလ့ကၽြမ္း၊ ဗိေႏၶာျပြမ္း၍၊ ဆီးက်မ္းထိုထို၊ သာရကိုလည္း၊ ဖြင့္ဆိုတတ္က်ယ္၊ ဓိပၸါယ္အနက္၊ လြန္ေလ့က်က္၍၊ ဓာတ္ပ်က္သည္းေျခ၊ သြီးလီေခ်ာက္ယွား၊ သလိပ္မ်ားက၊ စသည္ေရာဂါ၊ အနာအမ်ိဳး၊ ကိုးဆယ္ေျခာက္ပါး၊ အျပားျပားကို၊ မမွားလတ္ေအာင္၊ ကုသေဆာင္၍၊ အေခါင္သမား ေျမာက္ စီမင္း။

၄၉. ေဟာရဂႏၱ၊ ဂဏနဟု၊ သိပၸဟူးရာ၊ တတ္ေျမာက္ျမား၍၊ ပုဏၰားႏြယ္ရိုုး၊ သူေကာင္းမ်ိဳးရို႕၊ ႀကိဳးႀကိဳးကုတ္ကုတ္၊ အားအင္ထုတ္၍၊ အဟုတ္ေလ့လ၊ ပရိစၥျဖင့္၊ ၾကားကသိတတ္၊ ၿဗိဳ႕ဟဇ္ရာဇမတၱဏ္၊ ကိန္းဆန္ဓူ၀န္း၊ ၿဂိဳဟ္သြမ္းခြဲျခမ္း၊ ထုတ္ႏိုင္စြမ္းအား၊ စံုစမ္းစိရီ၊ မ်ားေထြမ႑ပ္၊ ထပ္ၾကပ္ေရာဂါ၊ ကာလစကၠိ၊ အၿမိတစုတ္၊ ေဖာ္ထုတ္ဓာတ္က်မ္း၊ ခြဲျခမ္းစိတ္ျဖာ၊ တတ္ေလ့လာ၍၊ သတၱဗီသ၊ လွည့္ထနကၡတ္၊ ျမင္းမိုရ္ပတ္သား၊ ဒြါဒသိရာသီ၊ ယာယီစက္ကြင္း၊ ၿဂိဳဟ္နင္းၿဂိဳဟ္ေျပာင္း၊ ေကာင္းမေကာင္းသား၊ က်ိဳးေၾကာင္းဆံုးျဖတ္၊ နီလၾကတ္ႏွင့္၊ ဥပဒ္အာယု၊ စဥ္းမႈတတ္ပြန္၊ စက္အဟန္သို႔၊ ထံုမြန္ကားကား၊ အသားအရိုး၊ စုျပည့္ၿဖိဳးလွ်က္၊ ဟိုးဟိုးထင္သိ၊ ပညာဟိဟု၊ ကိတၱိထင္ယွား၊ ျဗဟၼာသားရို႕၊ ဟူးရားတတ္ေခါင့္ ျမတ္စီမင္း။

၅၀. သာမယဇု၊ ဣသွ်ဳေဗဒင္၊ သံုးပံုျမင္၍၊ သန္႔စင္သီလ၊ အာစာရႏွင့္၊ မိဘမ်ိဳးစစ္၊ အျဖစ္ျမတ္လွ၊ ျဗဟၼာဏဟု၊ တြင္ထမည္သာ၊ အဂၤါသံုးမည္၊ ေက်းဇူးတည္လွ်က္၊ ရြာျပည္တိုင္းကား၊ လွည့္ပတ္သြား၍၊ ထံုးသားမွန္ကူ၊ ခရုျဖဴႏွင့္၊ ပစၥဴ၀တ္လဲ၊ လက္ဘယ္ပတ္ျခံဳ၊ စပယ္ရံုလွ်က္၊ တင္တံုစလြယ္၊ လိုင္္မွာမကင္း၊ ခရုသင္းႏွင့္၊ အလင္းရသည္၊ ပတ္စည္က်စ္က်စ္၊ ဦးရစ္ေပါင္းထုပ္၊ ေနာက္ဆံအုပ္ႏွင့္၊ တုန္လႈပ္မဲ့လွ်င္း၊ ပြဲလယ္က်င္း၍၊ စိုးမင္းရို႕ရွိ၊ မရြိမတ္မတ္၊ ေဖာင္ေဖာင္ရြတ္လွ်က္၊ စိမ္းလတ္ျမသြင္၊ နီစာပင္ႏွင့္၊ ရီစင္ကမ္းမွတ္၊ က်င့္ၿမဲ၀တ္ျဖင့္၊ သူျမတ္ရို႕ထံ၊ အလွဴခံေလာ့၊ ၿခိဳးၿခံသိပ္သည္း၊ ဥစၥာဆည္းလွ်က္၊ ပစၥည္းေပါယယ္၊ ျဗဟၼာၾကြယ္ဟု၊ လူ၀ယ္သတင္း ေပါက္စီမင္း။

၅၁. ဥဒည္းမဇၽၥင္၊ နီ၀င္အခါ၊ ညစာသံုးပါး၊ ပိုင္းျခားဂါထာ၊ ရြတ္ၿမဲရာသား၊ ကာယသိဒၶိ၊ တစိသညာ၊ တတ္ေလ့လာလွ်က္၊ ေၾကာင္းျခာခြဲစိတ္၊ ပရမီသြာ၊ မဟာပိႏၷဲ၊ ေဘးလႊဲရန္ဖီ၊ နတ္စႏၥီကို၊ ပန္းနီပန္းျဖဴ၊ ပူေဇာ္မူလွ်က္၊ ဆုယူဆုေတာင္း၊ က်င့္လမ္းေဟာင္းျဖင့္၊ ဦးေခါင္းသႏီၱး၊ နိတိုင္းဆီးလွ်က္၊ လုပ္ေကၽြးမႈေဆာင္၊ ထဲေခ်ာင္တိုက္တြင္း၊ ထမင္းခ်က္ျပဳတ္၊ ငရုတ္ခ်င္းဆား၊ ဆီပ်ားသကာ၊ ဃနာေထာပတ္၊ ႀကံပြတ္ႏွမ္းပဲ၊ စားစၿမဲျဖင့္၊ အမဲအသား၊ သားငါးေယွာင္ၾကဥ္၊ မယွဥ္သက္သတ္၊ အက်င့္ေလ့လ၊ စာရိတၱျဖင့္၊ မိဘစုတိ၊ ခုနစ္နိလွ်င္၊ စိလတ္ေသာခါ၊ မကြာေဆာက္တည္၊ ကိုယ္စားရည္၍၊ စိတ္ၾကည္ျမတ္လည္း၊ အလွဴပီးေလာ့၊ ရွိးကလြန္လီ၊ ရွိးရိုးပီသား၊ မ်ိဳးဆြီက်င့္ၿမဲ၊ မွတ္သံုးစြဲလွ်က္၊ ငရဲမသက္၊ ခႏၶာပ်က္လည္း၊ အထက္နတ္ျပည္ ေရာက္စီမင္း။

၅၂. ျဂဟသႏၱိ၊ က်မ္းႏွင့္ညွိ၍၊ ဗလိပူေဇာ္၊ ၿဂိဳဟ္ေခၚၿဂိဳဟ္ႏွင္၊ ေဗဒင္ရြတ္မန္း၊ မႏၱန္တန္းလွ်က္၊ က်ယ္၀န္းစကၠ၊ မ႑လဟု၊ တရာ႔သွ်စ္ကြင္း၊ အင္းလည္းစီရင္၊ ဆင္သားဗိတာန္၊ တံခြန္တေလွ်ာက္၊ ျဖဴနီေဆာက္၍၊ ပယ္ေဖ်ာက္ရန္ေဘး၊ ဆီးပီးဦးေခါင္း၊ ဘိသိက္ေလာင္း၍၊ သူေကာင္းသူျမတ္၊ လြတ္စီအနာ၊ ဥပါဒ္ခြာေလာ့၊ ျပည္ရြာစီးပြါး၊ မ်ားစိမ့္သမႈ၊ ဟုတ္တိုင္းျပဳ၍၊ စုဘိက်ီးခဲ၊ ရဲရဲမီးတြင္း၊ ေလာင္ျခင္းေျဖာက္ေျဖာက္၊ ေပါက္ေပါက္စသည္၊ ပန္းငါးမည္ျဖင့္၊ ေဆာက္တည္မပ်က္၊ ခုနစ္ရက္လွ်င္၊ ခန္႔တြက္ပိုင္းျခား၊ မႏၱရားတည့္၊ ဖန္မ်ားစုရြတ္၊ ပ်ားေထာပတ္ႏွင့္၊ မီးနတ္ေကာ္ေရာ္၊ ယစ္ပူေဇာ္၍၊ လူေဘာ္ရန္စစ္ ေပ်ာက္စီမင္း။

၅၃. ေက်းဇူးပညာ၊ မ်ားစြာဂုဏ္အင္၊ ေဗဒင္တတ္သိ၊ ပညာဟိဟု၊ က၀ိပုဏၰား၊ အမ်ားသမိုက္၊ သသၤကရိုက္ကို၊ ၿမိဳွၿမိွုဳက္လွ်ာဖ်ား၊ စက္ထားရဟတ္၊ ပိ႗ကတ္သြင္သြင္၊ ႏႈတ္သံလြင္ႏွင့္၊ ပီျပင္မႈတ္မန္း၊ ၿဖိဳးၿဖိဳးျဖန္းလွ်က္၊ က်င့္ခန္းေထြျပား၊ အပါးပါးတည့္၊ မွတ္သားက်ယ္၀န္း၊ ဆန္းအလကၤာ၊ နား၀င္စြာ၍၊ ဂါထာဖြဲ႔စြမ္း၊ ခ်ီးမြမ္းစေလာက္၊ မင္းပြဲေမွာက္တြင္၊ တေယာက္ပ႑ိတ္၊ ပုေရာဟိတ္ဟု၊ ဘိသိတ္ဆရာ၊ ေျမာက္ထိုက္စြာလွ်က္၊ ဒိသာပါမုခ္၊ မည္ထုတ္ေက်ာ္ေအာင္၊ ႀကိဳးပမ္းေဆာင္၍၊ တတ္ေခါင္လိမၼာ၊ ရွိအခါ၌၊ ဆရာေျမာက္လွ၊ ဇနကၠသို႔၊ လံု႔လႀကိဳးစား၊ မင္းရို႕အားကို၊ စီးပြားေရာက္ေအာင္၊ ေက်းဇူးေရာင္ျဖင့္၊ လူ႔ေဘာင္ထြန္းလင္း ေတာက္စီမင္း။

၅၄. လကၡာဏာၾကန္၊ တတ္ပြန္ေလ့လာ၊ မင္းျဖစ္ရာသား၊ လက္ညာဖ၀ါး၊ အျခားပ်က္ပ်က္၊ ၿခီထက္သက္၍၊ လက္သည္းမ်ားသြင္၊ အေရးျမင္မူ၊ မင္းလွ်င္စစ္စစ္၊ ျဖစ္အံအၿမဲ၊ မခ်ြတ္လြဲဟု၊ ၀မ္းထဲမရြံ၊ လုိင္ျဖတ္ခံေလာ့၊ ထံုးစံမွတ္သား၊ နည္းနာမ်ားကို၊ ပုဏၰားမ်ိဳးေကာင္း၊ လူအေပါင္းတြင္၊ ကဲေဆာင္းတတ္လြန္၊ ေကာ႑ဥ္းဟန္သို႔၊ ေဟာညြန္လကၡာဏာ၊ တတ္လွစြာ၍၊ ပညာကေ၀၊ ေျမာက္ေသာေထြျဖင့္၊ အေသအခ်ာ၊ နာနာသိပၸ၊ ကိစၥတတ္ပြန္၊ မႏၱန္ၿပီးစီး၊ နတ္ႀကီးသူရႆတီ၊ ပင့္ခ်ီေခၚခ်၊ စကားရလွ်က္၊ ေပါက္ျပေက်ာ္ထိတ္၊ ပုေရာဟိတ္ဟု၊ ဘိသိက္ဆရာ ေျမာက္စီမင္း။

၅၅. က်ယ္၀န္းစႀကၤ၀ဠာ၊ ကမာၻတည္စ၊ ေပၚဦးကလွ်င္၊ ျဗဟၼာႏြယ္ရိုး၊ ေက်ာ္ဟိုးဟိုးတည့္၊ ေကာင္းက်ိဳးစင္ၾကယ္၊ ေလးသြယ္ေဗဒင္၊ တတ္ၿပီးစင္သား၊ လူတြင္ထင္ယွား၊ ပုဏၰားမ်ားကို၊ က်င္စီလို၍၊ သံခ်ိဳလကၤာ၊ ထံုးပမာျဖင့္၊ နည္းနာေထြျပား၊ မွတ္စိမ့္ၾကားသည္၊ တျခားတတိယပိုင္းတည္း။…။

http://www.siberianbird.blogspot.com/ က ကူးယူေဖၚျပသည္။

မ်ိဳးရိုးအမီြထိန္းသိမ္းလီ

2010-01-06T08:35:00.000-08:00

♥မ်ိဳးရိုးအမြီထိန္းသိမ္းလီ

သမိုင္းျဖဴစင္.... လမ္းပီျပင္မွ
မ်ိဳးခ်စ္အျမင္....သစ္လီေမ..။
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သမိုင္းေမွာင္က်....ႏြမ္းမႈန္ခေက
လူမ်ိဳးအလွ….ပ်က္တတ္ေတ..။
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သမိုင္းေစာင္းေမွာက္....လမ္းေၾကာင္းေပ်ာက္ေက
လူမ်ိဳးဒုကၡ ေရာက္တတ္ေတ..။
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အမ်ိဳးသီလ….ႏွစ္ဌာနက္ု
ျပည့္ျပည့္၀၀....ေစာင့္သိခေရ
" ရကၡ" " ရကၡိဳင္ " ျမတ္မ႑ိဳင္မွာ
စိုင္ဆက္ထိန္းလွာ.... ရွီးမ်ားစြာက
ေက်ာက္စာပီစာ....သမိုင္းစာတိ
ကြဲျဖာၾကြီေပ်ာက္.... ေမွာင့္သင့္ေမွာက္ေက
လူးမ်ိဳးကြင္းဆက္.... ပ်က္လီေမ..။
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သမိုင္းတရပ္…. စာတခ်ပ္ကို
ျပား၀ပ္ျမီေအာက္.... ေဟာင္းႏြမ္းေပ်ာက္ေအာင္
ေမွာက္သူကေမွာက္.... ေဖ်ာက္သူေဖ်ာက္ႏွင့္..။
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သမိုင္းလမ္းေကာင္း....ရီစီးေၾကာင္းကို
လွည့္ေျပာင္းဆို ့ပိတ္…. ညြန္ဘိတ္ဖံုးေအာင္
လံုးပမ္းေဖာက္ျပား.... မတရားသျဖင့္
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အမ်ိဳးသားအမြီ.... မျခီစီေက့
ကိုယ္စီသတိ…. အစဥ္သိ၍
ဇာတိလျခမ္း…. မ်ိဳးစစ္ထြန္းဖို ့
၀ိုင္းဗ်ာ၀န္းဗ်ာ.... ထိန္းကတ္လီ..။
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ေလး၀တီခိုင္ေက်ာ္

http://www.waddymirror.blogspot.com/ က ကူးယူေဖၚျပသည္။

..

2009-09-14T10:18:00.000-07:00

ပန္းျမတ္သဇင္

2009-07-26T12:05:00.000-07:00

ပန္းျမတ္သဇင္ - ပန္းသဇင္
သဇင္ေပၚစ
ႏွင္း၀ီ၀ီေက - နတ္ေတာ္လ။

ျပိဳင္းေတာင္ေက်ာ္လမ္း
ခေမာင္းပင္မွာ - သဇင္ပန္း။

ဆြတ္ခီ ဆြတ္ခီ
မယ္ႏွမမွာ - သဇင္ပန္းကို
ပန္ရစီ။

ႏွမပန္သွ်င္
ပ်ိဳတိုင္းၾကိဳက္ေတ - ပန္းသဇင္
မယ္ၾကင္ေမာင္ေ၀ - တက္လို ့ဆြတ္ေက
ရခေရ။

ပန္းပြင့္သဇင္
မယ့္ေဂါင္းထက္မွာ - လွလို ့ပင္။

တ၀က္ကိုပန္ - တတန္ေနာင္က်ိဳး
ျမတ္စိေႏ ၱေလ - ေညာင္ရည္အိုးမွာ
အျပည့္ထိုး။

ေမာင္ႏွင့္ႏွမ
သဇင္ပန္းကို - အရင္းတည္
ေမာင္မယ္ႏွစ္၀
အခါတန္ - သၾကၤန္လမွာ
ေပါင္းရပါစီ။

ဆံေတာ္သွ်င္ေလ - ေစတီရင္းမွာ
ဆုေတာင္းလီေလ - ဆုေတာင္းလီ။ ။

(ရခိုင္ကၽြန္းရြာကဗ်ာ)

ကိုမ်ိဳးသာဂီ blog, AMP က ကူးယူထားပါေရ။ ။

ေဒး၀န္း ေအာင္ေက်ာ္ရႊီ၏ ကိုယ္တိြ ရခိုင္ျပည္သိမ္း တိုက္ပြဲမွတ္တမ္း

2009-06-18T08:59:00.000-07:00

How "MRAUK -U" was translated into Monkey's Egg

2009-06-18T08:50:00.000-07:00

ရခိုင္ဘာသာစကား လမ္းညႊန္ (ဦးစကၠိႏၵ)

2009-06-04T01:10:00.000-07:00

Guide to Arakan Language

The remote mysteries of Mrauk U

2009-06-04T00:20:00.000-07:00

The remote mysteries of Mrauk U

ရမ္းျဗဲကၽြန္းမွ ဇမ္းကဗ်ာမ်ား

2009-05-15T02:24:00.000-07:00

စိတ္ရူးေရ
....................

မိုးမင္းညိဳ
မရြာတခ်က္ ရြာတခ်က္
ေၾကာင္းပ်က္ေတေလ.......။

ေမာင္လူပ်ိဳ
မလာတရက္ လာတရက္
စိတ္ပ်က္ေတေလ ........။

ေခ်ာင္းျဖားရီ
ေခ်ာင္းရီတထူး
အညာခြင္ကို မ၀င္ဖူးေက
ျဖားရူးေရေလ........။

ညရီတလီ ညဥ့္ရီတထူး
ေမာင္လူပ်ိဳေလ
ေမ့အိမ္ေၾကာက္ကို မ၀င္ဖူးေက
စိတ္ရူးေရ ေလ..........။

ႏြားလိုက္ရ
....................

ႏြားပတုန္းရာလည္း တြဲတြဲ
မိႏွင့္ဖမွာ မြီးစပ္ေတ
ႏြားေခ် ေနာက္က
မလိုက္ခင္ မခင္ကဆဲ......။

ခေလာက္ကိုယူ ခ်စ္ေတသူ
ႏြားျဖဴေနာက္က
မကၠလာ နံမွာက်ိဳက္လို ့
ႏြားလိုက္လားေရ ........။

ပန္မရႊတ္
..............

တခြန္းေခၚ အိုေလရႊီနား
ႏွစ္ခြန္းေခၚ အိုေလရႊီနား
သံုးခြန္းတက္မွာ
ေမာင္ေခၚသံ ညံညံၾကားလို ့
ဘုရားထူးေရ .....။

ဘုရားဆို အလိုမဟိ
တရားဆို အလိုမဟိ
ပုေခ်ဆို အလိုဟိ
ေခၚမိစြာရာ .....။

လပေကာင္းယာ
ေတာက္လီယာ
လာရာလာလတ္
ျပန္မရႊတ္ပါ ေမာင္းေမာင္.....။

လိုက္၀ံ့ဖို ့လား

.......................

နပ်ိဳးရာေလ တပင္
ဂရင္ရာေလ တပုဒ္
ႏွင္းမၾကီြ လီမသုတ္
ဆင္ပုတ္ရပ္သို ့
ရည္မွတ္လာ ေျပာပါဖို ့လား
ခ်စ္ေတေမာင္ ေျပာစကားကို
ေမစိုင္းစားလား ......။

သေဘၤာမာလိန္ ရီကိုခ်ိန္
မာလိန္သေဘၤာ
ေသာင္းေသာင္းေက်ာ္ ေဖာင္ေတာ္ဦးက
လက္မွတ္စာ ေမာင္ထုတ္ပီးလို ့
မလိုက္၀ံ့ပါ .....။

အမိေခၚ ေနာင္ေတာ္ျမစ္ကို
မလိုက္၀ံ့ပါ ....။

အဖေခၚ ေနာင္ေတာ္ျမစ္ကို
မလိုက္၀ံ့ပါ ....။

ခ်စ္သူေခၚ
လူမတူ မယူျမစ္ကို
လိုက္၀ံ့ဖို ့လား....။

ေရာက္လာလိမ့္မည္
........................

ခေမာင္းသံုးၾကိမ္ ေက်းသံုးၾကိမ္
သံဂလိမ္သံုးဆင့္
ေတာမွာ၀ီေက ဆင္ေ၀ပြင့္
ငံုးပန္းပြင့္ယာ.........။

ယင္းပိုင္ခ်ိန္ခါ ထီးကိုကိုင္
ရြာစိုင္ေလွ်ာက္လို ့
ေရာက္ာလလိမ့္မည္...။

အဆံုးစြန္
.............

၀ဲလီပ်ံလီ သံဂလီ
ပ်ံလီငွက္ခါး
ကိုင္းေဟာင္းက်ိဳးလို ့
ကိုင္းသစ္ရွာ
ရပါဖို ့လား
ေမစိုင္းစား .....။

အဆံုးစြန္ေက
လက္ပံေယကိုင္းမွာ
နားဖို ့က်ေရ ......။

ဆုေတာင္းေရ
...................

ရမ္းျဗဲမာန္ေအာင္ ေက်ာက္ျဖဴသံတြဲ
စနဲရြာ ေခၚသည္ရပ္မွာ
ေစာမဲက်ီ တည္ေရဓါတ္ကို
ဖူးကတ္ခီေမ ....။

ဆီမီးတတိုင္ ႏွစ္ေယာက္ကိုင္
ပ်ိဳင္တေပါက္မွာ
ႏွစ္ေယာက္ထိုင္ တူျပိဳင္ညွိလို ့
ဆုေတာင္းကတ္ေမ .....။

ဆုမေကာင္း
ဖ်က္ေတာင္းကတ္ေမ..။

ပန္းမစင္
ဖ်က္တင္ကတ္ေမ...။

မေကာင္းၾကံ ဖီးရန္မႈကို
ျပဳခလို ့လား ...။

ပန္းမစင္
တင္ခလို ့လား....။

ဆုမေကာင္း
ေတာင္းခလို ့လား ....။

ငွက္ေမာင္ႏွံ ပ်ံကာ၀ဲ
က်ိန္ဆဲလို ့လား ....။

သူ ့ရည္းစား
ခြဲခို ့လား ....။

သနားဖြယ္ ပုေခ်ေမႏွင့္
ေဒဘေ၀ ေဒဘ၀မွာ
မေပါင္းရေက
ေနာင္ဘေ၀ ေနာင္ဘ၀မွာ
ေပါင္းရလီေယာင္
ျမတ္စိေႏၱ ထံေတာ္ပါးမွာ
ဆုေတာင္းေရ .......။

မီးစာကုန္ ဆီခမ္း

2009-05-09T09:26:00.000-07:00

တရိြရြိ ....တစိစိေခ်နန္႔
မသိလိုက္ ...မသိဖာသာ
တဖက္မွာ ...ဗ်ဴဟာခ်လို႔
မီးစာကုန္ ....ဆီပါခမ္းခါမွ
အားမတန္ ......မာန္ကိုခ်ခန္႔.....
ေနာက္ေနာင္ခါ ...........ရခိုင္ဆိုစြာ
ေတာၾကိဳေဂ်ာင္.....ဟိုေတာင္ၾကားက
မထင္မယွားေရ ...လူမ်ိဳးအျဖစ္ရာ
ေမွးမွိန္ေအာင္ ...သုတ္သင္ရေမလို႔
စားမကုန္ေရ ...ရီျမီထဲကလူတိ
ပိတ္ပင္ေရ ....စည္းမ်ဥ္းပေဒသတ္ဗ်ယ္
ငတ္ခ်ခ်င္ ...အျပင္ကိုဂ်ီးထြက္က်ေက
ရြာထဲမွာ.... မမ နန္႔ ဗ် ရာက်န္။

နတ္ေမာင္

“ရကၡကႏၱာရ”

2009-05-03T03:34:00.000-07:00

ရီေခ်တစက္
မတြိရဗ်ာယ္လို ့
ထင္ရေလာက္ေတ
ေဒကႏၱာရ
ႏွစ္ႏွစ္ရာေက်ာ္ပူေလာင္ျခင္းတိနန္ ့
ေျခာက္သြိ ့အက္ကြဲ
မြန္းက်ပ္ပိတ္ဆို ့ပနာ
မရဏသံဇိုင္ေတးျခင္းတိဆိုလို ့
ပဋိပကၡသဲမုန္တုိင္းတိတိုက္ပနာ
အခ်င္းခ်င္းခြပ္လို ့အေတာင္ကြ်တ္နိန္ကတ္ေတ
ေဒမ်က္ႏွာစာထက္မွာ
သကၠရာဇ္ျခီရာတိ
သြီးမတိတ္သိမ့္ ….၊

ေမွ်ာ္လင့္ခ်က္အနာဂတ္
စကားလုံးတိေပ်ာက္နိန္ေရ
ေဒအဘိဓါန္က
နတ္ဆိုးတေကာင္ပိုင္
အာရုံမွားတိခ်ေကြ်း
အဓိပၸါယ္လြဲနိန္ေရလမ္းတိ
ခင္းပီးထားယင့္…၊

ဇာပင္ျဖစ္ျဖစ္
ပြင့္ဖူးသစ္ရုိ ့ရာစု
ေခတ္သစ္ကိုထုဆစ္ဖို ့
ႏွလုံးသားနန္ ့ေျပာေရစကား
ႏွလုံးသားနန္ ့နားေထာင္
၀ံလက္ေတာင္ပံတိခတ္ပနာ
အာဂါျပင္မွာ ဇကုန္ပ်ံကတ္ေမ…။ ။ ။

ခိုင္ေအာင္ေအာင္
၂၊၅၊၂၀၀၉

http://arakanfuture.blogspot.com/ က ကူးယူေဖၚျပပါေရ

The story of Mahamuni

2009-04-19T06:46:00.000-07:00

ရခိုင္သမိုင္းသစ္ ဂ်ာနယ္

2009-04-16T04:05:00.000-07:00

thangran song ( won ko Khaing)

2009-04-11T03:18:00.000-07:00

မိုးရိပ္ဖံုးေရ လျပည့္ညည့္

2009-04-02T03:03:00.000-07:00

ကၽြန္းတြင္ ဇမၺဴ လူတြင္ရခိုင္

2009-03-01T10:07:00.000-08:00

ယိုင္းယင္စီး "သာျခင္း"

2009-02-21T11:02:00.000-08:00

ယိုင္လည္းယိုင္းယင္ … ယိုင္းေပါက္ပင္ …
(ေက) ေပါက္ပင္လည္းကိုင္း … ယိုင္းလည္းယိုင္း ။
(Rap ……. အဘုေခ် .. မ်က္စိေခ်ကို ႏွိပ္လိုက္နန္း .. ဘာၾကီး ..)

လက္စြပ္ေခ်တေခြ … ေပ်ာက္လားခေရ …
(ေက) ရွာေရမရ …………
အသားညိုဳ .. (ေက) လူပ်ိဳလက္ … မွာ .. ဘယ္ဖက္က ။

သမီးရေအာင္ … သားရေအာင္ေလ …
မထားလီေက့ …………. အခ်ိန္တန္
(ေက) သၾကၤန္လ … မွာ .. ပို႔ခလိုက္ ။

ႏွပ်ိဳးသီးက်ာက်ာ … မွဲ႔ (ည့္) လတ္ယာ …
(ေက) ၾကာဇံလင္ရွာ …. ဆိုလတ္ယာ ….
ထီး နန္႔ ထမ္းစင္ ……. အယင္ယူခ …………
စံရေဖြ .. (ေက) မေဂ်းပင္ … အိမ္ေနာက္က.. ။

အိမ္ေနာက္ကအိမ္ရွင္ … မေဂ်းပင္ …
(ေက) ပင္လီပင္တြတ္ …………
ရခိုင္ျပည္မွာ … လီသသြတ္ …….နန္႔ ..
ဇရပ္ေကသာယာ …. က်ီးျဖဴရြာ ….
(ေက) ဇာမွာလည္း..။

အဘာၾကီး၀ါ၀ါ ….. ေတာင္ဂ်ိဳင္ၾကားမွာ …
ျမင္းေခ် စီးလို႔လာ ….။
ႏွမေခ် သႏ ၱာ ….. ရႊီဖလားမွာ..
ကြမ္း ... ယာလို႔ပါ …
ငါ့ကိုတယာ … မပီးလား …
ကံဆိုးမသမီး …. ဒိန္း ဒိန္း ။ .. ။
(Rap....... အမိေသ ...... အစိတ္ေကအိပ္လားခယာ..ေထာ....)

ကန္ျဂီးစိုရ္ (ဘူမိနက္သန္ျမီ) ဘေလာ့က ကူးယူရြီးသားပါေရ။

မ်ည္းမတ္တိ

2009-02-20T00:14:00.000-08:00

လူဆိုစြာ
ကမၻာကိုမွီ (23 1/2)ဒီဂရီ
ေအာက္ျခီကပင္ တိမ္းေစာင္းနီေရလတ္.....။

ျဖတ္လမ္းလိုက္လူလိုက္
နဖူးသိုက္တူးလူက တူးဗနာ
မာနကို ခ၀ါခ်
ခံယူခ်က္ကို ဆီးဆိုး
မိုးခါးရီ ေသာက္လူကေသာက္....။

တေယာက္
ႏွစ္ေယာက္
သံုးေယာက္
ရြီမေလာက္....။

ေက်ာက္ေဆာင္ကို အားက်
ေဂ်ာင္ထဲက ဖြဲရာက်ေခ် တရြီ
ဆၾကြီဒႆနတိနန္ ့ လံဆြဲယင္း
လိုင္ေၾကာတင္းေရလို ့ ဆိုခ်င္ဆို
မပိုမဟိေရ သိကၡာတခ်ပ္ကို
အလိုဟိေရ ရိကၡာတနပ္မ်ိဳဖို ့
အခ်ိဳသကာရွာ ပုရစ္မ်က္ႏွာ တပိုင္းနန္ ့
သမိုင္းဘင္းဂ်ီ မခံႏႈိင္.....။

လႈိင္း..ဂစၦပ
(ရြက္နုျပန္ခ်ိန္ ကဗ်ာမ်ား စာအုပ္)

ရခိုင့္ေအာင္လံေတာ္ အလကၤာ

2009-02-07T03:35:00.000-08:00

ၾကားပိမ့္ဗိုလ္လူ အံ့ခ်ီးမူေသာ၊ ေသာင္းယူဇနာ ေျမမ်က္ႏွာထက္၊ ေျမာက္မွာ အာသံ ေတာင္ယံသီဟိုဠ္၊ ေနာက္ကို လွည့္လည္ မရြံ ့ျပည္ႏွင့္ ၊ ဦးတည္ပိုင္းျခင္း ပင္လယ္ဆင္းေအာင္၊
စိုးမင္းတကာ ညီညြတ္ရာသည္၊ သာယာရြက္ေဆာင္ ရန္တိုင္းေအာင္သည္၊ ဘုန္းခိုးဓမၼရာဇာ
ဥကၠဟုခ္မ်ိဳး၊ သမုတ္ရိုးလ်င္၊ စိုးစံေသာအခါ၊ ရကၡပူရ ဓညျမိဳ ့ၾကီး တိုင္းလံုးထီးကို၊ ျပီးစီးခန္ ့ရွည္၊ ေရႊနန္းတည္၍ ေအာင္စည္ညံညံ၊ ဘိသိတ္စံက ၊ ေက်ာ္ဘိသတင္း ေသာင္းလံုးခ်င္းမွ်၊ ျမင္းလည္းသိႏၵ၀ န၀ဆဒၵန္၊ ရန္မာန္ပယ္လွဲ ့ ျခေသၤ့ေကသရီ၊ ေအာင္နီေအာင္ျဖဴ ပဥၥရူကို၊ ၾကည္ျဖဴႏွစ္သက္ နတ္တို ့ဆက္က၊ ဘုန္းၾကက္သေရ မိုးႏွယ္စြယ္၏၊ ေရႊေငြရတနာ ပေဒသာသီး၊ ျပီးစီးေစတက္ နတ္သမတ၊ ေစာင့္သီလႏွင့့္ဣႏၵ၀ဇီရာ၊ အလကၤာရ အစျဖန္ ့ခ်ီ၊ သီရိဓဇ ခ်ိဳျမသာယာ၊ ေနာက္ပိတ္မွာလည္း၊ မဟ ာသုဓမၼ၊ ရာဇာဂုရု၊ ရံုးကာစု၍၊ မ်က္ရႈခတ္ႏွိပ္၊ ေရႊတံဆိပ္ကို၊ စိတ္စိတ္ၾကည္နူး၊ ေရႊနန္းဦး၌၊ ရႊင္ျမဴးၾကည္ျဖဴ၊ လွဴေတာ္မူက၊ နတ္လူတကာ ေကာင္းခ်ီးျငာလ်က္၊ သာယာျမတ္နိုး၊ ေမတၱာျဖိဳး၍၊ ေနမ်ိဳးမွန္စြာ ေျမၾသဇာလည္း၊ ရာသာျပည့္နက္ ေအာင္ဆုခတ္၍၊ ရာသက္တည္ေၾကာင္း၊ မ်ိဳးသစ္ေလာင္းသည္၊ ရိုက္ေသွ်ာင္းပဲ့တင္ျငိမ့္ျငိမ့္တည္း။

ရခိုင္ျပည္ ေရွးေခတ္ ေအာင္လံေတာ္ပံု

ရခိုင့္သမိုင္းသစ္ စာအုပ္က ကူးယူရြီးထားပါေရ။

king Suriya keyboard layout

2009-02-02T00:27:00.000-08:00

အိုး ... ရကၡိတရို ့ (စစ္ေတြ ညိဳသန္ ့)

2008-12-28T10:56:00.000-08:00

ဘ၀င္မသန္ ့

မပ်င္၀ံ့လို ့

သဇင္ရနံ ့ မရွဴထိုက္ေတလူတိ ….။

အမ်ိဳးစေပ်ာက္

ပိုးက်ေဖာက္လို ့

ရိုးမေအာက္ကို မျပန္၀ံ့ေရလူတိ ….။

ရင္၀ယ္အမွား

ခင္တြယ္ထားလို ့

ပင္လယ္နားကို မလာ၀ံ့ေရလူတိ ….။

အမ်ိဳးသီလ ႏွစ္ဌာနကို

ျပည့္၀မ႑ိဳင္ ေစာင့္ထိန္းႏုိင္မွ

ရခိုင္ပီဟု ၀ိျဂိဳဟ္ျပဳခ

စာစုသခင္ သမိုင္းတြင္ေရ

အသွ်င္နာဂိႏၵ ဆိုဆံုးမဖို ့

ဗ်ာလႅစီးလို ့ လာဗ်ယ္ေထာ …..။

စစ္ေတြ ညိဳသန္ ့

Nu Hla Thandar's page AMP က ကူးယူ ရြီးထားပါေရ။

ခါႏြီဦး (ခ်ိဳခ်ိဳ)

2008-12-17T09:34:00.000-08:00

ရိုးမျမီကလွပါေရ (ဦးေမာင္သိန္း ေစာႏွင္းႏြယ္)

2008-12-02T12:01:00.000-08:00

ေ၀သာလီ

သဇင္ဂုဏ္ ( ဘုန္းလွ်ံ ၊ မိုးမိုးရွိန္)

ပိေတာက္ပြင့္မို း (၀င္းကိုခိုင္)

လျပာသို နန္ ့ ဒီဇင္ဘာ

2008-11-25T13:45:00.000-08:00

အီးျမေရ လျပာသို မအီးႏွိဳင္ (ငါ့) ရင္ထဲမွာ
ဘီစီ(၃၀၀၀)ေက်ာ္အတိတ္က
ကိုယ့္ျပည္ ကိုယ့္မင္း ကိုယ့္ထီးနန္းကို
လြမ္းတမ္းတယင္း ရင္ကြဲပက္လက္
ငါျဖိဳက္လတ္ေတ ဒီဇင္ဘာ ့ ့ ့ ့ ့ ့ ့ ့။

ႏွစ္ေပါင္း ၅၀၀၀ ေက်ာ္အၾကာ
ခိုင္မာခေရ မင္းအဆက္ဆက္
ဥၾသရီေသာက္ မုနိေပ်ာက္လို ့
ထီးေပ်ာက္ နန္းေပ်ာက္ စည္ၾကီးေပါက္ေတ
ဒီဇင္ဘာ (၃၁) ရက္ ဆုတ္လျပာသို ့ ့ ့ ့ ့ ့။

မမိႏႈိင္ ယင္းအခ်ိန္အတိတ္က
မီးတိုက္ခံရ ထီးနန္းလွနန္ ့
ေစတီပုထိုး ဘုရားေက်ာင္းကန္
က်မ္းဂန္စာပီ ဗုဒၶအမြီနန္ ့
မ်ားပညာသွ်င္ အရွင္လတ္လတ္
သီေအာင္သတ္ျဖတ္ ေမာင္၀ိုင္းလက္မွာ
ကူပါကယ္ပါ လက္ေထာင္ကာနန္ ့
ျမစ္နားကမ္းစပ္ ရီျမွဳပ္သတ္ေတ ့ ့ ့ ့ ့ ့ ့။

လူသားဒိုင္းကာ လိုသံုးရာဟု
ဗမာ ယိုးဒယား စစ္ပြဲၾကားမွာ
(၆၀၀၀)ေက်ာ္ရခိုင္ တျဖိဳင္ျဖိဳင္လဲ
ရက္ရက္စက္စက္ သူရို ့သတ္ေတ ့ ့ ့ ့ ့ ့။

တင္း၀ါးပန္းခိုင္ တျမိဳင္ျမိဳင္
ရခိုင္အေလာင္း စုစုေပါင္းရို ့
အစုလိုက္အပံုလိုက္ မသာျဖိဳက္ခ
ထိုဘ၀ကို ဇာပိုင္မိထားႏႈိင္ဖို ့လဲ ့ ့ ့ ့ ့ ့ ့ ့။

အဂုခ်ိန္ခါ မ်ားဗမာက
လက္ရွိရခိုင္ ျပည္မ႑ိဳင္ကို
ဘယ္ကႏႈတ္ယူ ညာဖဲ့ယူနဲ ့
ျမီေပၚ ျမီေအာက္ ျခံဳေပါက္မက်န္
ရီနံ ဓါတ္ငြိ ့ လိုပိုင္ဖဲ့ဗနာ
သယံဇာတ အ၀၀နန္ ့
ဆန္ရီစပါး သားငါးမက်န္
ေခါင္းပံုျဖတ္ထုတ္ ခဲ၀ါယုတ္ပိုင္
မဟာဗမာျဖိဳက္ဖို ့ရာဟု
လူမ်ိဳးသြီးေႏွာ အေရာင္ဆိုးေရ ့ ့ ့ ့ ့ ့။

တိုင္းျခားေရာက္လာ မ်ိဳးေလးျဖာနန္ ့့
ျပည္တြင္းရခိုင္ စည္းလံုႏႈိင္မွ
လျခမ္းရခိုင္ မယုိင္လဲေအာင္
ေတာ္လွန္တိုက္ထုတ္ အမ်ိဳးယုတ္ကို
ႏိုင္မည္မုခ် ေအာင္ပြဲလွနန္ ့
ကမၻာ အလယ္ ၀င္ဆန္ ့ေမ ့ ့ ့ ့ ့ ့။

ေမာင္ဂစၦပ

photos3

2008-11-09T11:09:00.000-08:00

photos 2

2008-11-02T12:04:00.001-08:00

ရခိုင္ေတးျခင္းတိ

2008-10-24T15:01:00.000-07:00

ဖြင့္ေျပာဖို ့ဗ်ာယ္ မနာေဂ့

2008-10-21T23:56:00.000-07:00

အို ့ ့ ့ ့ သူရဲေကာင္း

အသင္သည္ကား ေခါင္းမွေသြးစက္

နီရဲျဖာက် ျမီသို ့ခလည္း

အမ်ိဳးသစၥာ ဂုဏ္သိကၡာျဖင့္

ရန္သူေရွ ့ေမွာက္ ဒူးမေထာက္ဘဲ

သူရဲေကာင္းလႇ်င္ ပီသစြာပင္

အဖတိုင္းျပည္ ရကၡိဳင္ေျမတြက္

အသက္စြန္ ့လွဴ ေပးသြားသည္

သင္ေသသြားလည္း သင္၏ပ်ံ ့သင္း

ဂုဏ္သတင္းကား ရကၡိဳင္ေျမျပင္

ျပည္တခြင္၀ယ္ သင္းပ်ံ ့ေနဆဲ သင္းေနဆဲ

အို ့ ့ ့ ့ သူရဲေကာင္း

ေရွ ့ေဆာင္ႏြားလား ေျဖာင့္ေျဖာင့္သြားက

ႏြားလားစင္စစ္ ေနာက္ကလိုက္သို ့

သင္၏ေနာက္လိုက္ တပည့္ခ်စ္တို ့

သင္၏မိန္ ့ၾကား ဆိုစကားနဲ ့

ေျပာဆိုဆံုးမ ၾသ၀ါဒကို ေျမ၀ယ္မက်

ဦဝထိပ္မွာတင္ နားမွာဆင္လွ်က္

အမ်ိဳးသစၥာ ဂုဏ္သိကၡာျဖင့္

ရန္သူေရွ ့ေမွာက္ ဒူးမေထာက္ဘဲ

အဖတိုင္းျပည္ ရကၡိဳင္ေျမတြက္

အသက္စြန္ ့လွဴ ေပးသြားသည္

အုိ ့ ့ ့ ့ သူရဲေကာင္း

သင္၏ေနာက္လိုက္ တပည့္မိုက္ကား

ရန္သူေရွ ့ေမွာက္ လက္ေျမွာက္ဒူးေထာက္

သစၥာေဖါက္ကာ အမ်ိဳးသစၥာ

ေဖါက္သည္သာတည္း

သင္၏မွာၾကား ဆိုစကားနဲ ့

ေျပာဆိုဆံုးမ ၾသ၀ါဒစကား

ရွိပါျငားလည္း မၾကားမနာ

မလိုက္နာဘဲ သင့္လမ္းမွခြါ

ေသြဖယ္ကာပင္ အမ်ိဳးသစၥာ

ဂုဏ္သိကၥာႏွင့္ သင္၏မ်က္ႏွာ

မေထာက္ညွာဘဲ ရန္သူေရွ ့ေမွာက္

လက္ေျမွာက္ဒူးေထာက္ သစၥာေဖါက္ကာ

အခုခါ၀ယ္ ေနရာေကာင္းယူ

ၾကီးစိုးမင္းမူ ေနၾကပံုကို

မ်က္ျမင္ဒိဌ ေတြ ့ျမင္ရက

ရင္ထုမနာ ျဖစ္မိသည္။

အို ့ ့ ့ ့ သူရဲေကာင္း

ဒိဌဓမၼ ျဖစ္ပ်က္ေနၾက

အေၾကာင္းအရာ အျဖာျဖာကို

(သင္)ေရာက္ေလရာ ေနရာဌါန

ဘံုဘ၀မွ(သင္)ၾကားႏွိဳင္ေစ

ျမင္ပါေစဟု ေစတနာရင္းခံ

ဆႏၵမြန္ျဖင့္ ့ ့ ့ ့ ့ ့ ့

အို ့ ့့ ့ ့ သူရဲေကာင္း

သင့္အားကၽြႏ္ုပ္တိုင္တည္အပ္ပါသည္။

ခိုင္မင္းေမာင္

ေရာက္ဖူးခေရ ေျမာက္ဦးျမီ (ေတးျခင္း)

2008-10-18T08:01:00.000-07:00

ရုပ္အိုၾကြင္း (ညီမင္းခိုင္)

2008-10-18T06:10:00.000-07:00

လွသိန္း(ဓည၀တီ) ေတးျခင္း

2008-10-12T02:59:00.000-07:00

ကန္ေတာ့ပါ၏အာစရိ

ခိုင္ေက်ာ္လင္း ေတးျခင္းတိ

2008-09-28T01:18:00.000-07:00

ရခိုင္ဂီတ အဟာရ

2008-09-25T07:41:00.000-07:00

အားပီးကတ္ပါ

2008-09-24T11:59:00.000-07:00

ေလးရပ္သား (ခိုင္ေက်ာ္လင္း)

ရခိုင္ေတးျခင္းတိ ၁

2008-07-06T06:26:00.000-07:00

Wow!

ရခိုင္ေတးျခင္း (၀င္းကိုခိုင္)

2008-07-06T06:22:00.000-07:00

ရိုးမရံစီ

2008-07-06T06:16:00.000-07:00

photos

2008-05-16T02:53:00.000-07:00

Rakhaing Traditional dance (photos)

2008-05-16T02:42:00.000-07:00

Rakhaing traditional dance (photos)

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2008-02-17T01:39:00.000-08:00

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2008-02-16T08:50:00.000-08:00

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စဥ္းစားစရာ

2008-02-16T08:23:00.000-08:00

မင္းတို ့ဒီလိုလုပ္ခဲ ့လို ့
ငါတို ့ဒီလိုခံေနၾကရတယ္။

မင္းတို ့ဒီလိုလုပ္ေနလို ့
ငါတို ့ဒီလိုခံေနၾကရတယ္။

မင္းတို ့ဒီလိုဆက္လုပ္ရင္
ငါတို ့ .............။

ခိုင္ေနာင္ဂ်ိန္

ဘ၀ နန္ ့ ဆႏၵ

2008-02-16T08:17:00.000-08:00

ညိဳမႈိင္းမိႈင္း ေတာအုပ္နန္ ့
စိမ္းလန္းေရ လယ္ကြင္းျပင္
ငါခင္မင္ျမတ္နိုးေရ .....။

ျပာလဲ့လဲ့ ပင္လယ္ျပင္
ညင္သာေရလီညင္းတိနန္ ့
တဖြဲဖြဲ မိုးစက္တိၾကားမွာလည္း
ငါပီတိျဖစ္ဖူးခေရ ......။

ေယဒါလဲ ့
စိမ္းပုတ္ပုတ္ ယူနီေဖါင္းနန္ ့
မဲၾကဳတ္ၾကဳတ္ မုဆိတ္တိကို
ငါ ႏွလံုးပ်ိဳ ့ေရ ........။

ေအာက္ျပည္ ေအာက္ရြာက
စိမ့္၀င္လာေရ
ေအာက္သိုးသိုးလီသံတိကို
ၾကားရစြာ ငါ့နားေညာင္းေရ .......။

ေယဇူးနန္ ့
အျဖဴေရာင္ ျပည္ဖံုးကား
ႏွင္းခဲတိၾကားမွာ
ငါသြီးခဲေကေလ့ ခဲလီပတ္စီဖိ ....။

ခိုင္ေနာင္ဂ်ိန္

miss u 2night

2008-01-27T02:29:00.000-08:00

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လားရာလမ္းက ေနာက္တ၀က္သို ့

2008-01-19T11:00:00.000-08:00

တစ္နန္ ့တစ္ေပါင္း

ႏွစ္ျဖစ္စြာ

သခ်ၤာေဗဒဆို၀ါ .......။

ယေက .....

ငါလားခေရ လမ္းက အရွိဖက္ယယြန္း

အဂုေရာက္နီစြာ

အေနာက္ေျမာက္စဇြန္း

အူး ..... အဘာေလေ၀ ......။

ဘ၀နန္ ့သခ်ၤာ

ဇာခါ

ထပ္တူက်လီဖို ့ေရာင္ ....။

ခိုင္ေနာင္ဂ်ိန္ (၀၁၊၀၅ နာရီ ၄၊၁၊၂၀၀၈)

Burma’s Lose Kingdom

2008-01-19T09:10:00.000-08:00

Burma’s Lose Kingdom

By Pamela Gutman

Arakan

Along the Bay of Bengal, in the northwest corner of Burma lie the splendid capital cities of ancient Arakan: Dhanyawadi, Vesali, the cities of the Lemro valley and Mrauk - U (Myohaung). Mentioned in Ptolemy's Geography in the 2nd century AD, Arakan was from earliest times a cosmopolitan state with a vigorous and complex culture. Indian Brahmins conducted the royal ceremonial, Buddhist monks spread their teaching, traders came by land and sea , and artists and architects used Indian and Southeast Asian models for inspiration. Through Buddhism, Arakan came into contact with other remote countries, including Sri Lanka, Nepal, Tibet and China. To the east were the many early empires of Southeast Asia: Mon, Khmer, Burman and Siamese , and to the west Hindu empires were replaced by the Islamic courts of Bengal and Delhi. This is the first comprehensive study on the history and civilization of Arakan. It serves as an excellent introduction to its hitherto almost unknown schools of sculpture and architecture.

VESALI

While current research does not tell us when the centre of power moved from Dhanyawadi to Vesali, from the style of its sculpture and the palaeography of its inscriptions we can assume that this happened around the beginning of the sixth century.

The Mahamuni shrine at Dhanyawadi retained its importance as a sacred centre, as remains of later structures in the vicinity bear out. Vesali was even more open to Indian influence than was Dhanyawadi. More easily reached by the overland route, it also took advantage of increased trade in the Bay of Bengal.

THE CANDRA KINGS

From this time we can reconstruct the history from contemporary written accounts. The inscription of Anandacanda , written around 728 AD , gives the names and reign periods of eighteen of his predecessors , the earlier of whom may have ruled at Dhanyawadi. The kings of earliest Candra dynasty, who ruled from end of the 4th to the beginning of the 7th centuries , are said to have descended from the lineage of the Hindu god Siva , and the lineage is mentioned again in connection with Anandacandra's grandfather , Vajrasakti. The inscription describes Anandacanda's grandfather, Vajrasakti. The inscription describes Anandacandra and his immediate predecessors as Mahayana Buddhists. This would not, however, have predecessors as Mahayana Buddhists. This would not, however, have precluded the existence of a Hindu royal cult as was the case in both India and elsewhere in Southeast Asia. The Candra kings certainly did not neglect to support the local Brahmins, the bearers of Sanskritic culture at court. Anandacandra says that he built four temples, named after himself, for the Brahmins, the bearers of Sanskritic culture at court. Anandacandra says that he built four temples, named after himself, for the Brahmins as well as providing them with land, servants and musicians.

The nature of Arakanese kingship suring this period is illustrated by an interesting plaque discovered together with a round-based bronze vessel during the construction of the road from Vesali to Mrauk-U. The plaque aptly illustrates the symbolism behind the abbiaeka or lustration ceremonies performed to consecrate Buddhist kings, but wjhich is derived from Hinduritual and practice. The significance behind the symbolism is that the king during the royal consecration became a future Buddha as well as a dhamaraja, a ruler of the law, responsible for the spiritual and temporal well being of his people. The country was seen as a microcosm of the universe whose maintenance was ensured by the dharma of Indra, the king of the gods who as one of the chief assistants to the Buddha controlled the cycle of the seasons and consequently the fertility and prosperity of the county.

The square plaque has a round indentation in the centre into which the bronze vessel fits. Around the indentation is a ring of lotus petals, then twelve auspicious signs connected with the function of kingship. These are a srivatsa diagram representing the goddess of fertility and prosperity Sri, who was believed to enter the king during the royal consecration; the winged conch, double fish and vase of abundance , symbols also associated with prosperity; an umbrella , piar of fly whisks , elephant goad and a bull , the auspicious royal symbols; a pillar, which also symbolised link between the heaven and earth , and a peacock and a deer representing the sun and the moon , the heavenly bodies which rule the universe. The corners of the plaque are filled with lotus buds and leaves, the whole being surrounded by a beaded border.

The plaque is a representation of the universe, within which is a mandala which establishes the king as its centre in his country, seen as the microcosm of the universe. In Hindu - Buddhist cosmology, the circular universe was thought to be surrounded by an enormous rock wall, represented on the plaque by the square border. This encloses an ocean with four island continents, here represented by the lotuses set in each of the four corners. In the centre of the universe is Mount Meru, the axis of the world and the abode of Indra with whom the king was identified, denoted on the plaque by the central ring of lotus petals. The twelve symbols arranged within a circle around the centre are intimated, denoted on the plaque by the central ring of lotus petals. The twelve symbols arranged within a circle around the royal dharma, the king's given power to maintain the fertility and prosperity of the country. In the ceremony of the royal consecration, the properties of these symbols were absorbed into the waters contained in the central vessel, which were ritually poured over the king's given power to maintain the fertility and prosperity of the country. In the ceremony of the royal consecration, the prosperity of these symbols were absorbed into the waters contained in the central vessel, which were ritually poured over the king. As a consequence of assimilating these properties, the king therefore became a god on earth, a cakravartin or turner of the wheel of mundane and supra-mundane law which would guarantee his country's protection and wealth. Later texts describe the participation of both Brahmins and Buddhists in this ceremony.

The Shit-thaung inscription describes Anandacadra's most important activities as the building of Buddhist foundations and commissioning objects of worship and records his building many monasteries and providing them with slaves, fields and buffaloes. His religious donations also included gold and silver caityas containing relics of the Buddha, Bodhisattvas, the goddess Cunda and others, and Buddha images made of brass bell metal and copper, as well as ivory, wood , terracotta and stone. The inscription relates that he had innumerable clay models of stupas made, and commissioned the writing, or copying, of holy scriptures. He made donations to monks who came to his city from many parts of the Buddhists world, and indeed sent gifts including an elephant and rodes to the congregation of monks in Sri Lanka. His subjects benefited through public works such as the building of wells and pleasure gardens, and through the justice he administered daily from the palace. Following the example of the Imperial Gupta emperors, he always released capital offenders.

ARCHITECTURE AND SCULPTURE

Mounds strewn with broken sculptures, dressed stone and bricks, suggesting that these were the sites of ancient shrines dot the site of the old city of Vesali. Shwe-daung-gyi, “the Great Golden Hill” is northeast of the palace at Dhinnyawadi. It may, therefore be the site of a royal shrine. In local legend it is the burial ground of a Pyu king and his army which unsuccessfully attempted to invade the city in the 10th century. At Letkhat-taung, east of Vesali village, a number of very damaged life-sized images have been found. Sanghayama hill, reputedly the site of a Buddhist synod, has also revealed architectural fragments and sculptures.

The excavations undertaken at Vesali in the 1980s have begun to uncover some of its formers splendour. The four sites between Tharlawaddy and Vesali villages within the city walls have revealed a Buddhist ordination hall, a monastery, and a building which may have been connected with a royal cult, as a damaged stone image of a bull on a brick throne was recovered there. We have seen that the royal cult of the Candras may have been Shaivite as was the case at Sambor Prei Kuk in Cambodia, the pre-Angkorian city of Isanapura, where a building was designated as a stable for Nandi, the riding bull of Siva who inhabited the central shrine there.

Two lintels found at Mrauk-U appear to belong to the Vesali period. Both bear a strong resemblance to the 7th century lintels found in Thailand and Cambodia. On either side ornate makara heads spew forth an arcature are loops of pearls or garlands. This lintel type, while ultimately deriving from a form found in the rock-cut Buddhist architecture of Ajanta in western India-influenced schools to the west at this time illustrates the shared artistic vocabulary used in mainland Southeast Asia before the eighth century.

Another lintel fragment was found during the 1996 excavations of the Nibuza pagoda at Maruk-U. The Ni-buza surmounts a hill even today regarded as sacred and the fragment might have belonged today regarded as sacred and the fragment might have belonged to an earlier structure there. It is decorated with a caitya arch flanked by two bulbous serrated pillar capitals. Within the circular niche of the arch is typically post-Gupta in style and the capitals resemble those found in the western Indian rock-cut caves at Ellora dated in the 8th century.

Also found at Mrauk-U, and now the excellent Museum there is a column sculpted on there sides which once was engaged against a well at the entrance to a shrine. The base had addorsed, realistic elephant forequarters at the corners, and in the centre of each is an orge's face with bulging eyes, teeth horribly bared and a long curling mane. Above the base, framed in an archway, the river goddess Ganga, carrying a flywhisk, stands on her vehicle, the makara. Ganga, is commonly found among the deities at the entrances of both Hindu and Buddhist shrines in India, although the only other depiction of a river goddess in Southeast Asia is on a mid-7th century pre-Angkorian pilaster from Isanapura or Sambor Prei Kuk. Here too the figure is depicted alone within a frame which professor Boisselier contended is a representation in miniature of the temple itself. Both the figure and the architectural frame follow the style developed from the Gupta art of Ajanta by the Western Calukyan kings in south India in the second half of the 7th century. As in the lintel described above, makara heads disgorge the arcature.

On the other two faces indentical half arches each frame a lithe male figure which appears to step from behind. Probably door guardians, they wear clothes and ornaments similar to those found in the Calukya sculpture of southern India, as well as a “Scythian” conical helmet often adopted by temple guardians of the south. Above these guardians of the door is a continuation of the reduction of the main body of a building of the type to which the column belonged. The general shape suggests the from of a South Indian temple fronted by a columned hall on a plinth, the whole surmounted by a vaulted roof with upturned eaves. Above this “shrine” is a panel depicting a lotus, and the uppermost panel has vyala caryatids at the corners flanking a small figure of Garuda apparently emerging from a sea of intricate foliage.

The from of the shrine from which the column ultimately derived is southern Indian of the late 7th or early 8th centuries AD, although there are similarities with the contemporary architecture of Thailand and Cambodia. The column, which would have formed part of the main doorway, illustrated in miniature the main features of the temple proper, so we are able from these fragments to get a glimpse of the style of temples yet to be uncovered at Vesali.

In addition, some sculptures discovered at other sites have come from religious structures. A number of these are kept in a shed at Vesali village. All are in the red sandstone typical of sculptures of this period. They include a massive image of Visnu, some two metres tall, as monumental in conception as pre-Angkorian Visnu images of the same period. The god's head and upper arms are missing, and his lower hands rest on the heads of Cakradeva and Gadadevi, his personified attributes. Others include the goddess Ganga and door guardian, but most are too damaged to allow identification. Most can be seen to belong to the late and post-Gupta periods in style, and the garments indicate that the sculptors were variously influenced by the art of northeast India and the Pallavas of the south around the seventh century.

While most of the Buddha images found at Vesali are damaged or fragmentary, some show connections with the northern Buddhist centres of India and the Pyu sculpture of Sriksetra in Burma proper. The recent discovery of a group of red sand stone images in high relief at Selagiri, the hill where the Buddha is said to have landed opposite modern Kyauktaw, is important in that it shows how the Arakan sculptor reinterpreted Indian models. The attempts at rendering perspective were only achieved in some paintings in the Ajanta caves in western India. Although Selagiri is closer to Dhanyawadi than Vesali, their style places them in the Vesali period and shows the importance of the Selagiri to the Buddhism of the time.

The reliefs, now at the Mahamuni Museum, originally surrounded a brick stupa at the base of the southern side of Selagiri hill. Most depict events in the life of the Buddha, while a related image found 70 years ago shows the Buddha preaching to a royal figure. Like the Mahamuni sculptures, the figures are depicted against a plain background and are surmounted by a plain, oval -shaped halo. The hair is treated as rows of coils, dipping slightly over the forehead and the facial features show a tendency to portray local physiognomy, with a longer nose and fuller lips than is usual in Indian sculpture. The bodies pressure a continuous flowing surface and there is no attempt to define muscles.

Two sculptures representing the Englightenment are identical .The Buddha sits in padmasana, right leg crossed over left in the Northern Indian manner, with the right hand touching the ground in the attitude of calling the earth to witness his victory over the demon Mara, the personification of desire and death. The figure is surrounded with a scalloped reredos , similar to some found is Bengali bronzes, illustrating the light which emanated from the body of the Buddha after he attained Enlightenmented. He sits under a stylized Bodhi tree on an attempt to indicate perspective.

The next image shows the Buddha delivering the First Sermon. He is seated in the so-called “European position” on a rectangular throne with his feet placed on a lotus pedestal, his hands in dharmacakramudra, the attitude representing the turning of the wheel of the Law. To his right kneels a bearded ascetic and to his left a monk, both with hands clasped in adoration. The first of these may represent the forest monks noted for their ascetic practices, while the other may represent the monks living in cities or major monasteries. Below deer sit on either side, indicating that the First Sermon took place in the tury art of Ajanta and later at Nalanda, and further west at Dvaravati in modern Thailand.

In the rendition of the final episode of the Buddha's life, his death or Parinirvana, the dying Master lies on his side, hand under head, under three sala trees signifying the grove in which this event took place. Below are three remarkably life-like mourners, seated in attitudes of extreme grief. Perspective is attempted through portraying the mourners in the foreground larger than the Buddha, who is shown reclining on a ledge sloped to emphasize depth through the play of light, and by the sala trees in the background, illustrated in an appropriately smaller scale.

Plate 38 depicts a crowned figure of a male standing in an hieratical, frontal pose on a round base. Both arms are broken so any identifying attributes have been losts. The ornaments and garments are similar to those found both at Vesali and Nalanda. The plain aureole behind the head indicates divinity, and this together with the royal ornaments and the masterfully achieved serenity of the face suggests that the figure may be a Bodhisattva Avalokitesvara. In the later Mahayanist Buddhist art of eastern India the scene of the Enlightenment, the Buddha in bhumisparsamudra is often flanked by the Bodhisattvas Padmapani Avalokitesvara and Vajrapani, and this may have been the case here.

Stylistically the Selagiri images ultimately derive from the classical Gupta tradition, and this group shows similarities with the art of Ajant, especially. Which the Buddha figures continue this tradition, there are strong links with the later Buddhist art of Northeast India. The Buddha seated in padmasana, rather than the virasana preferred in the south, indicates an east Indian connection. The rendition of the robe, especially the flap over the left shoulder, shows a connection with Buddhist practice at the Indian schools of Kurkihar and Nalanda, as well as Dvaravati in Thailand.

The Selagiri reliefs illustrate the spread , in the sixth or the seventh century, of Mahayanist influence from the schools of northeast India to Arakan, as indeed is well documented in the neighbouring polities of Pyu Sriksetra and Mon Dvaravati. The paucity of Buddhist remains from this period in India does not, unfortunately, allow us to be more specific about the nature of this influence. Other sources attest to the spread of the Mahayana to Arakan and its neighbours during this period. The Tibetan historian Taranatha includes Rakhan, which must be Arakan, in his description of the Koki countries where, he tells us, the followers of Vasubandhu, the 4th century Buddhist philosopher, spread the Mahayana. The Chinese traveler Yijing (635-713) recorded that the four principal schools of Buddhism were known in the Eastern frontier countries of India, as well as over the mountains, in countries including Dvaravati and Sriksetra, in modern Thailand and Burma.

Two bronze Buddhas found in a ruined stupa near Vesali and now kept at the Let-kauk-zay monastery at Mrauk-U typify the style of the period. Both are stylistically related to the Selagiri reliefs but appear to be slightly later in date. Both were originally covered with a protective substance giving the surface a glazed appearance. One sits, legs crossed in padmasana, the left arm broken at the elbow and the right raised in vitarkamudra, the gesture of elucidation of folds around the neck, the waist and over the legs, and he sits on a low waisted throne decorated on the upper portion merely with a row of rather crudely drawn circles. The treatment of the hair, the rounded face and the supple smooth modeling of the body again show a connection with the late Gupta, Pyu and Dvaravati Mon styles.

The second image, whose protective surface was removed by the monks, stands erect, the right hand in the gesture of reassurance, abhayamudra, and the left holding the hem of his robe. The figure is placed on a plain, drum-shaped pedested which has been broken at the base but a few characters indicate a Sanskrit dedication of around the 7th century. Which the face, body and garments compare with those of the previous image, the stance is interesting in that it is clearly linked with a series of images found throughout Southeast Asia and in Sri Lanka dating from the around the same time. Sometimes called “missionary” images as they were previously thought to be among the earliest Buddhist relics in the region, those from Sri Lanka and Java are copied from South Indian models, but this and some Mon examples from both Thailand and Burma have more in common with the late Gupta art of north India. All ultimately derive from a famous image at Kosambi in north-west India believed to be a true likeness of the Great Sage made during his lifetime and possessing miraculous powers, in much the same way as the Mahamuni image was regarded in Arakan and beyond.

Some imges were obviously made at well-known workshops in India and were brought to Arakan by monks, travelers or traders. A bronze Buddha standing under the Bodhi tree found at Vesali belongs to the type made at the Bengali Buddhist centre of Mainamati. The standing Buddha, his left arm broken and his right raised in vitarkamudra, is rather crudely depicted and somewhat damaged. He has a detachable prabhavali or flaming surround of some interest. In the centre is a Bodhi tree encased within a beaded border from which stylized flames issue. The apex is crowned by a flaming cakra or Wheel of the Law on a pedestal, flanked by two birds. Over 100 Buddhist images with similar prabhavalis were found during excavations of the Arakanese Candra kings were also discovered. Those with similar treatment of the figures have been dated in the 8th century. Mainamati Buddha images of this period have also been found in Java and Thailand.

A seated Bodhisattva image, now rather damaged, was found in the ruined Mrunchaungwa stupa at the northeast corner of the outer wall of Dhanyawadi and is now at the Mahamuni Museum. The Bodhisattva is seated in maharajalilasana, the position of royal ease, reminiscent of the images at the Mahamuni shrine. The right hand, possibly holding a small round object, rests on his raised knee. His left hand also rests on his knee from behind which a springs a blue lotus with a book laid on top. This identifies him as the Bodhisattva Manjusri, popularly associated with knowledge, who was one of the better known Bodhisattvas worshipped in East Bengal during this period. The horseshoe shaped halo behind is typical of the Bengal Mainamati bronzes of the 7th-8th centries. The pedestal on which it was originally placed is now unfortunately missing.

A later tablet found during the Nyi-daw excavations has the Buddha sitting in dhyana or meditation mudra on a lotus base. There are indications of drapery in the robes falling over his chest. The figure is paced within an arched reredos with rampant lions standing on elephants on either side and makaras at head level. Three medallions above the head contain sacred syllables in proto-Bengali script. The reverse of the tablet is rounded, widening towards the base, which has a small hole in which a relic would have been placed. The influence of the Pala-Sena art of Bodhgaya is apparent here.

We have seen that the worship of Visnu as Vasudeva, Practiced by the Gupta emperors, gained ready acceptance by the Candras of Arakan, anxious to emulate their imperial tradition.

As in eastern India, the most frequent sculptural form was four-armed, standing erect with the lower arms resting on the heads of ayudhapurusas, the personified weapons of the god. While there are many fragments of Vismu images found at Vesali and Mrauk-U which may be dated from the 6th to 8th centuries, only one surives intact. Those remaining are often regarded as benevolent or malevolent spirits by the local people, who retain almost no memory of what once was an important cult.

A headless standing image of Visnu was found at Wuntitaung, a site locally known as the dwelling place of a spirit which protected the country. The figure is worn and the two upper arms are broken above the elbows. Visnu stands erect in the posture known as samapadasthanaka, his lower hands on the heads of two chubby personified weapons.The figure at his left gazes at the god, his right arm passing over his body and holding a camara, the flywhisk, symbol of royalty, which appears behind him. Behind his head is a weathered cakra, identifying him as Cakradeva. The figure at the right offers a cylindrical object, the gala or mace of Gadadevi. Visnu wears a broad necklace, armbands and the Brahmanical cord, waistband and a scraf knotted at his hips, the folds falling gracefully.

The body is well proportioned and smoothly modeled, while the decoration, although ornate, is restrained and the drapery is treated in a naturalistic manner. An attempt to relieve the static posture of the main figure is achieved by the flexed posture of the ayudhapurusas and the contraposto of their arms and attributes.The inspiration for Mathura, a style which lived on in Eastern India for two or three centuries afterwards. Visnu with his two personified attributes was his best-known form in Eastern India, although it was not adopted elsewhere in Southeast Asia.

One of the most beautiful sculptures remaining from this period is a damaged Visnu head, its contours gently rounded in the manner of the best tradition of Gupta sculpture. The calm and benign expression, partly closed eyes and slightly smiling lips, illustrate what the historian Harle described as the definition of the Gupta style, “a turning inward, an ability to communicate higher spiritual states.” While the headdress is not found in India, it does have counterparts in pre-Khmer art of the 6th century.

A better-preserved sandstone Visnu, now in the Mrauk-U Museum, has been limed and painted in recent times. The god stands erect. His upper arms are now missing, the lower right hand rests on a cakra which is supported by a pillar with a square base and a rounded capital, the left on a gala with a lotus base, a row of diminishing coils and a ring at the top. Visnu's ornaments are elaborate. His headdress, the kiritamakuta, curves in at the sides, and has a three-pointed fillet decorated with a row of tear shapes. Behind the head is a large oval halo. Around his waist are a series of ornate belts, while his yajnopavirta, the Brahmanical cord, falls ftom the left shoulder around the right knee, and his vanamala, forest garland, is looped twice, between the hips and around the knee. His legs are apparent beneath his lower garment, with the back panel draped rather stiffly in three tiers behind.

The facial features of the image are sharply defined, arched eyebrows meeting in the middle, a sharp pointed nose and thin lips curved in a smile. The graceful proportions of the earlier images have been forgotten. The head is a fifth of the total height, the arms are legs short.

While the image is basically dependent on earlier forms, a new wave of influence from northern India is apparent. The proportions, facial features and elliptical halo can be traced to the art of Nalanda during the late 7th and early 8th centuries. The hard surfaces and elaborate ornamentation are typical of early Pala art at Paharpur at the same period.

Towards the end of this period the local chronicles record the establishment of a new city where Mrauk-U area. Recent excavations at the Ni-buza pagoda, which stands on a hill still today regarded as sacred, and discoveries at Tharapabbatta hill indicate occupancy in the 9th and 10th centuries.

By the middle of the 9th and 10th century Arakan was invaded by the Tibeto-Burmas who still dominate. Their cousins, at the same time, were conquering the Pyu and Mon of central and lower Burma and establishing their capital at Pagan. In the succeeding centuries Pagon dominated the cities and the culture of Arakan.

The Rakhaing

2008-01-19T06:09:00.000-08:00

The Rakhaing

By Tha Hla

The Rakhaing are indigenous to a country called Rakhaing Pray or Rakhaing land, which known as Rakhaing in the west is now part of the Union of Burma. Until towards the end of the eighteenth century it was a sovereign kingdom separated from the Burmese domain by a long range of mountains, the Rakhaing Roma on the east and bounded on the west by the Bay of Bengal and on the northwest by eastern Bengal, currently Bengladesh. Protected by natural defences, the country retained its independence; by the same token it became secluded and through the process it evolved a nation as clannish as the name designates.

The term Rakhaing is derived from a Pali phrase Rakkhetta which connotes being or tribe characterized by heredity of preserving homogeneity and safeguarding against exotism and exogamy. The intense nationalism and modern xenophobia complemented with the prevailing practice of endogamy lend support to the etymology of Rakhaing. Literally, embodiment of Rakhaing is an ethno religious affiliation. Ethnicity is Mongoloid and religion is Buddhism neither race nor faith alone constitutes the unique breed of Rakhaing. Of Mongoloid stock, the Rakhaings sprung from the Tibeto-Burman Group along with the Burmese and other proto-Burmese races who migrated from Central Asia.

It is troubling realist that not all the order generation of the Rakhaing are aware of who they are and where they came from, much less the younger generations and lesser still those outside the Rakhaing race are cognizant of what Rakhaing is all about? The reason being that history of Rakhaing in its entity has never been prescribed in the curriculum of the academic institutions in the post independent Burma, except in a few brief references in the context of the Burmese conquests. Despite the fact that the Union of Burma represents the Burmese as well as other contemporary races, the history of Burma is a jealously guarded monopoly of the predominant Burmese. The Rakhaings themselves are not exonerative either, not that they lax in flavour of being Rakhaing but that they have become more lethargic and less enthusiastic about their ancestry. To most Americans the name Rakhaing might sound like an alien nation from outer space because Burma, into which Rakhaing was coerced as a disparate partner, is rarely in the news.

Rakhaing or Rakhaing Pray is not a name innovated recently but it is as old as the kingdom itself. In the day of economic and military dominance of Bengal by the Europeans, their vital access to adjacent Rakhaing was by means of the people of Bengal. The Europeans adopted the vernacular name and called Rakhaing, Arakan which is the corruption of the Bengali version Ahrra Kan; Ahrra implies two and a half, and Kan is for province, meaning the land of two and a half provinces compared to relatively larger eastern Bengal, known as Charra Kan, the land of four provinces. When the British subjugated Rakhaing, Arakan became the official name; hence Arakan as well as Arkanese, the nationals has become the living legacy of the colonial era. Nevertheless the term Rakhaing or Rakhaing Pray has been maintained in the medium of the natives both in everyday language and official communications.

By ethnicity, culture and language the Rakhaings are closely akin to the Burmese but their distinctive physiognomy tends to attributes probability to the theory that the inhabitants of Rakhaing assimilated the immigrant Aryans such as Kan Razargree and his followers. The people of Bengal contemptuously referred the Rakhaing as Magh which suggests mixed race or unclean beings, a smearing racial slur. The early European historians confused the term and erroneously concluded that the Rakhaings were the products of interracial marriages before they finally discovered that it was an ethnological fallacy because the Rakhaings are Mongoloid and are cognate to the Burmese. In confuting the term the Rakhaing chroniclers pointed out that Magh applies to the descendents of the Rakhaing who married the Bengali wives during the time when parts of Bengal were under the wing of the Rakhaing monarchy. They are Buddhists and their dialect is the Chittagonian. A theory expounds to implicate Magh with Maga, the name of Aryan races who were speculated to have migrated into Rakhaing from Bihar, adjoining Bengal. The exposition was unsubstantiated in the light of Rakhaing annals. Yet there is the element of the Portuguese who served in the Royal Guard had native wives.

It is not uncommon that in many a Rakhaing family some of the progenies are olive skinned and some are of fair complexion. Absorbed or blended as their progenitors might have been, nonetheless the Rakhaings apparently have not inherited the hairy feature of the Indian races. The average Rakhaing is neither bearded nor hairy at all, besides being devoid of the exclusive traits of the people who are aptly know as Kala, locally corrupted version of a Pali term Kula which means alien race. Hypothetically, racial affinity aside would it not be expedient to take into account the environment factors which might have played a role in influencing on the evolvement of the physique resemblance of the seafaring peoples such as the Rakhaings, the Malays, the Dravidians and the like who make their home in the coastal fringes of the Bay of Bengal and on the archipelagos out in the sea?

The Rakhaings are Buddhists who have embraced Theravada discipline, the older and purer from which flourished early in the days of their establishment. The Buddhist culture forms the main fabric of the society and dominates the attitude of the people. No Rakhaing professes any other religion but Buddhism. Just as the geographical location enhanced Rakhaing maintain its sovereignty, it was the vehement inspiration of Buddhism, imbibed with patriotic compulsion that occluded Islamic thrust which had been relentlessly expanding its frontier from Arabia to the east over the past centuries like the wild fire sweeping across the prairies. Unable to grip a foothold in Rakhaing, Islam finally skipped mainland Southeast Asia late in the thirteenth century and landed on the island of Sumatra whence it spread to other parts of Indonesia where Hinduism and Buddhism had been dominant centuries before. For the Rakhaing it was a defining time of their very existence adherent to the Buddhist culture or succulent to Islamization which means entailment of forceful infliction of Islam upon them. Had it not for the impregnable damming put up by the zealous Rakhaings the history of Burma and for that matter the history of Thailand as well as that of Indochina would have the present. Repugnance of Islam does not mean that the Rakhaings are intolerant of others religions. The first Catholic Church was built early in the seventeenth century in the capital city of Mrohaung( Mrauk-U) which already had Sandihkan Mosque. What Islam failed in incursion in the past it was sence been successful in infiltration into Rakhaing land and well into the interior of Burma and far beyond.

The Rakhaings are individualists as are the Burmese. Each individual is named after the day on which he or she was born. There is no surname in the nomenclature of persons. A wife retains her maiden name. A typical Rakhaing name consists of three prefer one or two. No matter now many syllables a name may be composed of, it is addressed as a whole. Added to each name is a prefix, the customary gesture of politeness in addressing a person according to age, gender and also in extending courtesy for the status of the addressee irrespective of the age. A different form of prefix is assigned to each male and female corresponding to the respective age group.

U stands for uncle which is the equivalent of mister. Ko represents brother and also lad. Maung is for young boy and is also used for master. Daw implies aunt and madam as well. Mi and Ma are used for sister and for miss. Often than not a prefix is used as part of the name itself but not in terms of title. Oo, meaning primacy which having used as the first syllable in a masculine name and the last in a feminine name, signifies the person being the first born in the family. It is purely a Rakhaing formulation designed to reflect not only the day of birth but also to establish the hierarchy among the siblings. In some cases the placement of primacy prefix in male and female names could be reversed in order. The alliteration of any prefix indicates affection and close relationship. While complexity abounds in names synonymous to both masculinity and femininity, confusion compounds with common names which of course may be distinguishable with the help of an epithet.

Customarily, the Rakhaing marriage is arranged. However, in the modern time the love marriage is gaining popularity in the younger generations. The marriage ritual is simple; the main purpose is to make it public. No auspicious sacrament is performed, nor is legal certification warranted. Having joined in matrimony, no matter to what extent the bride and groom may be strangers to each other, the couple is obligated to live up to a life long bound. The nation of commitment, combined with pride of the family upbringing renders the marriage difficult to dissolve. As much as the marriage is simple, liberty of divorce is not limited. Yet divorces are too few to be noticed, fewer still are those who choose to remarry, especially in the case of women. Once misfortune befalls upon a woman usually by the death of her spouse or rarely through a failed marriage she prefers the single status, leading life of her own to the convenience of being remarried. It might be the reason ascribed to the characteristic that has been handed down from mother to daughter for generations that women are to excel in business dealing; they are no less prominent in professional fields either. A married woman like her Burmese counterpart is much more independent than her sisters in some parts of the world, who manages the family finances and enjoys the extraordinary legal rights and religious freedom.

In terms of social structure, the Rakhaings are essentially traditionalists. Apart from being devoted parents they are also dedicated custodians of their own parents and grandparents who live happily in a family so dearly they love and as extended as it is to accommodate four generations, if longevity permits, under a single roof. Generation gap does not ferment discord in the harmonious family. The social system is such that the older a person gets the more respect he or she earns the society, and that at the same time the younger a generation is the more they become focus of attention. Unlike some other cultures a daughter in the family is preferential to parents who are generally inclined to spend their golden days in her care. A Rakhaing family is molded on the housewife, yet she gracefully stoops to win the affection of the husband who is esteemed as head of the household.

The Rakhaings speak a tongue which was common to both the Rakhaings and the Burmese before they split into subgroups. In the course of the time the various dialects of Burma proper incorporated with speeches of other cultures developed into the current Burmese language whereas the Rakhaing dialect remained unchanged due to the geographical isolation. Through the lofty Rakhaing Roma there are only two practicable passes, the Ann and the Taunggoke which connect with the Burmese territory. The vernacular of the Rakhaings living in the vicinity of these gorges is a phonetically balanced language of Rakhaing and Burmese grown out of outside contacts. Dissected by deep rivers and impeded by high mountains, the rugged terrain of the land encumbered, if not hampered, the natives of different regions in intermingling among themselves; thus generating them into denizens and as a result there thrived a variety of localized diction, expletive and enclitic.

The Rakhaing traditionally speak in a forceful but courteous manner. The harsh topography might have contributed to the development of a strong voice, terminating words abruptly as verbal communication in the sparsely populated but densely wooded tropical rain forest area could not be transmitted as smoothly as it could be done in the plain of the Burmese settlers. As it now stands the Rakhaings and the Burmese articulate the same words, the former with the tip of the tongue. Thus both are marked with an accent if one chooses to speak the way the other does. One advantage to the Rakhaings is that they readily comprehend their congeners who in turn hardly do.

In speech as well as in writing there are applied usages of synonyms which are paired together. As divergent a practice as it has been, one variant form nestles in the Burmese camp and the other ends up with the Rakhaings, deluding the appearance of the two forms being different in meaning and origin only to be clarified by the literati or those who are well versed in the philology of language. The Rakhaings spell a word consistent to the spoken form, without scrupling over homonyms whereas the Burmese write differently from the spoken language.

The Rakhaings have enjoyed a respectable place in the field of literacy achievement among the nationalities of Burma since the British days and the more so after the Second World War when opportunities opened to rural populace for higher education. The have been proud to foster brilliant scholars, distinguished civil servants and above all renowned nationalists like in the person of venerable U Ottama who was the foremost pioneer of the freedom movement in colonial Burma. He travelled widely across the globe in pursuit of national independence. He was particularly noted for his staunch nationalism who for the first time publicly denounced the then almighty British governor general by name and demanded him to go back home in an age when the sun never sets in the British empire.

That the Rakhaings are arrogant is a fair statement. Taking pride in being Rakhging is not an attitude; it is plain devotion to one’s own folk who are intrigued with their cultural heritage. On the contrary, they are simple, sincere and affable. They are not pretentious. They are generous to the extent as possible as their resources permit. Straight forward and outspoken nature should not be characterized as asperity. They have not been born with artificial politeness.

The keen awareness of ethnical identity reflects as sense of pride. Foreign incursions and subsequent loss of sovereignty might have ignited a surge of nationalism which they have been prejudiced for. To the Rakhaings they have merely been distinguished themselves in survival core of the sub stained and resistant character which is destined to remain a way of life. This sensitive corn is often overlooked and even trodden, perhaps inadvertently in dealing with Rakhaings who have immortalized the memory of the arduous bur glorious past.

The term Rakhaing is derived from a Pali phrase Rakkhetta which connotes being or tribe characterized by heredity of preserving homogeneity and safeguarding against exotism and exogamy.

The Rakhaings are Buddhists who have embraced Theravada discipline, the older and purer from which flourished early in the days of their establishment.

copy write : New Historical Journal

မင္းသားၾကီး ရြီဘန္း ေသတမ္းစာ

2008-01-16T12:50:00.000-08:00

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Arakan Revo..

2008-01-16T10:05:00.000-08:00

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