Dharma · AI Companion

gāthā

偈(gāthā)是佛经中以欲为因、文字庄严、名所依、造作为体的诗歌或颂词体裁。

A Contemporary Reading

When we hear the word "verse" or poem in a Buddhist context, our minds often jump to the image of an ancient Zen master brushing ink onto parchment, leaving behind a cryptic four-line riddle about the moon and the mind. But in the grand architecture of Buddhist psychology and the path of liberation, a (gāthā, often translated as verse, stanza, or hymn) is not merely a piece of literature. It is a highly deliberate cognitive technology.

In the classical texts, a gāthā is a profound crystallization of wisdom. It functions as a bridge between the ultimate truth, which is beyond words, and our everyday consciousness, which relies on them. To truly understand a gāthā, we must move past the aesthetic surface and look at its anatomical structure as taught by the Buddha.

Here is a deep dive into the concept of gāthā, exploring its mechanics, its role in liberation, and how it translates into our contemporary lives.

### 这个概念在说什么 (What this concept is about)

In the *Samyukta Agama* (雜阿含經), a deity asks the Buddha a highly analytical question about the nature of a (gāthā): What is its cause? What ornaments it? What does it rely upon? What is its fundamental substance?

The Buddha’s reply provides a precise, four-part psychological and structural definition that leaves no room for vague, mystical interpretations:

1. **The Cause is Intention/Desire (欲, *chanda* / *yù*):** The driving force behind a gāthā is "desire" or "will." In Buddhism, not all desire is the poisonous craving (*taṇhā*) that binds us to suffering. Here, *yù* refers to a wholesome, purposeful volition—the inner urge to communicate, to clarify, or to express reverence. A gāthā does not just randomly pop into existence; it is sparked by a conscious will to bring the mind into focus or to share a profound truth with others. 2. **The Ornament is Letters/Words (文字, *wén zì*): A gāthā is decorated and structured by language. Words are the aesthetic vehicle. The rhythm, the meter, and the phrasing are the "ornaments" (莊嚴) that make the teaching beautiful, memorable, and capable of penetrating the heart. 3. The Reliance is Name/Concept (名, *míng*): What does a gāthā lean on? It relies on concepts or "names." Even though Buddhism ultimately aims to transcend conceptual thought, it pragmatically uses concepts (like "impermanence," "suffering," or "emptiness") as rafts. The gāthā anchors itself on these foundational concepts to point the mind toward the moon of realization. 4. The Substance/Body is Action/Creation (造作, *zào zuò* / *saṅkhāra*):** This is the most crucial part. The essence of a gāthā is not passive inspiration; it is an active, intentional mental and verbal construction. It is a deliberate "doing." Creating or reciting a gāthā is a karmic action—a concentrated effort of the mind to construct something wholesome that cuts through the chaos of ordinary thought.

In the sutras (such as the *Maharatnakuta Sutra* and the *Suvarnaprabhasa Sutra*, where it is transliterated as 伽他, or combined as 偈颂), the gāthā serves vital functions. After giving long, detailed prose explanations (长行), the Buddha would "restate the meaning in verse" to compress the Dharma for easy memorization. Furthermore, gāthās were the universal language of high-level communication—used for intense philosophical debates, expressions of profound praise, and Q&A sessions. Astonishingly, the sutras depict not only Buddhas and devas (gods) speaking in gāthā, but also laypeople, women, impoverished workers, and even newborn infants. It was a universal medium that transcended class, gender, and the boundary between the mundane and the divine.

### 生活里的走查 (Life Walkthrough)

Let’s bring this ancient psychological model into a highly relatable contemporary scenario to see how it operates.

Imagine you are commuting home after a brutal day at work. Your inbox is overflowing, your manager criticized you, and you are endlessly scrolling through short videos on your phone to numb your mind. Your internal mental state is like chaotic, rambling "prose"—fragmented, anxious, and endlessly proliferating.

Suddenly, you realize you are suffering and decide to snap out of it. You take a deep breath and silently recite a short phrase to yourself: *"This breath is my anchor; the past is just a ghost."*

Let’s map this moment strictly against the Buddha's four-part definition, while pointing out where we usually get it wrong:

* The Trap of Misinterpretation: You might think, "I just made up a catchy thought." But let’s look closer at the mechanism. * Step 1: Cause = Intention (欲): The gāthā didn't happen by accident. Deep down amidst the anxiety, an urge arose—a wholesome desire (*chanda*) to stop suffering and regain your center. This conscious will to intervene in your own mental chaos is the true "cause." * Step 2: Reliance = Concept (名): You didn't just feel a vague emotion. You relied on specific conceptual frameworks—"breath" (the present reality) and "ghost" (the illusory nature of the past). You used concepts as tools to frame your experience. * Step 3: Ornament = Words (文字): You could have just thought a messy paragraph, but instead, you dressed it in rhythm. *"This breath is my anchor; the past is just a ghost"* has a poetic symmetry. This aesthetic "ornamentation" makes it sharp enough to pierce through the mental fog. * Step 4: Substance = Creation (造作): *Here is where people map it wrong.* Contemporary people often think of poetry as a spontaneous flow of feelings. But the classical definition says the essence is "creation/action" (造作). Forming that verse was an active, muscular exertion of your willpower. You *constructed* an antidote to your anxiety. It was an intentional karmic act of the mind.

### 当代人为什么需要它 (Why contemporary people need it)

We live in an era characterized by cognitive fragmentation. Our attention is constantly sliced into micro-seconds by notifications, algorithms, and an overwhelming influx of information. We are drowning in "prose"—endless streams of text and data that lack an anchor.

Contemporary people need the spirit of the gāthā because it is the ultimate psychological "compression algorithm." (While we can use computer algorithms as a modern analogy, we must remember their limits: tech algorithms are designed by corporations to hijack your attention and maximize engagement; the Buddhist "algorithm" of a gāthā is designed to dismantle your attachments and set you free.)

In the path of liberation, the mind's tendency to endlessly spin out stories, anxieties, and arguments is called *prapañca* (conceptual proliferation). A gāthā acts as a circuit breaker. When you compress a profound truth into a four-line verse, you give your mind a flawless, polished object of concentration. It gathers the scattered rays of your consciousness into a single, laser-like focus. It allows you to carry the vastness of the Dharma in your pocket, ready to be deployed as a shield when life attacks you with stress, grief, or anger.

### 常见误读与澄清 (Common misreadings and clarifications)

1. "A gāthā is just fancy poetry for monks and intellectuals." *Clarification:* The sutras explicitly shatter this elitist view. In the texts, we see "poor laborers," "women," "ordinary laypeople," and even symbolically "newborn infants" communicating in gāthās. It is not about possessing a high literary pedigree; it is a highly pragmatic, democratic tool for anyone who wishes to distill their understanding and communicate clearly.

2. "Because the 'Cause' is Desire (欲), making gāthās keeps you trapped in worldly attachment." *Clarification:* This is a dangerous blurring of vocabulary. In English and modern Chinese, "desire" (欲) almost always carries a negative connotation of greed. However, in Buddhist psychology, the *chanda* (欲) that drives a gāthā is the "desire to act," the motivation to practice, and the will to seek truth. Without this wholesome intention, no one would ever take a single step on the path of liberation, let alone compose a verse to help others.

3. "Gāthās are magical incantations or mantras." *Clarification:* While they are treated with immense reverence, the Buddha’s definition makes their mechanics completely transparent and rational. A gāthā is not magic; it relies on "concepts" (名) and is ornamented by "words" (文字). It works precisely because it is an intentional "creation" (造作) that engages human cognition, memory, and aesthetic appreciation. It transforms the mind not through supernatural intervention, but through the profound, disciplined re-engineering of our own thoughts.

Canonical Entry

一、定义与核心要义 在佛教经典中,“偈”(梵语 gāthā)是一种极其重要的诗歌与文学体裁。关于“偈”的本质与构成,在《雜阿含經》中有着深刻的理论剖析。经中通过天子与佛陀的问答,明确给出了偈的产生、修饰、依凭和本质(即因、庄严、所依、体)的系统定义。天子问:“何法為偈因?以何莊嚴偈?偈者何所依?何者為偈體?”[chunk:10488],世尊则回答道:“欲者是偈因,文字莊嚴偈,名者偈所依,造作為偈體。”[chunk:10490]。这一论述表明,“偈”是由意愿或欲求(欲)所引发,通过文字进行美化与修饰,其存在依凭于概念或名称(名),而其根本属性(体)则是造作(有意的创作与行为)。 二、主要阐述 在各经的叙事与教化中,“偈”承载了多重核心功能,展现出丰富的应用场景: 1. 重宣与总结法义:在长行散文阐述之后,佛陀常以说偈或说颂的方式,重新宣说并提炼核心义理,以便于听众记忆。如《大寶積經》中世尊在长行之后“欲重宣此義而說頌曰”[chunk:15488],或通过“说偈”来重申法要[chunk:14791, chunk:14821]。 2. 法义问答、辩论与日常交流:偈颂是不同人物之间进行深层法义交流、问答、辩论及日常告诫的重要媒介。在《雜阿含經》中,天子、天神等常在后夜时分来诣佛所,以偈请法,世尊以偈解答[chunk:10262, chunk:10281, chunk:10459];弟子亦以偈向佛陀陈述心意或赞叹[chunk:7114, chunk:10591];在面对外道或魔众挑战时,偈更是辩论和护法的武器[chunk:5638, chunk:19336]。在《大寶積經》中,净饭王与优陀夷通过连续的“偈问”、“偈答”和“偈对”层层深入[chunk:16530, chunk:16533, chunk:16535, chunk:16539, chunk:16543, chunk:16547, chunk:16549, chunk:16551, chunk:16553, chunk:16555, chunk:16557, chunk:16559];世尊亦多次以偈答复马胜的请问[chunk:16761, chunk:16774, chunk:16885, chunk:16916, chunk:16946];此外,长者子偈答其父[chunk:18059]、福焰王子以偈告诸天[chunk:18251]、梵志与无垢施女以偈互答[chunk:18722, chunk:18724]、佛以偈告阿难[chunk:18804]等,皆体现了其日常交流功能。在《金光明最勝王經》中,法师授记婆罗门以“伽他”回答一切众生憙见童子[chunk:11536],长者与子、兄弟(王子)之间也通过“伽他”进行对答[chunk:13249, chunk:13358]。 3. 恭敬赞叹与誓愿表达:偈颂是众生向佛陀表达最高敬意与赞叹的庄严仪轨。在《大寶積經》中,诸天子领悟法要后,纷纷“以偈赞曰”或“说偈赞曰”[chunk:17032, chunk:17038, chunk:17044, chunk:17100, chunk:17116, chunk:17128, chunk:17156, chunk:17412, chunk:17684, chunk:17758, chunk:17858, chunk:17896]。在《金光明最勝王經》中,诸天神、梵天、甚至魔王及其眷属,在佛前表达恭敬、赞叹或陈述誓愿时,皆一致采用“合掌恭敬,说伽他曰”的仪轨,包括天帝释[chunk:13546]、索诃世界主梵天王[chunk:13550]、魔王子商主[chunk:13552]、魔王本人[chunk:13554]以及妙吉祥天子[chunk:13556]。 4. 说偈主体的广泛性与超常叙事:在《雜阿含經》中,说偈主体极其广泛,不仅有佛陀[chunk:5273]、舍利弗[chunk:19336]、阿难[chunk:13726]等圣者,还有天子[chunk:6640]、天神[chunk:6785]、天女[chunk:16850]、梵天[chunk:12870]、鬼神[chunk:18835, chunk:18926]、婆罗门[chunk:11266, chunk:11474],甚至“俗人”[chunk:19385]、“贫士夫”[chunk:19440]、“女人”[chunk:19496]、“士夫”[chunk:19521]等普通人,展现出跨越阶级与神凡界限的特征。而在《大寶積經》中,甚至初生的“婴儿”也能使用高度规范的“伽他”体裁进行复杂的法义沟通,如为父母“說頌”[chunk:15873],与诸天子通过“伽他”互答[chunk:15883, chunk:15885, chunk:15887],以“伽他”报答父母[chunk:15901, chunk:15906],其兄律仪童子亦以“伽他”报之[chunk:15925],展现了超常的智慧。 三、不同部类与译本的表述差异 不同经典及译本在指代这一诗歌体裁时,采用了不同的术语形式: 1. 《雜阿含經》(阿含部·T0099):主要使用意译词“偈”,并引出多种叙事术语,如“說偈答言”[chunk:5273]、“說偈問佛”[chunk:10262]、“說偈言”[chunk:5638]、“以偈答言”[chunk:10144]、“以偈讚曰”[chunk:7114]等。 2. 《大寶積經》(寶積部·T0310):术语形式最为多样,交替或针对性地使用“偈”、“颂”、“伽他”以及“偈颂”四种形式。其中“偈”最普遍[chunk:14791, chunk:16530];“颂”主要用于重宣义理[chunk:15488]或特定人物宣说[chunk:15873];“伽他”作为梵文音译,在特定章节(如婴儿说法)中集中使用[chunk:15867, chunk:15873, chunk:15881];“偈颂”作为复合称谓,用于特定答问[chunk:16808, chunk:19291]。 3. 《金光明最勝王經》(經集部·T0665):义净译本具有独特的术语风格,并未使用意译词“偈”或“偈颂”,而是统一采用梵语的音译形式“伽他”[chunk:12799, chunk:13150, chunk:13546]。 四、与相关概念的关系 偈(或伽他、颂、偈颂)与长行散文(如经中的叙事、法义阐述)相辅相成。长行用于详细铺陈法义或叙述事件,而偈则用于重宣、总结、赞叹或在特定仪式化场景中进行对答。在《雜阿含經》中,偈的产生依凭于“名”(概念或名称),其修饰依赖于“文字”,其根本属性为“造作”,这揭示了偈与语言文字(名、文字)以及心意活动(欲、造作)的内在依存关系[chunk:10488, chunk:10490]。 五、代表性原文引用 1. 《雜阿含經》中关于偈之本质的问答:“何法為偈因?以何莊嚴偈?偈者何所依?何者為偈體?”[chunk:10488];世尊答言:“欲者是偈因,文字莊嚴偈,名者偈所依,造作為偈體。”[chunk:10490] 2. 《金光明最勝王經》中世尊以伽他答问:“爾時世尊,亦以伽他而答之曰”[chunk:12799]。 3. 《大寶積經》中关于重宣义理的表述:“爾時世尊,欲重宣此義而說頌曰”[chunk:15488]。

By Sutra

T0099 · 阿含部

在《T0099》(雜阿含經)中,“偈”作为一种重要的诗歌与文学体裁,不仅是佛陀与众生交流法义的核心载体,其自身的本质与构成也在经中得到了深刻的理论阐述。 首先,本经对“偈”的产生、修饰、依凭和本质(即因、庄严、所依、体)给出了明确的定义。在天子与佛陀的问答中,天子提出疑问:“何法為偈因?以何莊嚴偈?偈者何所依?何者為偈體?”[chunk:10488]。世尊对此回答道:“欲者是偈因,文字莊嚴偈,名者偈所依,造作為偈體。”[chunk:10490]。这一论述将“偈”的生成归结为“欲”(意愿或欲求),其美化与修饰依赖于“文字”,其存在所依凭的是“名”(概念或名称),而其根本属性(体)则是“造作”(有意的创作与行为)。这是本经对“偈”这一概念最独特且系统性的理论剖析。 其次,在应用场景上,“偈”是经中进行法义问答、赞叹及辩论的主要工具。经中大量记载了天子、天神等在后夜时分来诣佛所,以偈向佛陀请法,世尊则同样以偈进行解答的场景[chunk:10262, chunk:10281, chunk:10459]。此外,“偈”也用于弟子对佛陀的赞叹,如“尊者復以偈讚曰”[chunk:7114],或用于向佛陀陈述心意,如“欝鞞迦葉說偈白佛”[chunk:10591]。在面对外道、恶邪或魔众的挑战时,“偈”亦是辩论和护法的武器,如魔说偈干扰,或舍利弗在面对“惡邪物”的恶声时,以偈进行针锋相对的答复[chunk:5638, chunk:19336]。 再者,本经展现了“说偈”主体的广泛性与平民化特征。在经中,能够“说偈”的不仅有佛陀[chunk:5273]、尊者舍利弗[chunk:19336]、阿难[chunk:13726]等圣者,还有天子[chunk:6640]、天神[chunk:6785]、天女[chunk:16850]、梵天[chunk:12870]、鬼神[chunk:18835, chunk:18926]、婆罗门[chunk:11266, chunk:11474]等。更为独特的是,经中还提到“俗人”[chunk:19385]、“贫士夫”[chunk:19440]、“女人”[chunk:19496]乃至一般“士夫”[chunk:19521]亦能说偈。比丘们在听到这些人说偈后,往往会产生“彼尚能说偈,我岂不能说偈答之”的竞争与对答之意[chunk:19385, chunk:19440, chunk:19496, chunk:19521]。这表明在当时的语境下,“偈”是一种跨越阶级、性别和神凡界限的通用表达方式。 最后,在术语形式上,本经引出偈颂的常用表述包括“說偈答言”[chunk:5273]、“說偈問佛”[chunk:10262]、“說偈言”[chunk:5638]、“以偈答言”[chunk:10144]、“以偈讚曰”[chunk:7114]等。这些术语规范了偈颂在叙事中的引入方式,体现了其作为独立文体的叙事功能。

T0310 · 寶積部

在《T0310》中,“偈”作为佛经中的诗歌体裁,得到了极其广泛且形式多样的呈现。该经在论述和应用这一概念时,展现了丰富的术语形式、多样的应用场景以及独特的叙事侧面。 一、 术语形式的多样性 本经在指代诗歌体裁时,并未使用单一的词汇,而是交替或针对性地使用了“偈”、“颂”、“伽他”以及“偈颂”四种术语形式: 1. :这是经中最普遍使用的术语。常用于世尊说偈 [chunk:14791], [chunk:14821];世尊与马胜之间的偈答 [chunk:16761], [chunk:16774], [chunk:16885], [chunk:16916], [chunk:16946];净饭王与优陀夷之间的偈问、偈答与偈对 [chunk:16530], [chunk:16533], [chunk:16535], [chunk:16539], [chunk:16543], [chunk:16547], [chunk:16549], [chunk:16551], [chunk:16553], [chunk:16555], [chunk:16557], [chunk:16559];以及诸天子的偈赞 [chunk:17032], [chunk:17038], [chunk:17044], [chunk:17100], [chunk:17116], [chunk:17128], [chunk:17156] 或说偈赞 [chunk:17412], [chunk:17684], [chunk:17758], [chunk:17858], [chunk:17896]。此外,长者子、陀摩尸利、福焰王子、梵志、无垢施女及佛陀在对话和告诫时也多用“偈” [chunk:18059], [chunk:18114], [chunk:18251], [chunk:18722], [chunk:18724], [chunk:18804]。 2. :主要用于重宣义理或特定人物的宣说。如世尊“欲重宣此義而說頌曰” [chunk:15488],以及婴儿为父母“說頌曰” [chunk:15873]。 3. 伽他:作为梵文“gāthā”的音译,在本经的特定章节中被集中使用。主要用于描述轻毁佛者、婴儿、父母、大众、诸天及律仪童子之间的对话与赞叹 [chunk:15867], [chunk:15873], [chunk:15881], [chunk:15883], [chunk:15885], [chunk:15887], [chunk:15901], [chunk:15906], [chunk:15925]。 4. 偈颂:作为“偈”与“颂”的复合称谓,用于世尊答马胜 [chunk:16808], [chunk:16840] 以及大王告盲人 [chunk:19291]。 二、 核心应用场景 这些诗歌体裁在经中承载了多种叙事与教化功能: 1. 重宣与总结法义:世尊在长行散文阐述之后,常以“说偈” [chunk:14791], [chunk:14821] 或“说颂” [chunk:15488] 的方式,重新宣说并提炼核心义理,便于听众记忆。 2. 法义问答与辩论:偈颂是人物间进行深层法义交流的重要媒介。例如净饭王与优陀夷之间通过连续的“偈问”、“偈答”和“偈对”,一问一答,层层深入 [chunk:16530] 等;世尊亦多次以偈答复马胜的请问 [chunk:16761] 等。 3. 赞叹与颂扬功德:当听众(尤其是诸天子)领悟法要或见证神迹时,会以偈颂表达由衷的赞叹。如无动天子、无等碍慧天子等诸天子纷纷“以偈赞曰”或“说偈赞曰” [chunk:17032], [chunk:17038], [chunk:17044], [chunk:17100], [chunk:17116], [chunk:17128], [chunk:17156], [chunk:17412], [chunk:17684], [chunk:17758], [chunk:17858], [chunk:17896];八万四千诸大天子亦同声“說伽他讚嬰兒” [chunk:15881]。 4. 告诫、报答与日常交流:偈颂还用于长辈对晚辈的告诫、人与人之间的礼貌回复。如长者子偈答其父 [chunk:18059];福焰王子以偈告诸天 [chunk:18251];梵志与无垢施女以偈互答 [chunk:18722], [chunk:18724];佛以偈告阿难 [chunk:18804];大王以偈颂告盲人 [chunk:19291]。 三、 独特侧面:婴儿以“伽他”说法 本经中一个极为独特的侧面是,初生的“婴儿”能够使用高度规范的“伽他”体裁进行复杂的法义沟通。婴儿不仅能听懂大人的话,还能为父母“說頌” [chunk:15873],与诸天子通过“伽他”一往一来地互答 [chunk:15883], [chunk:15885], [chunk:15887],甚至以“伽他”报答父母 [chunk:15901], [chunk:15906]、其兄律仪童子亦以“伽他”报之 [chunk:15925]。在这里,“伽他”不仅是诗歌,更是一种展现超常智慧与神圣沟通的特殊语言形式。 综上所述,《T0310》通过“偈”、“颂”、“伽他”和“偈颂”等多种术语,展示了诗歌体裁在重宣法义、角色问答、诸天赞叹及超常叙事中的多重功能与独特魅力。

T0665 · 經集部

在唐代義淨所譯的《T0665》(即《金光明最勝王經》)中,對於「偈」(佛經中的詩歌體裁)這一概念,有著非常一致且具體的呈現方式。 首先,在術語使用方面,本經並未使用常見的意譯詞「偈」或「偈頌」,而是統一採用了梵語的音譯形式「伽他」。這一譯名選擇體現了義淨譯本的獨特術語風格。 其次,從本經的敘事結構來看,「伽他」作為一種文體,承載了多種重要的宗教與敘事功能,主要表現在以下幾個方面: 一、世尊用以答問與宣說往昔因緣 在經中,世尊(佛陀)多次使用「伽他」來進行開示或回答。例如,當四天王對佛陀進行讚歎之後,世尊便「亦以伽他而答之」[chunk:12799]。此外,「伽他」也是佛陀用來宣說過去世因緣的重要載體。當世尊為大眾宣說完「王法正論」之後,為了向大眾開示往昔奉持正法之因緣,便明確告誡大眾應當諦聽,並隨即「說伽他曰」[chunk:13150]。這表明「伽他」在佛陀手中,既是回應弟子與護法讚歎的莊嚴儀軌,也是開示深妙法義與歷史因緣的常用教化工具。 二、各類人物之間的對答與說法 除了佛陀之外,經中的其他重要人物、長者及王子等,也廣泛使用「伽他」作為對答和闡述觀點的語言形式。例如: 1. 法師授記婆羅門在聽聞頌詞後,以「伽他」回答一切眾生憙見童子 [chunk:11536]。 2. 在長者與其子的對話中,長者聽聞兒子的請求後,同樣「復以伽他而答之」[chunk:13249]。 3. 在兄弟(王子)之間的交流中,第二王子聽聞兄長的言語後,也是通過「說伽他曰」來表達自己的想法 [chunk:13358]。 這些例子表明,在世俗或出世間的對話情境中,「伽他」是一種被廣泛接受的、具有高度儀式感和文學色彩的對答文體。 三、天神、梵天及魔眾對佛陀的恭敬讚歎 本經中一個非常顯著的特點是,諸多天神、梵天、甚至魔王及其眷屬,在佛前表達恭敬、讚歎或陳述誓願時,皆一致採用「合掌恭敬,說伽他曰」的標準儀軌。這包括: 1. 天帝釋合掌恭敬,以「伽他」向佛陀陳述 [chunk:13546]。 2. 索訶世界主梵天王同樣合掌恭敬,說「伽他」 [chunk:13550]。 3. 即使是通常代表障礙的魔王及其子,在此情境下也展現出恭敬之態。魔王子商主合掌恭敬說「伽他」 [chunk:13552];魔王本人亦合掌恭敬說「伽他」 [chunk:13554]。 4. 妙吉祥天子(文殊師利)亦在佛前以「伽他」進行宣說 [chunk:13556]。 這一系列情境表明,在《T0665》中,「伽他」是不同層次、不同立場的眾生(從護法天神、大梵天王,到魔王、魔王子,再到大菩薩天子)在佛前表達最高敬意與誓願時所共同使用的標準文體。 總結而言,在本經中,「偈」這一概念完全以「伽他」這一特定音譯術語呈現。它不僅僅是一種詩歌體裁,更是一種跨越凡聖、貫穿護法與魔眾的、用於莊嚴對答、宣說因緣以及在佛前表達恭敬讚歎的標準法音形式。

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