What's the deal with the 7th Uposatha precept?

[whocoulditbe?]

This is a perennial question at the Dhamma Wheel forums, and though the responses often yield good advice, I haven't seen much solid info. I don't have an account there so I'd like to see if anyone here has any more information/insight. The precept, which many lay Buddhists observe on Uposatha days, says:

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I undertake the precept to refrain from dancing, singing, music, going to see entertainments, wearing garlands, using perfumes, and beautifying the body with cosmetics.

The same prohibitions are repeated in the ten precepts regularly observed by novice Monks and Nuns. The precept causes plenty of confusion, with people asking what "entertainments" (visūka) includes, how music and chanting can exist in Buddhist monastic practice, whether some medical products count as "cosmetics" (vilepana), and whether passive exposure to music should also be avoided. Some people in these discussions assert that it's just a precept against "going out," while others claim it's fundamentally a warning against excessive sensuality.

 

The most useful thing I've seen is the suggestion that parts of the Samaññaphala Sutta are meant to elaborate on the precepts:

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Whereas some brahmans and contemplatives, living off food given in faith, are addicted to watching shows such as these — dancing, singing, instrumental music, plays, ballad recitations, hand-clapping, cymbals and drums, magic lantern scenes, acrobatic and conjuring tricks, elephant fights, horse fights, buffalo fights, bull fights, goat fights, ram fights, cock fights, quail fights; fighting with staves, boxing, wrestling, war-games, roll calls, battle arrays, and regimental reviews — he abstains from watching shows such as these. This, too, is part of his virtue.

 

[...]

 

Whereas some brahmans and contemplatives, living off food given in faith, are addicted to scents, cosmetics, and means of beautification such as these — rubbing powders into the body, massaging with oils, bathing in perfumed water, kneading the limbs, using mirrors, ointments, garlands, scents, creams, face-powders, mascara, bracelets, head-bands, decorated walking sticks, ornamented water-bottles, swords, fancy sunshades, decorated sandals, turbans, gems, yak-tail whisks, long-fringed white robes — he abstains from using scents, cosmetics, and means of beautification such as these. This, too, is part of his virtue.

These are interesting lists, especially the mention of mirrors, but they leave the role of music in Buddhist practice mysterious. IMO "addicted" (viharanti) is the key word here, and supports the view that the point of this precept is to moderate sensuality. Other interesting points of reference are this short sutta, the Gītassara Sutta, and the Legal procedure of banishment in the Vinayapiṭaka; but these have an unclear relation to the precept.

 

Additionally, I'm convinced that precept #30 from the Taoist 180 Precepts Spoken by Lord Lao 老君說一百八十戒 must have been influenced by Buddhism, as many of its other precepts are known to have been:

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第三十戒者，不得自習伎樂。
30. You should not perform as a musician.

...but Taoist rituals also often include music and intruments ¯\_(ツ)_/¯

 

At least in English, the scholarship on these questions isn't very detailed, especially compared to the similar debate in Islam. Most sources on Buddhist music focus on the positive aspects, and don't say anything about scriptural warnings against it, but I did find a couple of relevant sources: Sean Williams argues that music is avoided in Theravada but embraced in Mahayana, and that chanting is okay in either, in his chapter from Sacred sound: experiencing music in world religions:

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Theravada Buddhists regard music as a type of sensual luxury, and their tradition notes that music should be approached only with great caution. Among the Ten Precepts accepted upon entering monastic life, the seventh requires the monk to avoid dancing, singing, music, and entertainments, and to abstain from wearing garlands, perfume, or cosmetics. The risk regarding music and singing is that one might focus on the musical quality of the voice rather than on the teachings enunciated in the song or chant. The Buddha himself is said to have avoided attending musical performances, and cautions his disciples about musical chant; "O monks, there are five disadvantages for one singing the teaching in an extended sung intonation. (1) He is attached to himself regarding that sound; (2) and others are attached to that sound; (3) and even householders are irritated. (4) There is dissolution of concentration on the part of one straining to lock in on the sound; and (5) people who follow after [this procedure] undergo an adherence to opinions.

 

The voice, however, is revered as essential for the performance of Buddhist ritual not only in Mahayana traditions, which emphasize mystical practices, but also in Theravada traditions.

 

[...]

 

In Theravada Buddhism, music is appropriate only when it it subbordinated to the message.

Ian W. Mabbett says basically the same thing about the difference between Mahayana and Theravada in this paper. So I guess this means instrumentation should be less common in Theravada? Apparently drums are important but vocal melody is very conservative when chanting, while in Mahayana and Vajrayana all sorts of instruments are involved. But does this mean Mahayana schools disregard the scriptural opposition to music? or just that they see religious music as a separate affair? Nor does this tell us anything about the lay relation to music on Uposatha days, especially in Mahayana traditions that kept them, like Nichiren.

 

Overall, I'm really confused. If you know of any detailed commentaries on the 8/10 precepts that cover this, please post them. I'd also love to see any historical/literary descriptions of lay people observing the abstinence, as well as any modern accounts of what goes on in places where Uposatha days are practiced (I've heard about restaurats changing their menus in Vietnam, but nothing about radio stations!) I'm going to keep searching for clarification on this, and will post anything useful in this thread.

 

Thank you.

Edited August 11, 2023 by whocoulditbe?

[Maddie]

I think the short answer would be it's related to guarding the sense Gates.

[Vajra Fist]

In taoism they talk about 'fasting for the mind'.

 

It's basically the idea that you're a big sponge, and whatever you consume through the eyes and ears gets soaked into your body.

 

In buddhist terms, it stirs up defilements. You're in the process of peeling back the layers of self, from the surface level thoughts, to the underlying narratives that drive them. When you consume entertainment you're basically adding extra stuff on top that you then need to dig through.

 

In real terms, I guess this basically means no sprawling on the sofa in front of the latest season of The Witcher, killing hordes of demons in Sanctuary, or else listening to angry nu-metal in the gym.

 

But it is a quite restrictive lifestyle as a layperson. I suppose that's why regular retreats are important.

Edited August 16, 2023 by Vajra Fist

[Eduardo]

El 08-11-2023 a las 13:00 quien podría ser? dicho:

 

 

Edited February 8 by Eduardo
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[Vajra Fist]

4 hours ago, Eduardo said:

Westerners want to ignore that primitive Buddhism is an ascetic path, and that all asceticism will necessarily force you to comply with certain prohibitions.

 

There are plenty of householder traditions within buddhism, particularly within mahayana. My favourite layman is Hōkoji - of "chop wood, carry water" fame.

 

Tbh the precepts aren't meant as divine commandments, especially outside a monastic context. They're seen as a helpful guide to skillful practice.

[whocoulditbe?]

56 minutes ago, Vajra Fist said:

Tbh the precepts aren't meant as divine commandments, especially outside a monastic context. They're seen as a helpful guide to skillful practice.

This is true, and always brought up when people ask this kind of question. None the less, it can turn out that a guide is more helpful when its instructions are clear to us, and I don't see a lot of clarity in discussions about this precept.

 

BTW, thanks to this thread, I came across another interesting passage from the 治禪病祕要法 Zhi chan bing mi yao fa ("Secret Essential Methods for Curing Meditation Sickness") trans. Eric M. Greene:

Spoiler

Further, Śāriputra, there may be those among the four groups of Buddhist followers who relish music and take part in musical performances. As a result, their winds will stir. Like unbridled horses, rutting dogs, or royal stags, they sink into deluded attachment. Their minds become like glue, sticking to everything they encounter, unable to be restrained. They must quickly be cured.

 

The method for curing this is as follows. First imagine a goddess of unparalleled beauty. Various musical instruments that produce thousands of kinds of music appear spontaneously in her hands. The practitioner, seeing this goddess who is hundreds of thousands of times more beautiful than any other material form, and hearing this heavenly music that surpasses any in the world, becomes bewitched as he beholds these forms and hears these sounds.

 

He must then be taught to contemplate the six sense organs of this goddess. Because of the power of his breath counting, the following confirmatory visions arise. He sees six poisonous snakes appear in her lovely eyes. They go out from her eye organ and into her ear organ. He further sees two creatures that look like rapacious griffins. Letting out a harsh cry they split open her head, pull out her brains, and fight with one another to eat them. He sees a cat, a rat, a dog, and a jackal, who vie with one another to eat her other four organs.

 

As a result of this, will see the bodies of all women as nothing but the thirty-six foul impure things. Their garlands are like the parasitic worms of the womb. Their musical instruments are like a teeming mass of dung beetles, like groaning wild jackals. He finds their bewitching words utterly repellent, like the cries of demons. He therefore feels revulsion. He should then go to his wise teacher and confess his past evil actions, repenting with utmost sincerity. The wise teacher must then instruct the practitioner in the contemplation of impermanence.

 

The Buddha said to Śāriputra: “You must remember this method for curing those who delight in music. Do not forget it.” When Śāriputra and Ānanda heard what the Buddha said, they joyfully undertook to carry it out.

The method is basically 1. Associate music with women 2. Hate women 3. Hate music. This passage immediately follows another one describing a method "for curing violations of the precepts!"

Edited August 18, 2023 by whocoulditbe?
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[whocoulditbe?]

Haven't read this yet, but posting here for storage:

https://studenttheses.universiteitleiden.nl/access/item%3A2711225/view