Larger-than-life story of the two flowers – ကသစ္ပန္း and သခြပ္ပန္း

Śakra (သိၾကားမင္း) From Wikipedia

Thagyamin (သိၾကားမင္း[ðədʑámɪ́ɴ]; from Sanskrit Śakra), considered King of the Nats, is identified with the Buddhist deva Śakra and the Hindu deity Indra. He is often portrayed atop a three-headed white elephant, holding a conch shell in one hand, and a yak-tail whisk in the other. In traditional Burmese Buddhist belief, Thagyamin rules the nat deva plane of existence, called Trāyastriṃśa (တာဝတိံသာ).

Thagyamin was designated the leader of the official pantheon of nats by King Anawrahta in the 11th century, in an effort to streamline animist practices among the populace and merge these practices with Theravada Buddhism. He is the only nat in the official pantheon not to have undergone a sudden and violent death.

Śakra (Sanskrit: शक्र) or Sakka (Pāli) is the ruler of the Trāyastriṃśa Heaven according to Buddhist cosmology. His full title is Śakro devānām indraḥ (शक्रो देवानं इन्द्रः; Pāli: Sakko devānaṃ indo “Śakra, lord of the devas“. In Buddhist texts, Śakra is the proper name and not an epithet of this deity; conversely, Indra in Sanskrit and Inda in Pali are sometimes used as an epithet for Śakra as “lord”.

The Trāyastriṃśa heaven which Śakra rules is located on the top of Mount Sumeru (cf. Meru), imagined to be the polar center of the physical world, around which the Sun and Moon revolve. Trāyastriṃśa is the highest of the heavens which is in direct contact with the Earth. Like the other deities of this heaven, Śakra is long-lived but mortal. When one Śakra dies, his place is taken by another deity who becomes the new Śakra. Buddhist stories about Śakra (past or present) are found in the Jātaka stories and in several sutras, particularly in the Saṃyutta Nikāya.

Śakra is married to Sujā, (သုဇိတာ နတ္သမီး – သုဇာ = သူဇာ လို႔လည္း ေခၚပါတယ္ ဆုိပဲ)daughter of the chief of the Asuras, Vemacitrin (Pāli Vepacitti). Despite this relationship, a state of war generally exists between the Thirty-three gods and the Asuras, which Śakra manages to resolve with minimal violence and no loss of life.

Śakra is mentioned in many Buddhist sūtras, and is often shown consulting the Buddha on questions of morality. Together with Brahmā, he is considered a protector of the Buddhist religion.

Sujā (သုဇိတာ နတ္သမီး – သုဇာ = သူဇာ

One of the four wives of Magha and his maternal cousin.

When Magha’s other wives helped him in his good acts, Sujā, claiming kinship with him, spent her time in adorning herself. When Magha was born as Sakka and looked for Sujā, he found that she had been born as a crane in a mountain cave. He visited her and carried her to Tāvatimsa to show her how her companions had been born there, as a result of their good acts. He then exhorted her to keep the five precepts. This she did, eating only such fish as had died a natural death. One day, Sakka, wishing to test her, assumed the form of a fish and pretended to be dead. Just as Sujā was about to swallow the fish, it wriggled its tail and she let it go. A few days later she died, and was born as the daughter of a potter of Benares. Sakka filled a cart with treasures disguised as cucumbers and drove it through the city. When people asked him for cucumbers, he said, “I give them only to a woman who has kept the five precepts.” Sujā claimed them, and Sakka, revealing his identity, gave them to her.

Then she was reborn as the daughter of Vepacitti, king of the Asuras, a bitter enemy of Sakka. Because of her great beauty, Vepacitti granted to Sujā the boon of choosing her own husband, and Sakka, disguised as an aged Asura, came to the assembly where she was to choose. Filled with love for him, owing to their previous association, she threw the garland round the aged Asura, and when the others exclaimed that he was old enough to be her grandfather, Sakka took Sujā up into the air and declared his identity. The Asuras started in pursuit, but Mātali drove the Vejayantaratha, and Sujā was installed in Tāvatimsa as Sakka’s chief consort, at the head of twenty five million apsarases. She asked for and was granted as a boon that she should be allowed to accompany Sakka wherever he went.

Sakka (သိၾကားမင္း)

Almost always spoken of as “devānam indo,” chief (or king) of the devas.

The Samyutta Nikāya (S.i.229; DhA.i.264) contains a list of his names:

  • he is called Maghavā, because as a human being, in a former birth, he was a brahmin named Magha. (But see Magha; cf. Sanskrit Maghavant as an epithet of Indra).
  • As such he bestowed gifts from time to time, hence his name Purindada (Cf. Indra’s epithet Purandara, destroyer of cities) (generous giver in former births or giver in towns).
  • Because he gives generously and thoroughly (sakkaccam) he is known as Sakka. Sakra occurs many times in the Vedas as an adjective, qualifying gods (chiefly Indra), and is explained as meaning “able, capable.” It is, however, not found as a name in pre Buddhist times.
  • Because he gives away dwelling places (āvasatham) he is called Vāsava (But see Vāsava).
  • Because in one moment he can think of one thousand matters, he is called Sahassakkha (also Sahassanetta).
  • Because he married the Asura maiden Sujā, he is called Sujampati. For the romantic story of Sakka’s marriage, see Sujā. Thus Sujā’s father, Vepacitti, became Sakka’s father in law. Several quaint stories are related about father  and son in law. The two sometimes quarrelled and at others lived together in peace (SA.i.265).
  • Because he governs the devas of Tāvatimsa he is called Devānam Indo (See Inda).
  • Elsewhere (E.g., D.ii.270; M.i.252) Sakka is addressed as Kosiya.

Sakka rules over Tāvatimsa devaloka, the lowest heaven but one of the lower plane. His palace is Vejayanta and his chariot bears the same name. Though king of the Tāvatimsa devas, he is no absolute monarch. He is imagined rather in the likeness of a chieftain of a Kosala clan. The devas meet and deliberate in the Sudhammā sabhā and Sakka consults with them rather than issues them commands. On such occasions, the Four Regent Devas are present in the assembly with their followers of the Cātummahārājika world (See, e.g., D.ii.207f., 220f). Among the Tāvatimsa devas, Sakka is more or less primus inter pares, yet lie surpasses his companions in ten things: length of life, beauty, happiness, renown, power; and in the degree of his five sense experiences: sight, hearing, smelling, taste and touch. A.iv.242; these are also attributed to the rulers of the other deva worlds.

In the Samyutta Nikāya (S.i.228, 229, 231; cf. Mil. 90; for details of these see Magha) the Buddha gives seven rules of conduct, which rules Sakka carried out as a human being, thus attaining to his celestial sovereignty. When the devas fight the Asuras they do so under the banner and orders of Sakka. For details of Sakka’s conquest of the Asuras see Asura. The Asuras called him Jara Sakka (J.i.202). Pajāpati, Vamna and Isāna are also mentioned as having been associated with him in supreme command (S.i.219).

*16 The enemy, in this case, is his father-in law, Vepacitta. Sakka had a reputation for great forbearance. In sutta 22 a Yakkha is said to have come and to have sat on his throne, to anger him. But Sakka showed him great honour and the Yakkha vanished. The Commentary adds (S.A.i.272) that it was no Yakkha, but a Rūpāvacara Brahmā, named Kodhabhakkha, who had come to test Sakka’s patience.


These and other passages show that Sakka was considered by the early Buddhists as a god of high character, kindly and just, but not perfect, and not very intelligent. His imperfections are numerous: in spite of his very great age, (*18) he is still subject to death and rebirth (A.i.144); as an example of this, it is mentioned that Sunetta had thirty five times been reborn as Sakka (A.iv.105), a statement confirmed by the Buddha (A.iv.89). Sakka is not free from the three deadly evils –  lust, ill will, Stupidity (*22); nor is he free from anxiety. He is timid, given to panic, to fright, to running away. (*23)

Asura (အသူရာ)

In Pali Literature the Asuras are classed among the inferior deities together with the

  1. supannas,
  2. gandhabbas,
  3. yakkhas (DA.i.51),
  4. garulas and
  5. nāgas (Mil.117).

Rebirth as an Asura is considered as one of the four unhappy rebirths or evil states (apāyā), the others being niraya, tiracchānayoni and pettivisaya (E.g., It.93; J.vi.595; J.v.186; Pv.iv.11).

The fight between the Devas and the Asuras is mentioned even in the oldest books of the Tipitaka and is described in identical words in several passages (E.g., D.ii.285; S.i.222; iv.201ff; v.447; M.i.253; A.iv.432; also S.i.216ff).

A chief or king of the Asuras is often referred to as Asurinda (*), several Asuras being credited with the role of leader, most commonly, however, Vepacitti (E.g., S.i.222; iv.201ff; J.i.205) and Rahu (A.ii.17, 53; iii.243).

(*) Sakka was also called Asurinda and Asurādhipa; see, e.g., J.i.66 (Asurindena pavitthadevanagaram viya) and J.v.245, where we are told that from the time he conquered the Asuras he was called Asurādhipa.

Besides these we find Pahārāda (A.iv.197, 200) (v.l. Mahābhadda), Sambara (S.i.227), Verocana (S.i.225; probably another name for Rāhu, see DA.ii.689), Bali (D.ii.259), Sucitti (D.ii.269) and Namucī (D.ii.269).

The Asuras are spoken of as dwelling in the ocean after having been conquered by Vajira-hattha (Indra, elsewhere, [J.v.139] called Asurappamaddana) and are called Vāsava’s brethren, of wondrous powers and of great glory. They were present at the preaching of the Mahā Samaya Sutta (see DA.ii.689). Buddhaghosa says that they were all descendants of an Asura maiden named Sujātā. This cannot be the Sujātā, Vepacitti’s daughter, whom Sakka married (J.i.205-6). See also Dānavā.

Ka Thit Pan – Ko Ant Gyi ( ကိုအံ့ၾကီး – ကသစ္ပန္း )

Taken the whole page of Mr ဟယ္ရ@ ခရမ္းျပာၾကယ္စင္လိႈင္းခတ္သံမ်ား–  ကသစ္ပန္း & ပအာလမၺရာ at Harry Lwin Blogspot.com

“နတ္စည္ငယ္ေလ … ပုစြန္လက္႐ိုး … အာလမၺရာ” … ဆိုတဲ့ ဆရာၿမိဳ႕မၿငိမ္း ေရးဖဲြ႔ခဲ့တဲ့ ကသစ္ပန္း သီခ်င္းေလးကို ၾကားဖူးမယ္ ထင္ပါတယ္။

(အာလမၺရ ဆုိတာနဲ႔ ပတ္သက္လို႔ … ‎‘အာလမၺရေမေဃာ ဝိယ ထနတိ’ – အာလမၺရမုိးၾကဳိးကဲ႔သုိ႔ ထစ္ၾကဳိး၏ – ဟု ရည္ရြယ္၍ ဆုိၾကကုန္၏ .. လို႔ အနက္ရပါသတဲ့။)

ဝႆန္ကာလ မိုးက်လာၿပီ ဆုိတာနဲ႔အမွ် “အံု႔ကာေလ … တဖဲြဖဲြ … ရြာေလ တသဲသဲ” ဆိုတဲ့ အခ်ပိုဒ္ေလးနဲ႔အတူ အံု႔မိႈင္းလာတဲ့ အာကာျပင္ … ဖဲြဖဲြေလး ေစြရြာလာရာကေန ဂ်ိဳးဂ်ိဳးဂ်ိမ့္ဂ်ိမ့္ မိုးၿခိမ္းသံ၊ ထစ္ခ်ဳန္းသံေတြနဲ႔ အတူ မိုးသီးမိုးေပါက္ေတြ သြန္ၿပီးရြာခ်ေနတဲ့ မိုးေကာင္းကင္ကို မွန္းဆ ျမင္ေယာင္လာရင္း “ေဝဆာ …. သခြပ္ျဖဴပင္မင္း ေငြအဆင္းပြင့္ခ်ိန္ခါ … အသူရာ … ေဒါသထြက္လို႕ .. ျမင့္မိုရ္ထက္ကို … တက္လို႕ စစ္ဖက္တဲ့အခါ …” ဆိုတဲ့ စာသားေလးန႔ဲအတူ သိၾကားမင္းနဲ႔ အသူရာနတ္မင္းတုိ႔ စစ္ခင္းၾကပံုေတြ စိတ္ထဲမွာ ျမင္ေယာင္လာမိတယ္ဗ်။
တကယ္ေတာ့လည္း သိၾကား နဲ႔ အသူရာ ဆုိတာက တစိမ္းေတြမွ မဟုတ္တာ၊ သိၾကားမင္းရဲ႕ မိဖုရား သုဇိတာ နတ္သမီး (သုဇာ = သူဇာ လို႔လည္း ေခၚပါတယ္ ဆုိပဲ) ဟာ ေဝပစိတၱိအသူရာ နတ္မင္းႀကီးရဲ႕ ခ်စ္မၿငီးတဲ့ ရင္ႏွစ္သည္းျခာ သမီးေတာ္ ဆုိေတာ့ကာ အသူရာႀကီးက သိၾကားမင္းရဲ႕ ေယာကၡမ အရင္းေခါက္ေခါက္ႀကီးကိုး။ ဒါေပမဲ့လည္း သူတို႔ႏွစ္ေယာက္က နဂိုတည္းက မတည့္ ၾကေတာ့ စစ္ခင္းၿပီးမွ ယူထားရတဲ့ မိန္းမေလ၊ ခုိးေျပးရတာတဲ့ … အဲဒီကတည္းက မိဘ သေဘာမတူရင္ ခိုးေျပးတာ စၿပီး ေခတ္စားလာတယ္ ထင္ပါရဲ႕ဗ်ာ …။ အသူရာေတြကလည္း ယမကာလုလင္ႀကီးေတြဆိုေတာ့ မူးၿပီး ေမွာက္ေနၾကတုန္း သိၾကားမင္းတပ္ေတြက ျမင့္မိုရ္ေတာင္ေအာက္ကို တိတ္တိတ္ကေလး ပစ္ခ်ထားတာ ခံလုိက္ ရတာပါ။ အလစ္အငိုက္ ေပါ့။
အသူရာေတြဘက္က ၾကည့္မယ္ဆုိရင္လည္း မခံႏိုင္စရာပါပဲ။ စစ္ကလည္း ႐ံႈးေသး၊ ကိုယ္ေနတဲ့ ေနရာကလည္း ဖယ္ရွားခံရေသး၊ သမီးလည္း ပါသြားေသး ဆုိေတာ့ သူတို႔ကိုလည္း အျပစ္မဆိုသာဘူးေပါ့။ ဒါေတာင္ ကိုယ့္ ဆရာေတြက ခ်က္ျခင္းသိေသးတာမဟုတ္ဘူးဗ်။ မူးၿပီး ေကာင္းေနတုန္းရွိေသးတာ။ အမူးေျပလို႔ ေဝဇယႏၱာ နန္းဘံုျမင့္ဆီက ပင္လယ္ကသစ္ပင္ႀကီး ပန္းပြင့္တဲ့အခ်ိန္မွာ သဘင္ပြဲ ဆင္ႏဲႊမယ္ဆိုၿပီး ၾကည့္လုိက္ေတာ့မွ ကသစ္ပင္ႀကီးမဟုတ္ဘဲ သခြပ္ပင္ႀကီးက အျဖဴေရာင္ သခြပ္ပြင့္ ေတြကို ျမင္ေတာ့မွပဲ “ဟင္ … တာဝတႎသာလည္း မဟုတ္ပါလား” ရယ္လို႔ သိၿပီး ေဒါသအမ်က္ ေျခာင္းေျခာင္းထြက္လုိ႔ ျမင့္မိုရ္ေတာင္ေပၚတက္၊ ေဒါသတႀကီးနဲ႕ ခပ္ၾကမ္းၾကမ္း တုိက္စစ္ဆင္လိုက္တဲ့အခါ အာလိန္ငါးဆင့္ က စတုမဟာရာဇ္ နတ္မင္းႀကီး ေလးပါး ဦးေဆာင္တဲ့ နဂါး၊ ဂဠဳန္၊ ကုမၻဏ္၊ ရကၡိဳသ္ ေတြ မခံႏုိင္ေတာ့ပါဘူး။ ဒီအခါမွာ သိၾကားမင္း ကိုယ္တိုင္ ဝရဇိန္လက္နက္ကို ကိုင္စဲြလို႔ နတ္ျမင္းတစ္ေထာင္ က, တဲ့ ေဝဇယႏၱာ နတ္ရထား ကိုစီးၿပီး နတ္ဆင္ေတာ္ေတြ။ ရဲတံခြန္ေတြနဲ႔အတူ ေနနတ္သား၊ လနတ္သား၊ ဝ႐ုဏ နတ္မင္း၊ ဣသာန နတ္မင္း (မဟာပိႏၷဲနတ္ ဆိုတာ သူပါပဲတဲ့ …)၊ ပဇာပတိ နတ္မင္း တုိ႔အပါအဝင္ သံုးက်ိပ္ သံုးပါး ေသာ စစ္သူႀကီးမ်ားနဲ႕ စစ္အဂၤါေလးပါး အျပည့္အစံုခင္းက်င္းၿပီး ထြက္တုိက္ေတာ့မွ အသူရာတို႔ စစ္႐ံႈးၿပီး ျပန္ေျပးၾကရပါေတာ့တယ္။
က်ေနာ္လည္း နိဒါန္းပ်ိဳးၿပီး ေလရွည္ေနတာနဲ႔ လိုရင္းမေရာက္ေတာ့ဘူး ျဖစ္ေနၿပီ။ အဲဒီမွာမွ အာလမၺရ စည္ေတာ္က လာတာကိုးဗ်။ ဒီ စည္ေတာ္ႀကီးက ပုစြန္လက္မႀကီးနဲ႔ လုပ္ထားတာ။ အသူရာေတြရဲ႕ စည္ဗ်။ အဲဒီပဲြ မွာ စစ္႐ံႈးလုိ႔ ျပန္ေျပးေတာ့ အဲဒီ အာလမၺရ စည္ေတာ္ႀကီးပါ ပစ္ထားခဲ့ၿပီး ေသေျပးရွင္ေျပး ေျပးၾကရတယ္ ဆုိပဲ။ အဲဒါကိုေတြ႔ေတာ့ သိၾကားမင္းက ဆဲြေစ့ ထားလိုက္တာေပါ့ဗ်ာ။ သိၾကားကေတာ့ တန္သြားတာေပါ့။ သမီးလည္းရ၊ စစ္လည္းႏုိင္တဲ့အျပင္ စည္ႀကီးပါ အပိုဆု ေပါက္လိုက္ေသးတာကိုး။ မိုးၿခိမ္းသံေတြဟာ ဒီစည္ႀကီးကို တီးလိုက္တဲ့အခါ ျမည္တဲ့အသံလုိ႔ ဆုိရမွာေပါ့။
ဒီ စည္ႀကီးရဲ႕ ေနာက္ခံသမုိင္းကလည္း ဇာတ္လမ္းေလးနဲ႔ပါပဲ။ ဇာတကအ႒ကထာ၊ ဒုတိယတဲြ၊ တိကနိပါတ၊ ပဒုမဝဂၢ မွာ ပါတဲ့ ကကၠဋဇာတ္ (ဇာတ္နံပါတ္-၂၆၇)‎ ပါ။
ျမတ္စြာဘုရားရွင္ ေဇတဝန္ေက်ာင္းေတာ္မွာ သီတင္းသုံးေနေတာ္မူစဥ္က လူဆုိးေတြကို ႏူးည႔ံခ်ဳိသာစြာ ေျပာဆုိၿပီး သူတို႔ဖမ္းထားတဲ့ ‎လင္ေယာက္်ားကုိ အသက္ေဘးကေန ကယ္တင္ခဲ့တဲ့ အမ်ဳိးသမီး တစ္ေယာက္ကုိ အေၾကာင္းျပဳၿပီး ဒီအတိတ္ဇာတ္ကုိ ေဟာေတာ္မူပါသတဲ့။ အရွင္ဝရသာမိက က်ေနာ့္ကုိ အနက္ခ်ေပးထား ပါတယ္။

“လြန္ေလျပီးေသာအခါ ဗာရာဏသီျပည္၌ ျဗဟၼဒတ္မင္းႀကီး မင္းျပဳစဥ္ ဘုရားေလာင္းသည္ ဆင္မ်ဳိး၌ ‎ျဖစ္ေလသည္။ ထုိအခါ ဟိမဝႏၱာမွ `ကုဠီရ´ ေရကန္ၾကီးတြင္ ေကာက္နယ္တလင္းဝန္းခန္႔ ႀကီးေသာ ‎ေရႊပုစြန္လုံးႀကီး တေကာင္ရွိသျဖင္႔ ထုိေရကန္ထဲသုိ႔ ဆင္မ်ား မဆင္းဝံ့ၾကေခ်။
ဘုရားေလာင္းဆင္မင္းသည္ ဇနီး၊ သားႏွင့္ မိခင္ဆင္မႀကီးတုိ႔ကုိပါေခၚ၍ ထုိပုစြန္လုံးကုိ ဖမ္းရန္ထြက္လာရာ ‎ေရကန္သုိ႔ေရာက္ေသာအခါ ေရကန္ပတ္ဝန္းက်င္မွ ဆင္မ်ားကုိပါ စည္း႐ုံးေလ၏။
ထုိေနာက္ ပုစြန္လုံးအေၾကာင္းေလ႔လာရာ ပုစြန္လုံးသည္ ဆင္မ်ားေရကန္မွ ျပန္တက္ခ်ိန္တြင္သာ ‎ညႇပ္ဖမ္းေလ႔ရွိေၾကာင္း သိရေလသည္။
‎ပုစြန္လုံးကိုဖမ္းယူမည့္ေန႔တြင္ ဆင္အားလုံးတုိ႔ ေရကန္ထဲဆင္းၿပီးေနာက္ ျပန္တက္ၾကေသာအခါ ဆင္မင္းက ‎ေနာက္ဆုံးမွ ခ်န္တက္သည္။ ပုစြန္လုံးသည္ ဆင္မင္းကုိ လက္မျဖင္႔ ညႇပ္၍ ဖမ္းထားသျဖင္႔ ဆင္မင္းသည္ ‎လြတ္ေအာင္မ႐ုန္းႏုိင္ဘဲ ေနာက္ဆုံးတြင္ ေၾကာက္ေၾကာက္လန္႔လန္႔ႏွင္႔ သည္းစြာေအာ္ျမည္လုိက္ရာ ‎အျခားဆင္မ်ား ထြက္ေျပးသြားၾကေလ၏။
‎ထုိအခါ ဇနီးျဖစ္ေသာ ဆင္မက ‘သမုဒၵရာ၊ ဂဂၤါႏွင္႔ ယမုံနာ တုိ႔တြင္ ရွိၾကေသာ ပုစြန္မ်ားထက္ ျမင္႔ျမတ္ေသာ ‎ပုစြန္လံုးမင္း၊ ကၽြႏု္ပ္၏ လင္အား ခ်မ္းသာခြင္႔ေပးပါေလာ႔’ ဟု ေတာင္းပန္စကားဆုိေလ၏။
ပုစြန္သည္ ဆင္မ၏ အသံကို တပ္မက္သျဖင္႔ ဆင္မထံ အာ႐ုံေရာက္သြားရာ ညႇပ္ထားေသာ လက္မ၏ အားမ်ား ‎ေလ်ာ႔က်သြားေလသည္။
ထုိအခါ ဆင္မင္းသည္ ေျခေထာက္ကုိ ေျမႇာက္၍ ပုစြန္လုံး၏ ေက်ာက္ကုန္းကို တက္နင္းလုိက္ရာ ပုစြန္လုံးသည္ ‎ေက်ာက္ကုန္းကြဲ၍ ထုိေနရာ၌ပင္ ေသပြဲဝင္ေလ၏။ ခပ္သိမ္းကုန္ေသာ ဆင္တုိ႔သည္ စည္းေဝးကုန္၍ ပုစြန္ကုိ ‎ေရကန္၏ အျပင္သုိ႔ ထုတ္၍ ေက်ာက္ကုန္းကုိ နင္းရာ မႈန္႔မႈန္႔ညက္ညက္ ေက်ေစကုန္၏။
ထုိပုစြန္၏ ႏွစ္ခုေသာ လက္မတုိ႔ကို ကုိယ္မွခြဲ၍ ေလ်ာက္ပတ္ေသာ အရပ္၌ ထားကုန္၏။
‎ထုိ ‘ကုဠီရ’ ေရကန္သည္ ဂဂၤါျမစ္ ႏွင္႔ တဆက္တည္း ျဖစ္၏။ ဂဂၤါျမစ္၏ ေရတက္ေသာ ကာလ၌ ‎ဂဂၤါေရျဖင္႔ ျပည္႔၏။
ဂဂၤါေရ နည္းသည္ရွိေသာ္ ေရကန္မွ ေရသည္ ဂဂၤါသုိ႔ ဝင္၏။ ထုိအခါ ထုိႏွစ္ခုေသာ လက္မတုိ႔သည္ ေရ၌ ‎ေပါေလာေပၚ၍ ဂဂၤါျမစ္၌ ေမ်ာကုန္၏။
ထုိႏွစ္ခုတုိ႔တြင္ တခုေသာလက္မသည္ သမုဒၵရာ သုိ႔ ဝင္၏။
တခုေသာ လက္မကား ဒသဘာတိက မင္းတုိ႔သည္ ေရကန္၌ ကစားကုန္ေသာ္ ထုိလက္မကုိ ရကုန္၍ ‘အာဠိဂၤ’ မည္ေသာ မု႐ုိးစည္ကုိ ျပဳလုပ္ကုန္၏။
သမုဒၵရာသုိ႔ ဝင္ေသာ လက္မကား အသုရာ တုိ႔သည္ ယူကုန္၍ အာလမၺရ – မည္ေသာ စည္ကုိ ျပဳလုပ္ကုန္၏။
ထုိအသုရာတုိ႔သည္ ေနာင္ကာလ၌ သိၾကားမင္းႏွင္႔ စစ္ထုိးကုန္လတ္ေသာ္ ႐ႈံး၍ အာလမၺရ စည္ကုိ ပစ္၍ ‎ေျပးကုန္၏။
ထုိအခါ သိၾကားမင္းသည္ အာလမၺရ စည္ကုိ မိမိရဲ႕ အက်ဳိးငွာ ယူေဆာင္ေစခဲ႔၏။”

အသူရာ ဆိုတဲ့ စာလံုးေပါင္းနဲ႕ ပတ္သက္လို႔ကေတာ့ ပါဠိမူရင္းက အသုရာ ပါတဲ့ … ပိတၱာအသုရာ၊ နတ္အသုရာ ဆုိၿပီး အသုရာ ႏွစ္ပါးရွိပါသတဲ့။ အခု ဇာတ္လမ္းက အသုရာေတြကေတာ့ နတ္အသုရာေတြပါ။ သုရာ ဆုိတာ နတ္၊ ၄င္းတုိ႔ရဲ႕ ဆန္႔က်င္ဘက္ျဖစ္လုိ႔ အသုရာ မည္သည္ လုိ႔ ပါရာဇိကဏ္အ႒ကထာဂဏၭိ၊ ပ-တဲြ ကို ကိုးကားၿပီး ပါဠိသက္ ေဝါဟာရအဘိဓာန္က ဆုိပါတယ္။ ဒါေပမဲ့ အသုရာ လုိ႔ ေခၚရတာ ထက္ အသူရာ လုိ႔ဆိုရတာက အသံပိုေျပလို႔၊ ႏႈတ္သက္သာလို႔ ဥ-သရ ကိုဦ-သရ ေျပာင္းၿပီး အသူရာ ျဖစ္လာတာ လို႔ ဆုိပါတယ္။
ခ်မ္းေျမ႕ပါေစ ဗ်ာ …

ဟယ္ရီ

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