We are being offered yet another version of the
Dhammapada, this time not a new translation or even the more common rehash by someone who knows
no Pali of someone else’s rehash who knew no Pali either, but an “interpretation”.
According to the blurb on Tai Sheridan’s The Bare
Bones Dhammapada, the original text is “burdened by the stylistic and
conceptual dust of the early and middle ages” and this new version “strips the
Dhammapada of monasticism, literalness, chauvinism, anachronisms, and concepts
of evil, shame, and sensual denial. It presents the path of wisdom as
universal truths for a contemporary audience of any gender, lifestyle, or
spiritual inclination”. No it doesn’t!
All it does is offer cryptic verses, some of which are actually quite
poetic, but that in no way reflect either the Buddha’s words or intent.
For example the Buddha of both the Pali Theravada
and the Sanskrit Mahayana sutras was disparaging of dancing while Tai Sheridan
apparently enjoys it and therefore Dhammapada verse 16 can be rendered as “do
good dance joyfully”. Tai loves partying
and is convinced the Buddha did too, hence verse 18 can be rendered as
“do good throw a party on the path sing and dance.” All this renders the
Dhammapada unfamiliar to anyone who knows it. What is very familiar about The Bare Bones Dhammapada is the assumption
underlying it: “I happen to believe in and like (fill in
the gap) and that’s what the Buddha taught.”
Hemmingway’s comment on punctuation
could apply equally well to translating or even paraphrasing other peoples work,
especially classics such as the Dhammapada. “My attitude toward
punctuation is that it ought to be as conventional as possible. The game of
golf would lose a good deal if croquet mallets and billiard cues were allowed on
the putting green. You ought to be able to show that you can do it a good deal
better than anyone else with the regular tools before you have a license to
bring in your own improvements.”