user5442: I am reading Majjhima Nikaya from the translation by Bhikkhu Nanamoli and Bhikkhu Bodhi. In this book, each sutta is divided into several numerical sections. Each section consists of one or a few paragraphs. Now Bhikkhu Bodhi writes in the Preface that the numerical sections were introduced by Ven. Nanamoli and are not found in the original Pali manuscripts. I wonder whether the paragraphs also are modern creations or are actually found in the Pali manuscripts. In the case of collections of verses like Dhammapada or Udana, it is easy to separate them in old palm-leaf manuscripts. But in case of prose treatises like Majjhima Nikaya or Digha Nikaya, how the paragraphs were separated traditionally?

user13709: The Dhamma was traditionally spoken, heard, memorized and recited in unison. It was written down and organized later.
Bhante Sujato has a very useful overview of the challenge of organizing the Dhamma throughout the ages. Notably, Bhante Sujato has himself chosen to organize the Tipitaka into numbered segments, which allows translations to be matched up with their root sources verse by verse.

user471: The Pali suttas were initially transmitted by oral tradition. The composition is in a poetic form, using mnemonic formulae for memorization and recitation. The recitation would have also served a ritualistic or ceremonial purpose. Even the tradition says that in the First Buddhist Council, Ananda and Upali recited the suttas and the vinaya.
So, the answer is that the textual structure of the Pali suttas is irrelevant because they were originally transmitted orally. What is more important is the "oral" structure of the Pali suttas i.e mnemonic formulae.
Please see "Pali Oral Literature" by L.S. Cousins. I quote below:

Early Buddhist literature is an oral literature. Such a literature is
not without its own characteristic features. A widespread use of
mnemonic formulae is one of the most typical of these. I would refer
to the considerable body of research on the nature of oral epic
poetry. In such poetry the formulae are used both as an aid to actual
performance and to maintain the continuity and form of the epic
tradition.
Both these features are certainly present in the sutta literature. In
the first place many suttas are clearly designed for chanting. We
should assume that, then as now, their chanting would produce a great
deal of religious emotion - the pamojja and piti-somanassa of the
texts. The difference of course would be that the language of the
suttas would still be directly comprehensible to the hearers. In these
circumstances suttas would be chanted by individual monks both for
edification and for enjoyment. We may compare the recitations
attributed to Ananda and Upali in accounts of the First Council. In
practice they would have to be tailored to the needs of the particular
situation ~ shortened or lengthened as required. An experienced
chanter would be able to string together many different traditional
episodes and teachings so as to form a coherent, profound and moving
composition.


user14789: The people at the PTS also divided each sutta in paragraphs, but not numbered.
The pali text they work on is this
https://obo.genaud.net/dhamma-vinaya/pts_pali/mn/mn.2.077-106.pts_pali.htm
where there are already paragraphs
It is really the work of the each translator to find the beginning and end of a paragraph. it is not from a tradition.
THe palm leaf itself does not have any paragrpah, like here
EAP1150/1/77/4: Aggikkhandhopama-sutta pāli Description: A canonical text of the discourse of the Buddha warning the monks against sensual pleasures. The text originally belongs to Aṅguttaranikāya collection. Extent: ka [330] - ke [338]. Scribe(s): Monk Varananda. Additional date information: Copied c. 1804
https://eap.bl.uk/archive-file/EAP1150-1-77

5442: <p>I am reading Majjhima Nikaya from the translation by Bhikkhu Nanamoli and Bhikkhu Bodhi. In this book, each sutta is divided into several numerical sections. Each section consists of one or a few paragraphs. Now Bhikkhu Bodhi writes in the Preface that the numerical sections were introduced by Ven. Nanamoli and are not found in the original Pali manuscripts. I wonder whether the paragraphs also are modern creations or are actually found in the Pali manuscripts. In the case of collections of verses like Dhammapada or Udana, it is easy to separate them in old palm-leaf manuscripts. But in case of prose treatises like Majjhima Nikaya or Digha Nikaya, how the paragraphs were separated traditionally?</p>
 13709: <p>The Dhamma was traditionally spoken, heard, memorized and recited in unison. It was written down and organized later.</p>
<p>Bhante Sujato has a very <a href="https://suttacentral.net/general-guide-sujato#item5" rel="nofollow noreferrer">useful overview</a> of the challenge of organizing the Dhamma throughout the ages. Notably, Bhante Sujato has himself chosen to organize the Tipitaka into numbered segments, which allows translations to be matched up with their root sources verse by verse.</p>
 471: <p>The Pali suttas were initially transmitted by oral tradition. The composition is in a poetic form, using mnemonic formulae for memorization and recitation. The recitation would have also served a ritualistic or ceremonial purpose. Even the tradition says that in the First Buddhist Council, Ananda and Upali recited the suttas and the vinaya.</p>
<p>So, the answer is that the textual structure of the Pali suttas is irrelevant because they were originally transmitted orally. What is more important is the &quot;oral&quot; structure of the Pali suttas i.e mnemonic formulae.</p>
<p>Please see &quot;<a href="http://www.ahandfulofleaves.org/documents/Articles/Pali%20Oral%20Literature_BSAM_Cousins_1983.pdf" rel="nofollow noreferrer">Pali Oral Literature</a>&quot; by L.S. Cousins. I quote below:</p>
<blockquote>
<p>Early Buddhist literature is an oral literature. Such a literature is
not without its own characteristic features. A widespread use of
mnemonic formulae is one of the most typical of these. I would refer
to the considerable body of research on the nature of oral epic
poetry. In such poetry the formulae are used both as an aid to actual
performance and to maintain the continuity and form of the epic
tradition.</p>
<p>Both these features are certainly present in the sutta literature. In
the first place many suttas are clearly designed for chanting. We
should assume that, then as now, their chanting would produce a great
deal of religious emotion - the pamojja and piti-somanassa of the
texts. The difference of course would be that the language of the
suttas would still be directly comprehensible to the hearers. In these
circumstances suttas would be chanted by individual monks both for
edification and for enjoyment. We may compare the recitations
attributed to Ananda and Upali in accounts of the First Council. In
practice they would have to be tailored to the needs of the particular
situation ~ shortened or lengthened as required. An experienced
chanter would be able to string together many different traditional
episodes and teachings so as to form a coherent, profound and moving
composition.</p>
</blockquote>
 14789: <p>The people at the PTS also divided each sutta in paragraphs, but not numbered.
The pali text they work on is this
<a href="https://obo.genaud.net/dhamma-vinaya/pts_pali/mn/mn.2.077-106.pts_pali.htm" rel="nofollow noreferrer">https://obo.genaud.net/dhamma-vinaya/pts_pali/mn/mn.2.077-106.pts_pali.htm</a>
where there are already paragraphs</p>
<p>It is really the work of the each translator to find the beginning and end of a paragraph. it is not from a tradition.
THe palm leaf itself does not have any paragrpah, like here</p>
<p>EAP1150/1/77/4: Aggikkhandhopama-sutta pāli Description: A canonical text of the discourse of the Buddha warning the monks against sensual pleasures. The text originally belongs to Aṅguttaranikāya collection. Extent: ka [330] - ke [338]. Scribe(s): Monk Varananda. Additional date information: Copied c. 1804
<a href="https://eap.bl.uk/archive-file/EAP1150-1-77" rel="nofollow noreferrer">https://eap.bl.uk/archive-file/EAP1150-1-77</a></p>
