1:1 The Snake · 莲华归心开放中文佛学资料库

- suttas - - evening talks - short morning talks - lectures - guided meditations - talk collections - other themes - chants - - - - à¹à¸à¸¢ - Franā§ais - Espaā±ol - - Portuguāªs - Ð ÑÑÑÐºÐ¸Ð¹ - - - Ð£ÐºÑÐ°ÑÐ½ÑÑÐºÐ° Submit Search - Home - Suttas - KN - Sn - Sn 1:1 The Snake ## Browse Suttas Go to Sutta Nipṅta index Sn index Show outline show outline ## Outline - (Top) - Sn 1:1 The Snake - Sn 1:2 Dhaniya the Cattleman - Sn 1:3 A Rhinoceros - Sn 1:4 To Kasi Bhṅradvṅja - Sn 1:5 Cunda - Sn 1:6 Decline - Sn 1:7 An Outcaste - Sn 1:8 Goodwill - Sn 1:9 Hemavata - Sn 1:10 ṅḍavaka - Sn 1:11 Victory - Sn 1:12 The Sage const prefersTocHidden = window.sessionStorage.getItem('user-prefers-toc-hidden') ?? window.localStorage.getItem('user-prefers-toc-hidden') ?? false; if (prefersTocHidden) { const tocToggleButton = document.getElementById("tocToggle"); const bookToc = document.getElementById("bookToc"); bookToc.classList.remove("show"); tocToggleButton.setAttribute("aria-expanded", false); tocToggleButton.querySelectorAll("[data-show-text]").forEach(el => { el.setAttribute("data-hide-text", el.innerText); el.innerText = el.getAttribute("data-show-text"); }); } ## 1:1 Â The Snake Alternative versions of this poem—a Sanskrit version included in the Udṅnavarga, and a Gṅndhṅrī version included in the Gṅndhṅrī Dharmapada—have many of the same verses included here, but arranged in a different order. This suggests that the verses originally may have been separate poems, spoken on separate occasions, and that they were gathered together because they share the same refrain. The monk who subdues his arisen anger as, with herbs, snake-venom once it has spread, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who has cut off passion without leaving a trace, as he would, plunging into a lake, a lotus, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who has cut off craving without leaving a trace, drying up the swift-flowing flood,1 sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who has uprooted conceit without leaving a trace, as a great flood, a very weak bridge made of reeds, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk seeing in states of becoming no essence, as he would, when examining fig trees, no flowers, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk with no inner anger, who has thus gone beyond becoming & not-, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk whose discursive thoughts are dispersed, well-dealt with inside without leaving a trace, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who hasnât slipped past or held back,2 transcending all this objectification,3 sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who hasnât slipped past or held back, knowing with regard to the world that "All this is unreal," sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who hasnât slipped past or held back, without greed, as "All this is unreal," sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who hasnât slipped past or held back, without aversion, as "All this is unreal," sloughs off the near shore & far— as a snake, its decrepit old skin. The monk who hasnât slipped past or turned back, without delusion, as "All this is unreal," sloughs off the near shore & far— as a snake, its decrepit old skin. The monk in whom there are no obsessions4 —the roots of unskillfulness totally destroyed— sloughs off the near shore & far— as a snake, its decrepit old skin. The monk in whom thereâs nothing born of disturbance5 that would lead him back to this shore, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk in whom thereâs nothing born of the underbrush6 that would act as a cause for binding him to becoming, sloughs off the near shore & far— as a snake, its decrepit old skin. The monk whoâs abandoned five hindrances, who, untroubled, de-arrowed,7 has crossed over doubt, sloughs off the near shore & far— as a snake, its decrepit old skin. vv. 1–17 Notes 1. On craving as a flooding river, see DhpÂ 251, 337, 339–340, and 347. 2. See ItiÂ 49. 3. On objectification, see Sn 4:11, note 4, and the introduction to MNÂ 18. 4. The seven obsessions, listed in ANÂ 7:11, are: sensual passion, resistance, views, uncertainty, conceit, passion for becoming, and ignorance. The relationship of three of these obsessions—the first two and the last—to the three types of feeling is discussed in MNÂ 44. 5. Daratha. For a detailed description of the subtleties of disturbance, see MNÂ 121. 6. Underbrush stands for desire. See DhpÂ 344. 7. The arrow can stand for becoming, craving, or grief. See SNÂ 36:6, Sn 3:8, Sn 4:15, DhpÂ 351, ThagÂ 6:13, ThigÂ 3:5, and ThigÂ 6:1. - --> - - - -