Saṃyutta Nikāya · Discourse 11.22

Ugly

Dubbaṇṇiyasutta

Setting
Sāvatthī — the Buddha narrating a story from the world of the gods
Speakers
The Buddha, addressing the mendicants; within the story, the gods of the Thirty-Three and Sakka
Form
An allegorical fable dramatizing SN 11.21's teaching, closed with Sakka's own verse
Length
~3.5 minutes to read
Northern parallel
A rough counterpart may exist in the Chinese Saṃyukta-āgama (T99), though this reading guide does not assert a specific matching sutra number
Difficulty
★★☆☆☆ — a vivid fable that rewards reading alongside SN 11.21

Why this discourse

An ugly, deformed spirit sits down uninvited on Sakka's own throne, and the gods of the Thirty-Three react exactly as expected — with outrage and complaint. But the more they complain, the more attractive and lovely the spirit becomes, until Sakka recognizes what's happening: this is the anger-eating spirit, one that literally feeds and grows on hostility directed at it. Rather than joining the complaints, Sakka approaches with humility, kneels, and simply announces his own identity three times — and with each calm, undefensive repetition, the spirit shrinks and uglies, until it vanishes altogether.

Reading guide

A teaching dramatized, not merely explained

Where SN 11.21 states the value of killing anger directly, this discourse turns the same idea into a vivid, almost fairy-tale scene, with an actual creature whose growth and shrinkage make the abstract point concrete and visible.

A reaction that makes the problem worse

The gods' complaints aren't neutral or ineffective; the text states explicitly that the spirit becomes more attractive the more they object — their own hostility is what's actively feeding what they're trying to reject.

A diagnosis that names the mechanism directly

Sakka doesn't simply guess at a solution; he correctly identifies the spirit's actual nature — an anger-eating spirit — understanding the specific mechanism before choosing how to respond to it.

Humility as the literal antidote, not just good advice

Sakka's response isn't a lecture to the other gods about controlling their tempers; it's a physical demonstration — kneeling, cupped palms, calmly announcing his own name — that directly and visibly starves the spirit until it disappears.

A closing verse that models the mechanism as personal practice

Sakka's final verse doesn't just describe what happened; it generalizes into his own standing character — not easily upset, anger not lasting, restraint maintained even when angry — turning the fable's lesson into an ongoing personal discipline.

Key terms

dubbaṇṇo okoṭimako — “ugly and deformed” — the spirit's described appearance, central to the fable's visual logic.
yathā yathā… ujjhāyanti… tathā tathā so yakkho abhirūpataro — “the more the gods complained… the more attractive that spirit became” — the fable's central mechanic, growing on hostility.
kodhabhakkho yakkho — “the anger-eating spirit” — Sakka's diagnosis, naming exactly what the spirit is and how it feeds.
tikkhattuṁ nāmaṁ sāveti — “pronounced his name three times” — Sakka's calm, humble counter-action, replacing complaint with simple, undefensive self-identification.
na sūpahatacittomhi… kodho mayi nāvatiṭṭhati — “my mind isn't easily upset… anger doesn't last in me” — Sakka's closing self-description, generalizing the fable into personal practice.

The text

The discourse in full. A short passage of dialogue is elided in the source (marked by peyyāla) and not reconstructed here. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1“Once upon a time, mendicants, there was a native spirit who was ugly and deformed. He sat on the throne of Sakka, lord of gods. But the gods of the thirty-three complained, grumbled, and objected, ‘Oh lord, how incredible, how amazing! This ugly and deformed spirit is sitting on the throne of Sakka, the lord of gods.’ But the more the gods complained, the more attractive, good-looking, and lovely that spirit became.

§2So the gods went up to Sakka and told him what had happened. Indra replied, ‘Surely, good fellow, that must be the anger-eating spirit!’

§3Then Sakka went up to that spirit, arranged his robe over one shoulder, knelt with his right knee on the ground, raised his cupped palms toward the anger-eating spirit, and pronounced his name three times: ‘Good fellow, I am Sakka, lord of gods! Good fellow, I am Sakka, the lord of gods!’ But the more Sakka pronounced his name, the uglier and more deformed the spirit became, until eventually it vanished right there.

§4‘My mind isn’t easily upset; I’m not easily drawn into the maelstrom. I don’t get angry for long, anger doesn’t last in me. When I do get angry I don’t speak harshly, nor do I advertise my own virtues. I carefully restrain myself out of regard for my own welfare.’”

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Self-check quiz

Ten questions. Click an answer to see immediate feedback. No score is recorded — this is for your own checking.

Question 1 of 10
What happens at the discourse's opening?
Correct: A. The scene that sets the fable's allegory in motion.
Question 2 of 10
How do the gods of the Thirty-Three initially react to this spirit?
Correct: A. An expected reaction that turns out to have an unexpected effect.
Question 3 of 10
What happens to the spirit as the gods' complaints continue?
Correct: A. The fable's central, counterintuitive mechanic.
Question 4 of 10
What does Sakka correctly identify the spirit as?
Correct: A. A diagnosis naming the specific mechanism at work.
Question 5 of 10
How does Sakka approach the spirit, in contrast to the other gods' complaints?
Correct: A. A physical demonstration of restraint rather than a lecture.
Question 6 of 10
What happens to the spirit as Sakka repeats his calm self-identification?
Correct: A. The direct opposite effect of the gods' earlier complaints.
Question 7 of 10
How does this discourse relate to SN 11.21?
Correct: A. Turning an abstract statement into a concrete, visible story.
Question 8 of 10
What does Sakka's closing verse describe about his own character?
Correct: A. Generalizing the fable's lesson into an ongoing personal discipline.
Question 9 of 10
According to Sakka's verse, what does he do even when he does get angry?
Correct: A. Restraint maintained even when anger does briefly arise.
Question 10 of 10
Where does the Buddha narrate this story to the monks?
Correct: A. The consistent setting across most of this saṃyutta's discourses.
Answered 0 of 10 · Correct 0