Saṃyutta Nikāya · Discourse 22.100

A Leash (2nd)

Dutiyagaddulasutta — Pupphavagga

Setting
Sāvatthī
Speakers
The Buddha, addressing the mendicants
Form
A second leash simile, then two further similes — a painting, and an artist creating a human figure
Length
Long for this vagga — three distinct images are developed in sequence
Northern parallel
No known direct parallel; the painting simile is distinctive to this discourse
Difficulty
Moderate — three separate images are packed into one discourse and reward tracking each in turn

Why this discourse

Companion to SN 22.99, but the hound no longer runs — now it simply stays beside the post whatever it does, walking, standing, sitting, or lying down. From there the discourse turns to a painting named "Conduct" and to an artist's ordinary materials, both illustrating how thoroughly the mind, once corrupted, elaborates its own future.

Reading guide

The hound that no longer circles, only stays close

Where SN 22.99's hound ran and circled, this discourse's hound "stays right beside that post or pillar" whether "walking, standing, sitting, or lying down" — a subtler image of confinement, since the hound need not move at all to remain bound.

This maps onto regarding an aggregate as "mine... I am this... this is my self": in every posture, the unlearned person "walks right beside," "stands right beside," "lies down right beside" the five grasping aggregates — bondage as constant proximity, not just as circular motion.

Checking the mind regularly

The discourse pivots to direct instruction: "you should regularly check your own mind: 'For a long time this mind has been corrupted by greed, hate, and delusion.'"

"Sentient beings are corrupted because the mind is corrupted. Sentient beings are purified because the mind is purified" — a compact statement making the mind, not external circumstance, the deciding factor in both bondage and freedom.

The painting named "Conduct," and the animal realm

The Buddha asks whether the mendicants have seen a painting named "Conduct" (Caraṇa) — evidently well known at the time — and observes: "that painting was devised by the mind, but the mind is even more diverse than that."

The same point is repeated for the animal realm itself: "I don't see any other order of beings as elaborate as the animal realm... [it was] devised by the mind, but the mind is even more diverse than that" — the visible variety of art and of animal life both offered as measures, and both found to fall short, of the mind's own inventive range.

The artist and the five aggregates

A final simile: an artist with dye, red lac, turmeric, indigo, and rose madder creates the full figure of a woman or man on a polished plank, wall, or canvas.

"In the same way, when an unlearned ordinary person generates a future life, all they generate is form, feeling, perception, choices, and consciousness" — a future rebirth painted, aggregate by aggregate, by an unexamined mind, closing into the same permanent/impermanent question and standard formula found throughout this vagga.

Key terms

gaddula — a leash, a tether — shared with SN 22.99, now illustrating constant proximity rather than circling
caraṇa — conduct, behavior — also the name of the painting referenced in this discourse
citta — mind — the single deciding factor named for both corruption and purification
saṅkilesa/vodāna — corruption / purification — the paired conditions of the mind this discourse contrasts
lākhā/haliddi/nīla/mañjeṭṭha — red lac, turmeric, indigo, and rose madder — the four dyes named in the artist's simile

The text

The second leash simile, the instruction to regularly check the mind, the painting and animal-realm similes, and the artist's portrait simile closing into the standard formula. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1At Sāvatthī. “Mendicants, this transmigration has no known beginning. No first point is found of sentient beings roaming and transmigrating, shrouded by ignorance and fettered by craving. Suppose a hound on a leash was tethered to a strong post or pillar. Whether walking, standing, sitting, or lying down, it stays right beside that post or pillar. In the same way, an unlearned ordinary person regards form like this: ‘This is mine, I am this, this is my self.’ They regard feeling … perception … choices … consciousness like this: ‘This is mine, I am this, this is my self.’ When walking, they walk right beside the five grasping aggregates. When standing … sitting … lying down, they lie down right beside the five grasping aggregates.

§2So you should regularly check your own mind: ‘For a long time this mind has been corrupted by greed, hate, and delusion.’ Sentient beings are corrupted because the mind is corrupted. Sentient beings are purified because the mind is purified.

§3Mendicants, have you seen the painting named ‘Conduct’?” “Yes, sir.” “That painting was devised by the mind, but the mind is even more diverse than that. So you should regularly check your own mind: ‘For a long time this mind has been corrupted by greed, hate, and delusion.’ Sentient beings are corrupted because the mind is corrupted. Sentient beings are purified because the mind is purified.

§4I don’t see any other order of beings as elaborate as the animal realm. The creatures in the animal realm were devised by the mind, but the mind is even more diverse than that. So you should regularly check your own mind: ‘For a long time this mind has been corrupted by greed, hate, and delusion.’ Sentient beings are corrupted because the mind is corrupted. Sentient beings are purified because the mind is purified.

§5Suppose an artist or painter had some dye, red lac, turmeric, indigo, or rose madder. And on a polished plank or a wall or a canvas they’d create the form of a woman or a man, whole in its major and minor limbs. In the same way, when an unlearned ordinary person generates a future life, all they generate is form, feeling, perception, choices, and consciousness. What do you think, mendicants?

§6Is form permanent or impermanent?” “Impermanent, sir.” “Is feeling … perception … choices … consciousness permanent or impermanent?” … “So you should truly see … Seeing this … They understand: ‘… there is nothing further for this place.’”

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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
How does the hound in this discourse differ from the hound in SN 22.99?
Correct: A. A subtler image of confinement — bondage without needing to move at all.
Question 2 of 10
In what postures does the hound stay beside the post?
Correct: A. In every posture, proximity to the post remains constant.
Question 3 of 10
What instruction does the Buddha give about checking the mind?
Correct: A. A direct, practical instruction distinct from the leash image itself.
Question 4 of 10
What determines whether sentient beings are corrupted or purified?
Correct: A. A compact statement making the mind the deciding factor in both bondage and freedom.
Question 5 of 10
What is the name of the painting the Buddha references?
Correct: A. Apparently a painting well known to the mendicants at the time.
Question 6 of 10
What does the Buddha say about the mind compared to the painting?
Correct: A. The same comparison is then repeated for the animal realm's own variety.
Question 7 of 10
What other order of beings is compared to the mind's diversity?
Correct: A. "I don't see any other order of beings as elaborate as the animal realm" — yet even that falls short of the mind's own range.
Question 8 of 10
What does the artist create in the closing simile?
Correct: A. Complete in its major and minor limbs, on a polished plank, wall, or canvas.
Question 9 of 10
What does the artist simile say an unlearned person generates for a future life?
Correct: A. A future rebirth painted, aggregate by aggregate, by an unexamined mind.
Question 10 of 10
How does this discourse close?
Correct: A. The three similes all lead into the collection's familiar closing sequence.
Answered 0 of 10 · Correct 0