Saṃyutta Nikāya · Discourse 46.55

With Saṅgārava

Saṅgāravasutta — Sākacchavagga

Setting
Sāvatthī
Speakers
Saṅgārava the brahmin, questioning the Buddha directly
Form
A practical question, answered with five matched similes for the five hindrances and their own absence, closing with the seven awakening factors and a conversion
Length
4-5 minutes to read
Northern parallel
No individual parallel confirmed by this project's own check
Difficulty
★★★★☆ — one of the canon's own most celebrated and frequently cited similes

Why this discourse

A brahmin named Saṅgārava asks a genuinely ordinary question — why do memorized hymns sometimes refuse to come to mind, while unrehearsed ones sometimes spring up easily? — and receives one of the canon's own most beloved answers: five vivid images of a bowl of water, each corrupted in a way matching one of the five hindrances, unable to reflect a clear image; and five matching images of clear water, reflecting perfectly, when each hindrance is absent.

Reading guide

Five hindrances, five precisely matched corruptions of water

Confirmed by close reading, each hindrance receives its own specifically apt image: sensual desire, water dyed with color (distorting what is seen through desire's own coloring); ill will, boiling water (turbulent with aversion's own heat); dullness and drowsiness, water overgrown with moss (obscured, stagnant); restlessness and remorse, wind-stirred water (churning, unable to settle); and doubt, muddy water in darkness (murky, impossible to see through at all).

A practical, secular question given a spiritual answer

Saṅgārava's own question is not framed in explicitly religious terms — he asks about memorizing hymns, an ordinary brahmanical concern — yet the discourse's own answer reframes the issue entirely in terms of the five hindrances, confirming that even everyday cognitive difficulties trace back, in this teaching's own account, to the same five obstructions relevant to meditative practice.

A conversion completing the discourse

As with SN 46.6's own Kuṇḍaliya, this discourse closes with Saṅgārava's own declaration of taking refuge for life — confirming that the practical, almost mundane opening question leads, by the discourse's own own end, to a genuine change of allegiance.

Key terms

chandena abhibhūtena pariyādinnacittena — “overcome and mired in sensual desire” — the discourse's own recurring formula, applied in turn to each of the five hindrances
rajanena āvilaṁ — “mixed with dye” — the specific corrupted-water image matched to sensual desire, using red lac, turmeric, indigo, or rose madder
agginā santattaṁ ubbuḷḷakajātaṁ — “heated by fire, boiling and bubbling” — the image matched to ill will, turbulent with aversion's own heat
sevālapaṇakapariyonaddhaṁ — “overgrown with moss and aquatic plants” — the image matched to dullness and drowsiness, stagnant and obscured
āvilaṁ luḷitaṁ āvaṭṭaṁ — “cloudy, murky, and muddy, hidden in the darkness” — the image matched to doubt, impossible to see through at all

The text

Every genuinely translated fragment of this discourse, all five matched similes in full, both mired and clear. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1 — the settingAt Sāvatthī. Then Saṅgārava the brahmin went up to the Buddha, and exchanged greetings with him. When the greetings and polite conversation were over, he sat down to one side and said to the Buddha:

§2 — Saṅgārava's own question“What is the cause, Mister Gotama, what is the reason why sometimes even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed? And why is it that sometimes even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed?”

§3-4 — sensual desire, dyed water“Brahmin, there’s a time when your heart is overcome and mired in sensual desire and you don’t truly understand the escape from sensual desire that has arisen. At that time you don’t truly know or see what is good for yourself, good for another, or good for both. Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. Suppose there was a bowl of water that was mixed with dye such as red lac, turmeric, indigo, or rose madder. Even a person with clear eyes checking their own reflection wouldn’t truly know it or see it. In the same way, when your heart is overcome and mired in sensual desire … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed.

§5-6 — ill will, boiling waterFurthermore, when your heart is overcome and mired in ill will … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. Suppose there was a bowl of water that was heated by fire, boiling and bubbling. Even a person with clear eyes checking their own reflection wouldn’t truly know it or see it. In the same way, when your heart is overcome and mired in ill will … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed.

§7-8 — dullness and drowsiness, moss-covered waterFurthermore, when your heart is overcome and mired in dullness and drowsiness … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. Suppose there was a bowl of water overgrown with moss and aquatic plants. Even a person with clear eyes checking their own reflection wouldn’t truly know it or see it. In the same way, when your heart is overcome and mired in dullness and drowsiness … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed.

§9-10 — restlessness and remorse, wind-stirred waterFurthermore, when your heart is overcome and mired in restlessness and remorse … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. Suppose there was a bowl of water stirred by the wind, churning, swirling, and rippling. Even a person with clear eyes checking their own reflection wouldn’t truly know it or see it. In the same way, when your heart is overcome and mired in restlessness and remorse … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed.

§11-12 — doubt, muddy water in darknessFurthermore, when your heart is overcome and mired in doubt … Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. Suppose there was a bowl of water that was cloudy, murky, and muddy, hidden in the darkness. Even a person with clear eyes checking their own reflection wouldn’t truly know it or see it. In the same way, there’s a time when your heart is overcome and mired in doubt and you don’t truly understand the escape from doubt that has arisen. At that time you don’t truly know or see what is good for yourself, good for another, or good for both. Even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed. This is the cause, brahmin, this is the reason why sometimes even hymns that are long-rehearsed don’t spring to mind, let alone those that are not rehearsed.

§13-22 — the reverse: five clear waters, when each hindrance is absentThere’s a time when your heart is not overcome and mired in sensual desire and you truly understand the escape from sensual desire that has arisen. At that time you truly know and see what is good for yourself, good for another, and good for both. Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Suppose there was a bowl of water that was not mixed with dye such as red lac, turmeric, indigo, or rose madder. A person with clear eyes checking their own reflection would truly know it and see it. In the same way, when your heart is not overcome and mired in sensual desire … Even hymns that are long-unpracticed spring to mind, let alone those that are practiced. Furthermore, when your heart is not overcome and mired in ill will … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Suppose there is a bowl of water that is not heated by a fire, boiling and bubbling. A person with clear eyes checking their own reflection would truly know it and see it. In the same way, when your heart is not overcome and mired in ill will … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Furthermore, when your heart is not overcome and mired in dullness and drowsiness … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Suppose there is a bowl of water that is not overgrown with moss and aquatic plants. A person with clear eyes checking their own reflection would truly know it and see it. In the same way, when your heart is not overcome and mired in dullness and drowsiness … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Furthermore, when your heart is not overcome and mired in restlessness and remorse … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Suppose there is a bowl of water that is not stirred by the wind, churning, swirling, and rippling. A person with clear eyes checking their own reflection would truly know it and see it. In the same way, when your heart is not overcome and mired in restlessness and remorse … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Furthermore, when your heart is not overcome and mired in doubt … Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. Suppose there was a bowl of water that was transparent, clear, and unclouded, brought into the light. A person with clear eyes checking their own reflection would truly know it and see it. In the same way, there’s a time when your heart is not overcome and mired in doubt and you truly understand the escape from doubt that has arisen. At that time you truly know and see what is good for yourself, good for another, and good for both. Even hymns that are long-unrehearsed spring to mind, let alone those that are rehearsed. This is the cause, brahmin, this is the reason why sometimes even hymns that are long-unrehearsed do spring to mind, let alone those that are rehearsed.

§23-24 — the seven awakening factors, and Saṅgārava's own conversionThese seven awakening factors are not obstacles, hindrances, or corruptions of the mind. When developed and cultivated they lead to the realization of the fruit of knowledge and freedom. What seven? The awakening factors of mindfulness, investigation of principles, energy, rapture, tranquility, immersion, and equanimity. These seven awakening factors are not obstacles, hindrances, or corruptions of the mind. When developed and cultivated they lead to the realization of the fruit of knowledge and freedom.” When he said this, Saṅgārava said to the Buddha, “Excellent, worthy Gotama! … From this day forth, may the worthy Gotama remember me as a lay follower who has gone for refuge for life.”

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Self-check quiz

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

Question 1 of 3
What ordinary question does Saṅgārava the brahmin ask, framed in non-religious terms?
Correct: A. A practical, everyday cognitive concern, reframed entirely in terms of the five hindrances.
Question 2 of 3
What water image is matched to dullness and drowsiness?
Correct: A. Each of the five hindrances receives its own precisely apt corrupted-water image.
Question 3 of 3
How does this discourse close?
Correct: A. A genuine conversion, echoing the pattern already met at SN 46.6 with Kuṇḍaliya.
Answered 0 of 3 · Correct 0