Saṃyutta Nikāya · Discourse 5.4

With Vijayā

Vijayāsutta

Setting
At Sāvatthī, at the root of a tree, for the day's meditation
Speakers
The nun Vijayā and Māra the Wicked
Form
A direct romantic overture, met by a three-stanza rebuttal spanning sensory rejection, bodily meditation, and a claim beyond even the formless realms
Length
~1.5 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
★★★☆☆ — the most directly romantic tactic Māra attempts anywhere in this collection

Why this discourse

Unlike this saṃyutta's earlier discourses, Māra here doesn't mock grief, doubt capability, or claim escape is impossible; he attempts direct seduction, presenting himself as a handsome young man inviting Vijayā to enjoy music together. Her three-stanza reply moves outward in scope: first handing the five sense pleasures directly back to him as useless to her, then meditating explicitly on the body's decay, and finally claiming to have dispelled confusion about even the most refined meditative attainments, the realms of luminous form and formlessness.

Reading guide

Seduction, not mockery or doubt

This discourse's tactic is distinct from Māra's approach elsewhere in this saṃyutta: rather than attacking Vijayā's capability, grief, or the possibility of escape, he presents himself as an attractive peer offering companionship and music — flattery and invitation rather than challenge.

The senses handed back, not merely refused

Vijayā's first stanza doesn't simply state disinterest in sights, sounds, tastes, smells, and touches; it ‘hands them right back to’ Māra specifically, an active image of return rather than passive rejection — the sense pleasures framed as belonging to Māra's domain to begin with.

The body's decay meditated on directly

The second stanza turns explicitly to physical repulsion — the body as rotting, decaying, frail — a traditional meditation object (asubha, the unattractive) named and applied directly against the very premise of Māra's romantic approach.

A claim extending beyond sensual rejection entirely

The verse's final stanza reaches further than refusing seduction: it claims to have dispelled darkness ‘regarding all such peaceful attainments’, naming the realms of luminous form and the formless explicitly — rejecting not just sensuality but confusion about even the most subtle meditative states beyond it.

A scope this saṃyutta will echo again

The specific naming of luminous-form and formless realms recurs almost identically at SN 5.6, suggesting this particular doctrinal point — that even refined meditative attainments can still be a subtle trap if misunderstood — mattered enough to this saṃyutta's compilers to state more than once.

Key terms

Vijayā — “Vijayā” — the nun this discourse follows, answering Māra's direct romantic overture.
pañcaṅgika turiya — “the music of a five-piece band” — the specific entertainment Māra invites her to share, part of his seduction attempt.
asubha — “unattractive, repulsive” — the traditional meditation theme on the body's decay Vijayā applies directly.
rūpūpaga — “gone to (fine-material) form” — one of the refined meditative attainments the verse's final stanza claims to have moved beyond confusion about.
arūpaṭṭhāyī — “established in the formless” — the other refined attainment named, alongside form, in the verse's closing claim.

The text

The discourse in full: Māra's direct seduction attempt and Vijayā's three-stanza rebuttal. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1At Sāvatthī. Then the nun Vijayā robed up in the morning … and sat at the root of a tree for the day’s meditation. Then Māra the Wicked, wanting to make the nun Vijayā feel fear, terror, and goosebumps, wanting to make her fall away from immersion, went up to her and addressed her in verse:

§2“You’re so young and beautiful, and I’m a youth in my prime. Come, my lady, let us enjoy the music of a five-piece band.”

§3Then the nun Vijayā thought, “Who’s speaking this verse, a human or a non-human?” Then she thought, “This is Māra the Wicked, wanting to make me feel fear, terror, and goosebumps, wanting to make me fall away from immersion!” Then Vijayā, knowing that this was Māra the Wicked, replied to him in verse:

§4“Sights, sounds, tastes, smells, and touches so delightful. I hand them right back to you, Māra, for I have no use for them. This body is rotting, decaying and frail. I’m horrified and repelled by it, and I’ve eradicated sensual craving. There are beings in the realm of luminous form, and others stuck in the formless. I’ve destroyed the darkness regarding all such peaceful attainments.”

§5Then Māra the Wicked, thinking, “The nun Vijayā knows me!” miserable and sad, vanished right there.

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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 tactic does Māra use in this discourse, distinct from his approach elsewhere in this saṃyutta?
Correct: A. Flattery and invitation rather than challenge or doubt.
Question 2 of 10
What does Vijayā's first stanza do with the five sense pleasures?
Correct: A. An active image of return, not merely passive disinterest.
Question 3 of 10
What does Vijayā's second stanza meditate on directly?
Correct: A. A traditional meditation on the unattractive (asubha), applied directly against Māra's romantic approach.
Question 4 of 10
What does the verse's final stanza claim to have dispelled confusion about?
Correct: A. Extending beyond sensual rejection to confusion about subtle meditative states as well.
Question 5 of 10
What does this final claim suggest about even refined meditative attainments?
Correct: A. A doctrinal point about confusion regarding subtle states, not merely gross sensuality.
Question 6 of 10
Where else in this saṃyutta does similar language about luminous form and the formless recur?
Correct: A. Suggesting this doctrinal point mattered enough to state more than once.
Question 7 of 10
What music does Māra invite Vijayā to enjoy?
Correct: A. Part of the specific romantic invitation Māra offers.
Question 8 of 10
Where is this discourse set?
Correct: A. The same general setting shared with several other discourses in this saṃyutta.
Question 9 of 10
How does Vijayā describe her elimination of sensual craving?
Correct: A. Stated as a completed fact within her second stanza.
Question 10 of 10
How does Māra's closing thought in this discourse read?
Correct: A. Following this saṃyutta's pattern of crediting the specific nun by name.
Answered 0 of 10 · Correct 0