Theragatha · 11.1

Saṅkicca

Saṅkicca — The Book of the Elevens · Chapter One · Poem 1 of 1

Setting
A forest in the monsoon rains, opening as dialogue
Speaker
Two voices: an unnamed questioner, and Saṅkicca answering at length
Form
Eleven four-line verses, the entire content of this book
Length
under 1 minute to read
Northern parallel
This reading guide does not assert a specific matching text for this poem in other Buddhist literatures.
Difficulty
★★☆☆☆ — vivid imagery, one of this collection's most quoted closing verses

Why this text

‘What good does it do you to be in the grove, my dear? You're like a little bird in the monsoon!’ a voice asks Saṅkicca — and his answer, across ten verses of forest imagery and fearless solitude, arrives at one of the most widely quoted lines anywhere in the Theragātha: ‘I don't long for death; I don't long for life; I await my time, like a worker waiting for their wages,’ repeated with only its final line changed, closing this book's only poem twice over.

Reading guide

A question posed with real concern, not hostility

The poem opens as dialogue: someone — addressing Saṅkicca as ‘tāta’, ‘dear’ or ‘my child’, a term of affection — asks why he stays exposed to the monsoon rains like ‘a little bird’, when the city of Verambhā would offer comfort instead. This isn't a hostile challenge but a real question about hardship, voiced with concern.

A pun turning the questioner's own image against the city

Saṅkicca's reply in the second verse plays on the questioner's own word: just as the wind at Verambhā scatters the monsoon clouds, so ‘the city scatters my perception of seclusion’. The city offered as refuge from harsh weather is reframed as itself the greater danger — not to comfort, but to the very state of mind he's cultivating.

A crow in a charnel ground, prompting mindfulness

The third verse's image is unusual even within this collection's body-contemplation poems: not a corpse directly observed, but ‘the crow whose abode is the charnel ground’ itself — the scavenger, not the scavenged — rousing ‘mindfulness, based on dispassion for the body’. A single glimpsed bird becomes the occasion for reflection, without any corpse needing to be present at all.

A verse shared with a story told to a king

Sujato's comment on the fourth verse notes a nearly identical verse in Ja 10, there addressed to a king rather than a monk — and observes that the Jātaka's clearly vocative grammar (addressing ‘O king’ directly) supports reading this poem's own ‘bhikkhu’ the same way, as a direct address to the mendicant, against the traditional commentary's different grammatical reading. This reading guide records the textual question as Sujato states it, without resolving it further.

Fearlessness stated plainly, even toward predators

Having described dwelling ‘frequented by beasts of prey’ — the same phrase already found describing ideal retreat lodgings in this site's own Thag 10.6 (Upasena) — the seventh verse makes a striking claim: even surrounded by creatures that could kill him, Saṅkicca denies ever having harbored a wish for their harm, ‘may these beings be killed... I'm not aware of having any such ignoble, hateful thoughts’. Non-malice here extends specifically to the animals most capable of causing his own death.

A closing line among the Theragātha's most celebrated

The tenth and eleventh verses share their first three lines verbatim, closing only on a different final phrase: ‘like a worker waiting for their wages’, then ‘aware and mindful’. ‘I don't long for death; I don't long for life; I await my time’ is among the most frequently quoted single images in the entire collection, independent of its source — equanimity toward death expressed not as resignation, but as a worker's calm, ordinary patience for something owed and expected.

Key terms

tāta — “dear”, “my child” — the term of affection opening the questioner's concerned address.
vivekapaṭisaññutā — “my perception of seclusion” — what the city, not the storm, is said to scatter.
apaṇḍaro aṇḍasambhavo — “all black and born of an egg” — the crow of the charnel ground, prompting mindfulness in the third verse.
vāḷamiganisevite — “frequented by beasts of prey” — the same phrase describing ideal retreat lodgings in this site's own Thag 10.6.
nibbisaṁ bhatako yathā — “like a worker waiting for their wages” — the tenth verse's closing image, among this collection's most widely quoted lines.

The text

The text in full: eleven verses, with no separate attribution line in this chapter. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1“What good does it do you to be in the grove, my dear? You’re like a little bird in the monsoon! The city of Verambhā is nice for you—seclusion is for meditators.”

§2“Just as the wind in Verambhā scatters the monsoon clouds as they pour down, so the city scatters my perception of seclusion.”

§3“It’s all black and born of an egg—the crow whose abode is the charnel ground rouses my mindfulness, based on dispassion for the body.”

§4“He who is not guarded by others, and who does not guard others, truly sleeps at ease, mendicant, unconcerned for sensual pleasures.”

§5“The water’s clear and the rocks are broad, monkeys and deer are all around; festooned with dewy moss, these rocky crags delight me!

§6I’ve stayed in the wilderness, in caves and caverns and remote lodgings frequented by beasts of prey.

§7‘May these beings be killed! May they be slaughtered! May they suffer!’—I’m not aware of having any such ignoble, hateful thoughts.

§8I’ve served the teacher and fulfilled the Buddha’s instructions. The heavy burden is laid down, the leash to existence is eradicated.

§9I’ve attained the goal for the sake of which I went forth from the lay life to homelessness—the ending of all fetters.

§10I don’t long for death; I don’t long for life; I await my time, like a worker waiting for their wages.

§11I don’t long for death; I don’t long for life; I await my time, aware and mindful.”

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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 does the poem's opening question ask Saṅkicca?
Correct: A. Voiced with real concern, addressing him as 'dear' or 'my child'.
Question 2 of 10
How does Saṅkicca's reply in the second verse use the questioner's own image?
Correct: B. Reframing the city as the greater danger, not to comfort, but to his cultivated state of mind.
Question 3 of 10
What image does the third verse use to prompt mindfulness?
Correct: C. The scavenger itself, not the scavenged, becomes the occasion for reflection.
Question 4 of 10
What does Sujato's comment on the fourth verse note?
Correct: D. A textual question this reading guide records without resolving further.
Question 5 of 10
What phrase does the seventh verse share with this site's own Thag 10.6 (Upasena)?
Correct: A. The same description of ideal, dangerous retreat lodgings.
Question 6 of 10
What striking claim does the seventh verse make about Saṅkicca's own mind toward dangerous predators?
Correct: B. Non-malice extending specifically to the animals most capable of causing his own death.
Question 7 of 10
What do the tenth and eleventh verses share?
Correct: C. 'I don't long for death; I don't long for life; I await my time' — repeated, closing differently each time.
Question 8 of 10
What image closes the tenth verse?
Correct: D. Among the most widely quoted single images anywhere in the Theragātha.
Question 9 of 10
How does this reading guide characterize the tone of that closing image?
Correct: A. Equanimity expressed through an entirely ordinary, unglamorous comparison.
Question 10 of 10
How many poems make up the entire Book of the Elevens?
Correct: B. A single elder's single poem, eleven verses in one chapter.
Answered 0 of 10 · Correct 0