Theragatha · 6.13

Sirimaṇḍa

Sirimaṇḍa — The Book of the Sixes · Chapter One · Poem 13 of 14

Setting
General teaching on impermanence, without further attribution
Speaker
Sirimaṇḍa, urging urgency before death
Form
Six four-line verses, moving from a single simile to direct exhortation
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
★☆☆☆☆ — plain vocabulary, urgent tone throughout

Why this text

‘The rain saturates things that are covered up; it doesn't saturate things that are open,’ Sirimaṇḍa opens — the same architectural image already given extended treatment on this site in Dhammapada Chapter 1's verses 13–14, here turned to a different use: not lust seeping into an undeveloped mind, but concealment itself as the danger, urging exposure and openness before death, disease, and old age arrive unannounced.

Reading guide

An opening simile shared with the Dhammapada

This poem's first verse — ‘channamativassati... vivaṭaṁ nātivassati’, ‘rain saturates what is covered, not what is open’ — uses the same roofing image already discussed at length on this site in Dhammapada Chapter 1, where rain seeping into a poorly roofed house illustrates lust seeping into an undeveloped mind. Sirimaṇḍa's own poem applies the same physical image to a related but distinct point: what is kept hidden or covered remains vulnerable, and should instead be opened up.

Beaten down twice over, in near-identical verses

The second and third verses both open ‘maccunābbhahato loko’, ‘the world is beaten down by death’, varying only their second half — ‘surrounded by old age... struck down by the dart of craving’ against ‘caged by old age... beaten constantly, like a thief being flogged’. This near-repetition within a single poem intensifies the point through insistence rather than new argument.

Three things approaching like a wall of flame

The fourth verse names death, disease, and old age together as ‘āgacchantaggikhandhāva’, ‘coming, like a wall of flame’ — ‘no power can stand before them, and no speed's enough to flee’. Unlike gentler formulations of impermanence elsewhere in this collection, this image emphasizes total inevitability rather than gradual acceptance.

Every passing night, a measured loss

The fifth verse turns abstract urgency into daily arithmetic: ‘every night that passes shortens your life by that much’. This concrete, quantified framing — not simply ‘life is short’ but life measured out night by night — gives the poem's closing appeal a specific, almost ledger-like urgency.

A closing verse naming every ordinary posture

The sixth verse lists walking, standing, sitting, and lying down — the four postures covering essentially every waking and resting moment — before concluding ‘you have no time to be careless (pamajjituṅ)’ in any of them. The poem's urgency is total, admitting no posture or moment as exempt.

Key terms

channamativassati — “rain saturates what is covered up” — the poem's opening image, shared with Dhammapada Chapter 1's verses 13–14.
maccunābbhahato loko — “the world is beaten down by death” — the shared opening of the second and third verses.
āgacchantaggikhandhāva — “coming, like a wall of flame” — the image for death, disease, and old age approaching together.
amoghaṅ divasaṅ kayirā — “don't waste your day” — the fifth verse's direct instruction.
na te kālo pamajjituṅ — “you have no time to be careless” — the poem's final line, admitting no exempt posture or moment.

The text

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

§1The rain saturates things that are covered up; it doesn’t saturate things that are open. Therefore you should open up a covered thing, so the rain will not saturate it.

§2The world is beaten down by death and surrounded by old age. The dart of craving has struck it down, and it’s always fuming with desire.

§3The world is beaten down by death, caged by old age, beaten constantly without respite, like a thief being flogged.

§4Three things are coming, like a wall of flame: death, disease, and old age. No power can stand before them, and no speed’s enough to flee.

§5Don’t waste your day, a little or a lot. Every night that passes shortens your life by that much.

§6Walking or standing, sitting or lying down: your final night draws near; you have no time to be careless.

· · ·

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 image opens this poem?
Correct: A. 'Channamativassati... vivaṭaṁ nātivassati.'
Question 2 of 10
Where else on this site is a closely related version of this same rain-and-roof image treated at length?
Correct: B. There applied to lust seeping into an undeveloped mind; here applied to concealment and vulnerability.
Question 3 of 10
How do the second and third verses relate to each other?
Correct: C. Near-repetition within a single poem, intensifying the point through insistence.
Question 4 of 10
What three things does the fourth verse name as 'coming, like a wall of flame'?
Correct: D. 'No power can stand before them, and no speed's enough to flee.'
Question 5 of 10
What specific, quantified claim does the fifth verse make?
Correct: A. Concrete, ledger-like urgency, not simply 'life is short.'
Question 6 of 10
What four postures does the sixth verse list?
Correct: B. Covering essentially every waking and resting moment, admitting no exempt posture.
Question 7 of 10
How does this poem's imagery of inevitability compare to gentler formulations of impermanence elsewhere in this collection?
Correct: C. A notably urgent register within this collection's broader range of impermanence teachings.
Question 8 of 10
What does the poem's final line conclude?
Correct: D. 'Na te kālo pamajjituṁ' — total urgency, admitting no exemption.
Question 9 of 10
What does the third verse compare being beaten down by death and old age to?
Correct: A. 'Haññati niccamattāṇo, pattadaṇḍova takkaro.'
Question 10 of 10
What does the poem's opening simile apply the rain-and-roof image to, distinct from the Dhammapada's usage?
Correct: B. A related but distinct application of the same physical image.
Answered 0 of 10 · Correct 0