Therigatha · 13.5

Subhā, the Smith’s Daughter

Subhā Kammāradhītā — The Book of the Twenties · Poem 5 of 5

Setting
No narrative setting for most of the poem; a closing frame names the speaker and describes her circumstances
Speaker
Subhā, addressing her own family directly within an extended discourse, then an outside voice praising her
Form
Twenty-nine verses, closing the Book of the Twenties
Length
under 3 minutes to read
Northern parallel
This reading guide does not assert a specific matching text for this poem in other Buddhist literatures.
Difficulty
★★★★☆ — one of the longest sustained single discourses in this collection

Why this text

This poem closes the Book of the Twenties with Subhā's own extended meditation on the dangers of sensual pleasure — some twenty verses addressed in part directly to her own family, who pressed her to return to lay life. The closing frame then names her teacher directly as Uppalavaṇṇā, whose own poem appears earlier in this collection, states that Subhā reached full attainment just eight days after going forth, and describes Sakka, king of the gods, coming personally to honor her.

Reading guide

A sustained discourse, not a brief confession

From ‘I comprehended the truth’ in the opening verse through roughly twenty further verses cataloging sensual pleasure's dangers — ‘enemies and killers’, ‘a snake's head’, ‘a mass of fire’ — this poem sustains a single extended argument longer than most other poems in this collection.

Family addressed directly, twice, as if enemies

‘My family, why do you urge me on to pleasures, as if you were my enemies? You know I've gone forth, seeing fear in sensual pleasures’ repeats nearly word for word — a specific, personal address embedded within the broader doctrinal argument.

A named teacher, connecting to an earlier poem

‘Guided by Uppalavaṇṇā, she is master of the three knowledges’ names Subhā's teacher directly as the nun whose own poem, celebrated for its vivid display of psychic power against Māra, appears earlier in this collection at Thig 11.1.

An attainment dated to eight days, and homage from the king of the gods

‘It's just eight days since she went forth’ marks an unusually fast, precisely dated attainment, and the poem's final verse describes Sakka, ‘lord of all creatures’, coming with a host of gods by their own psychic powers specifically to honor her — closing the Book of the Twenties on an exceptional note.

Key terms

Subhā Kammāradhītā — “Subhā, the smith's daughter” — this poem's speaker, named by her father's trade in her own title.
kāma — sensual pleasures — the central subject of this poem's extended discourse, cataloged through many distinct images of danger.
Uppalavaṇṇā — Subhā's own named teacher, whose own poem earlier in this collection, Thig 11.1, describes a vivid display of psychic power against Māra.
ajjaṭṭhamī — “eight days” — how recently Subhā had gone forth at the time of this poem's closing praise, an unusually fast, precisely dated attainment.
Sakka — the king of the gods, who comes personally with a host of deities to honor Subhā in this poem's final verse.

The text

The text in full: Subhā's extended discourse, then an outside voice praising her attainment and Sakka's own homage. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1“I was so young, my clothes so fresh, at that time I heard the teaching. Being diligent, I comprehended the truth; and then I became profoundly dispassionate towards all sensual pleasures. Seeing fear in substantial reality, I longed for renunciation. Giving up my family circle, bonded servants and workers, and my flourishing village fields, so delightful and pleasant, I went forth; all that is no small wealth. Now that I’ve gone forth in faith like this, in the true teaching so well proclaimed,

§2since I desire to have nothing, it would not be appropriate to take back gold and currency, having already got rid of them. Currency or gold doesn’t lead to peace and awakening. It doesn’t befit an ascetic; it’s not the wealth of the noble ones; it’s greed and vanity, confusion and growing decadence, dubious and troublesome—there is nothing lasting there. Depraved and heedless, unenlightened folk, their hearts corrupt, fight each other, creating conflict. Killing, caging, misery, loss, grief, and lamentation; those sunk in sensual pleasures see many disastrous things.

§3My family, why do you urge me on to pleasures, as if you were my enemies? You know I’ve gone forth, seeing fear in sensual pleasures. It’s not due to gold, coined or uncoined, that defilements come to an end. Sensual pleasures are enemies and killers, hostile forces that bind you to thorns. My family, why do you urge me on to pleasures, as if you were my enemies? You know I’ve gone forth, shaven, wrapped in my outer robe. Leftovers as gleanings, and cast-off rags as robes—that’s what’s fitting for me, the essentials of the homeless life.

§4Great seers expel sensual pleasures, both human and heavenly. Safe in their sanctuary, they are freed, having found unshakable happiness. May I not encounter sensual pleasures, for no shelter is found in them. Sensual pleasures are enemies and killers, as painful as a mass of fire. This is a roadblock, a threat, full of distress and thorns; it is a blind spot, uneven, a great gateway to confusion. Hazardous and terrifying, sensual pleasures are like a snake’s head, where fools delight, the blind ordinary folk. Stuck in the swamp of sensuality, there are so many ignorant in the world. They know nothing of the end of rebirth and death.

§5Because of sensual pleasures, people jump right on to the path that goes to a bad place. So many walk the path that brings disease onto themselves. That’s how sensual pleasures create enemies; they are so tormenting, so corrupting, trapping beings with worldly pleasures of the flesh, they are nothing less than the bonds of death. Maddening, enticing, sensual pleasures derange the mind. For the corruption of beings, swiftly ensnared by Māra. Sensual pleasures are infinitely dangerous, they’re full of suffering, a terrible poison; offering little gratification, they’re makers of strife, withering bright qualities away.

§6Since I’ve created so much ruination because of sensual pleasures, I will not relapse to them again, but will always delight in extinguishment. Having once made strife for the sake of sensual pleasures, now I am longing for that cool state. I shall meditate diligently for the ending of all fetters. Sorrowless, stainless, secure: I follow that path, the straight noble eightfold way by which the seers have crossed over.”

§7“Look at this: Subhā the smith’s daughter, standing firm in the teaching. She has entered the imperturbable state, meditating at the root of a tree. It’s just eight days since she went forth, the faithful one, grace of the true teaching. Guided by Uppalavaṇṇā, she is master of the three knowledges, conqueror of death. This one is freed from slavery and debt, a nun with faculties developed. Unyoked from all yokes, she has completed the task and is free of defilements.”

§8Thus did Sakka, lord of all creatures, along with a host of gods, having come by their psychic powers, honor Subhā, the smith’s daughter.

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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 is the central subject of Subhā's extended discourse?
Correct: A. Roughly twenty verses cataloging danger after danger.
Question 2 of 10
Who does Subhā address directly, calling them as if her enemies?
Correct: B. A specific, personal address repeated nearly word for word within the poem.
Question 3 of 10
What images does Subhā use to describe sensual pleasure's dangers?
Correct: D. Vivid, forceful imagery sustained across many verses.
Question 4 of 10
Who does the poem's closing frame name as Subhā's teacher?
Correct: B. Connecting this poem directly to Thig 11.1.
Question 5 of 10
How long after going forth had Subhā reached full attainment?
Correct: C. An unusually fast, precisely dated attainment.
Question 6 of 10
Who comes to honor Subhā in this poem's final verse?
Correct: B. An exceptional closing note for the Book of the Twenties.
Question 7 of 10
What does Subhā say about gold and currency for an ascetic?
Correct: D. Rejected directly, early in her discourse.
Question 8 of 10
What position does this poem hold in the Book of the Twenties?
Correct: C. The final poem of five in the Book of the Twenties.
Question 9 of 10
What does 'kāma' mean?
Correct: A. Named and examined from many angles across this poem.
Question 10 of 10
How does this poem's structure compare to most other poems in this collection?
Correct: D. An unusually extended, single-themed meditation.
Answered 0 of 10 · Correct 0