Therigatha · 14.1

Subhā of Jīvaka’s Mango Grove

Subhā Jīvakambavanikā — The Book of the Thirties · Poem 1 of 1

Setting
A path through Jīvaka's mango grove, where a man blocks Subhā's way
Speaker
A man attempting to seduce Subhā, and her own extended reply
Form
Thirty-four verses, the entire Book of the Thirties
Length
under 4 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 this collection's most famous and startling single acts

Why this text

This poem opens the Book of the Thirties with a second Subhā — distinguished from Thig 13.5's smith's daughter only by the place named in her fuller title. A man blocks her path through a mango grove and presses an elaborate, sustained seduction, fixating especially on her eyes. When reasoned argument fails to make him leave, Subhā answers with an act that has made this one of the most discussed poems in the entire collection.

Reading guide

A second Subhā, distinguished only by place

This poem's fuller title, ‘Subhā of Jīvaka's Mango Grove’, marks her as a different individual from Thig 13.5's ‘Subhā, the Smith's Daughter’, closing the book just before this one — two women sharing a name, one book apart.

A sustained, escalating seduction

The man's temptation runs far longer than most in this collection: spring blossoms, jewels, silk clothing, a scented bed — and a repeated fixation specifically on her eyes, ‘seeing them, erotic delight swells in me all the more’, said nearly word for word twice.

Reasoned argument, then an act beyond argument

Subhā first answers with a sustained philosophical rebuttal — the body as illusion, a painted doll, parts that could not hold together without borrowed conditions — and when this fails to end the confrontation, she plucks out her own eye and holds it out to him directly: ‘Come now, take this eye’.

Instant remorse, then restoration

The man's lust vanishes immediately, and he begs her forgiveness, comparing what he attempted to ‘holding on to a blazing fire’. Subhā, released, goes directly to the Buddha — and on seeing him, her eye is restored exactly as it was before, closing this poem and the entire Book of the Thirties.

Key terms

Subhā Jīvakambavanikā — “Subhā of Jīvaka's Mango Grove” — this poem's speaker, distinguished by place from Thig 13.5's Subhā, the smith's daughter.
dhuttaka — “a rascal” — the unnamed man who blocks Subhā's path and presses his seduction.
kinnarī — a mythical woodland nymph-spirit, used by the man as a flattering comparison for Subhā's eyes — per Sujato's note, the only appearance of this figure in early Pali quite this way.
cārudassanā — “the fair-eyed lady” — Subhā's own epithet at the poem's climactic turn.
uddhaṭasallā — “the dart pulled out” — Subhā's own description of her freedom, stated just before the confrontation reaches its peak.

The text

The text in full: the confrontation, Subhā's extended reply, the poem's central act, and its resolution. Translation: Bhikkhu Sujato (CC0, SuttaCentral).

§1Going to the lovely mango grove of Jīvaka, the nun Subhā was held up by a rascal. Subhā said this to him: “What harm have I done to you, that you stand in my way? Respectable sir, it’s not proper that a man should touch a woman gone forth. This training was taught by the Holy One, it is a serious matter in my teacher’s instructions. I am pure and rid of blemishes, so why do you stand in my way? One whose mind is sullied against one unsullied; one who is lustful against one free of lust; unblemished, my heart is freed in every respect, so why do you stand in my way?”

§2“You’re young and flawless—what will going-forth do for you? Throw away the ocher robe, come and play in the blossom grove. Everywhere, the scent of pollen wafts sweet, born of the flowering woods. The start of spring is a happy time—come and play in the blossom grove. And trees crested with flowers cry out, as it were, in the gale. But what kind of fun will you have if you plunge into the woods all alone? Frequented by packs of predators, and cow elephants aroused by rutting bulls; you wish to go without a friend to the deserted, awe-inspiring forest. Like a doll made of glittering gold, like a nymph wandering in a park of colorful vines, your matchless beauty will shine in graceful clothes of delicate Kāsian cloth.

§3I’ll be under your sway, if we are to stay in the forest. I love no creature more than you, O pixie with such captivating eyes. Were you to take up my invitation—‘Come, be happy, and live in a house’—you’ll stay in a longhouse sheltered from wind; let the ladies look to your needs. Dressed in delicate Kāsian cloth, put on your garlands and your cosmetics. I’ll make all sorts of adornments for you, of lustrous gold and gems and pearls. Climb onto a costly bed, its coverlet so clean and nice, with a new woolen mattress, so fragrant, sprinkled with sandalwood. As a blue lily risen from the water remains untouched by men, so too, O chaste and holy lady, your limbs grow old unshared.”

§4“This carcass is full of putrefaction, it swells the charnel ground, for its nature is to fall apart. What do you think is so essential in it that you stare at me so crazily?” “Your eyes are like those of a doe, or a pixie in the mountains; seeing them, erotic delight swells in me all the more. Your eyes are like a blue lily’s bud in your flawless face shining like coruscant gold. Seeing them, sensual excitement swells in me all the more. Though you may wander far, I’ll still think of you, with lashes so long and eyes so bright. I love no eyes more than yours, O pixie with such bashful eyes.”

§5“You’re setting out on the wrong road! You’re looking to take the moon for your toy! You’re trying to leap over Mount Meru! You, who are hunting a child of the Buddha! For in this world with all its gods, there will be no more lust anywhere in me. I don’t even know what kind it could be, it’s been smashed root and all by the path. Cast out like sparks from fiery coals, it’s worth no more than a bowl of poison. I don’t even see what kind it could be, it’s been smashed root and all by the path. Well may you try to seduce the type of lady who has not reflected on these things, or who has never attended the Teacher: but <em>this</em> is a lady who knows—now you’re in trouble! No matter if I am reviled or praised, or feel pleasure or pain: I stay mindful. Knowing that conditions are ugly, my mind clings to nothing. I am a disciple of the Holy One, riding in the carriage of the eightfold path. The dart pulled out, free of defilements, I’m happy to have reached an empty place.

§6I’ve seen brightly painted dolls and wooden puppets, tied to sticks and strings, and made to dance in many ways. But when the sticks and strings are taken off—loosed, disassembled, dismantled, irrecoverable, stripped to parts—on what could the mind be fixed? That’s what my body is really like, without those things it can’t go on. This being so, on what could the mind be fixed? It’s like when you saw a mural made by painting yellow orpiment on a wall, and your vision was deceived by that—the perception ‘human’ is pointless. Like an illusion cast before you, or a golden tree in a dream, you chase what is hollow, blind one, like a painted doll among the people. Like a ball in a socket, with a pupil in the middle, and tears, and mucus comes from there as well, different eye-parts are lumped together.”

§7Having plucked it out, the fair-eyed lady was undismayed, unchained in mind. “Come now, take this eye,” she said, and gave it to the man right then. And right then he lost his lust, and asked for her forgiveness: “May you be well, O chaste and holy lady; such a thing will not happen again. Attacking a person such as this is like holding on to a blazing fire, or grabbing a deadly viper! May you be well, please forgive me.” When that nun was released she went to the presence of the excellent Buddha. Seeing the one with excellent marks of merit, her eye became just as it was before.

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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 this poem's fuller title distinguish Subhā from?
Correct: B. Two women sharing a name, one book apart in this collection.
Question 2 of 10
What does the man's seduction include, across many verses?
Correct: D. One of the most sustained temptations in this collection.
Question 3 of 10
What does the man repeatedly fixate on, saying nearly the same words twice?
Correct: C. 'Seeing them, erotic delight swells in me all the more.'
Question 4 of 10
What does Subhā do when reasoned argument fails to end the confrontation?
Correct: C. One of the most startling single acts in this collection.
Question 5 of 10
How does the man respond to this act?
Correct: B. An immediate, complete reversal, comparing his attempt to grasping a blazing fire.
Question 6 of 10
What happens to Subhā's eye after she is released and goes to the Buddha?
Correct: C. Closing the poem, and the entire Book of the Thirties, on this resolution.
Question 7 of 10
What philosophical argument does Subhā offer before her climactic act?
Correct: D. A sustained rebuttal, offered before the confrontation's turning point.
Question 8 of 10
What does 'dhuttaka' mean?
Correct: A. Named directly in the poem's opening line.
Question 9 of 10
What structural marker does bilara-data's underlying source place immediately after this poem?
Correct: B. This poem is both the book's only poem and its close.
Question 10 of 10
What does 'kinnarī' refer to?
Correct: A. Per Sujato's note, the only appearance of this figure in early Pali quite this way.
Answered 0 of 10 · Correct 0