The Foulness Meditations
This page carries Ru-Yi's translation of the Visuddhimagga's chapter 6, Asubhakammaṭṭhānaniddesa ("The Description of the Foulness Meditation Subjects") — the ten stages of a decaying corpse, from the bloated through the skeleton, each developed through a careful charnel-ground procedure of its own. The chapter closes with a celebrated discussion arguing that a living body shares, beneath its ordinary grooming, the very same characteristic as a corpse.
Translation Method
The Pāli source is the Chaṭṭha Saṅgāyana (Sixth Council) romanized edition maintained by the Vipassana Research Institute (VRI, tipitaka.org), cross-checked against the Pali Text Society's Rhys Davids edition (1920–21) as digitized on GRETIL. The VRI text is used under its stated terms — freely available for non-commercial use, with attribution to the Vipassana Research Institute — while the GRETIL/PTS digitization, which carries its own CC BY-SA licence, is used only to verify readings, never copied.
The English translation is Ru-Yi's own, made directly from the Pāli. No existing English translation of the Visuddhimagga — including Bhikkhu Ñāṇamoli's copyrighted The Path of Purification — is consulted, paraphrased, or used as a guide for wording or structure. Reading notes are grounded only in the text's own internal citations and in the general, uncontested conventions of the Pāli commentarial (aṭṭhakathā) genre — never in a modern scholar's specific interpretation. Each translated passage carries a short vocabulary list for readers learning Pāli alongside the text, continuing the same format established on this site's earlier Visuddhimagga chapters.
The Ten Names Explained
The chapter opens, in its usual manner, by explaining the etymology of each of its ten technical terms — the bloated, the livid, the festering, the cut-up, the gnawed, the scattered, the hacked-and-scattered, the bleeding, the worm-infested, and the skeleton — names that apply equally to the corpse itself, to the meditative sign that arises from observing it, and to the jhāna attained through that sign.
Kasiṇānantaramuddiṭṭhesu pana uddhumātakaṃ, vinīlakaṃ, vipubbakaṃ, vicchiddakaṃ, vikkhāyitakaṃ, vikkhittakaṃ, hatavikkhittakaṃ, lohitakaṃ, puḷavakaṃ, aṭṭhikanti dasasu aviññāṇakāsubhesu bhastā viya vāyunā uddhaṃ jīvitapariyādānā yathānukkamaṃ samuggatena sūnabhāvena uddhumātattā uddhumātaṃ, uddhumātameva "uddhumātakaṃ". Paṭikkūlattā vā kucchitaṃ uddhumātanti "uddhumātakaṃ". Tathārūpassa chavasarīrassetaṃ adhivacanaṃ.
Vinīlaṃ vuccati viparibhinnanīlavaṇṇaṃ, vinīlameva "vinīlakaṃ". Paṭikkūlattā vā kucchitaṃ vinīlanti vinīlakaṃ. Maṃsussadaṭṭhānesu rattavaṇṇassa pubbasannicayaṭṭhānesu setavaṇṇassa yebhuyyena ca nīlavaṇṇassa nīlaṭṭhāne nīlasāṭakapārutasseva chavasarīrassetamadhivacanaṃ.
Paribhinnaṭṭhānesu vissandamānaṃ pubbaṃ vipubbaṃ, vipubbameva "vipubbakaṃ". Paṭikkūlattā vā kucchitaṃ vipubbanti vipubbakaṃ. Tathārūpassa chavasarīrassetamadhivacanaṃ.
Vicchiddaṃ vuccati dvidhā chindanena apadhāritaṃ, vicchiddameva "vicchiddakaṃ". Paṭikkūlattā vā kucchitaṃ vicchiddanti vicchiddakaṃ. Vemajjhe chinnassa chavasarīrassetamadhivacanaṃ.
Ito ca etto ca vividhākārena soṇasiṅgālādīhi khāditanti vikkhāyitaṃ, vikkhāyitameva "vikkhāyitakaṃ". Paṭikkūlattā vā kucchitaṃ vikkhāyitanti vikkhāyitakaṃ. Tathārūpassa chavasarīrassetamadhivacanaṃ.
Vividhaṃ khittaṃ vikkhittaṃ, vikkhittameva "vikkhittakaṃ". Paṭikkūlattā vā kucchitaṃ vikkhittanti vikkhittakaṃ. Aññena hatthaṃ aññena pādaṃ aññena sīsanti evaṃ tato tato khittassa chavasarīrassetamadhivacanaṃ.
Hatañca taṃ purimanayeneva vikkhittakañcāti "hatavikkhittakaṃ". Kākapadākārena aṅgapaccaṅgesu satthena hanitvā vuttanayena vikkhittassa chavasarīrassetamadhivacanaṃ.
Lohitaṃ kirati vikkhipati ito cito ca paggharatīti "lohitakaṃ". Paggharitalohitamakkhitassa chavasarīrassetamadhivacanaṃ.
Puḷavā vuccanti kimayo, puḷave kiratīti "puḷavakaṃ". Kimiparipuṇṇassa chavasarīrassetamadhivacanaṃ.
Aṭṭhiyeva "aṭṭhikaṃ". Paṭikkūlattā vā kucchitaṃ aṭṭhīti aṭṭhikaṃ. Aṭṭhisaṅkhalikāyapi ekaṭṭhikassapetamadhivacanaṃ. Imāni ca pana uddhumātakādīni nissāya uppannanimittānampi nimittesu paṭiladdhajjhānānampetāneva nāmāni.
Now, among the meditation subjects listed next after the kasiṇas — the bloated, the livid, the festering, the cut-up, the gnawed, the scattered, the hacked-and-scattered, the bleeding, the worm-infested, and the skeleton — these are the ten foul objects lacking consciousness. Herein, a corpse is "bloated" (uddhumāta) because, after the ending of life, it becomes bloated through a swollen state that gradually rises upward, as though by wind, like a bellows; that very bloated state is "the bloated" (uddhumātaka). Or else, because it is repulsive and disgusting, it is called "the bloated" — this is a designation for a corpse of that kind.
"Livid" (vinīla) means having a discolored, patchy blue-black color; that very lividness is "the livid" (vinīlaka). Or else, because it is repulsive and disgusting, it is called "the livid" — a designation for a corpse that is red in the fleshy places, white where pus has collected, and, for the most part, blue-black in the blue-black areas, as though wrapped in a dark-blue cloth.
The pus oozing from the broken places is "festering" (vipubba); that very festering is "the festering" (vipubbaka). Or else, because it is repulsive and disgusting, it is called "the festering" — a designation for a corpse of that kind.
"Cut-up" (vicchidda) means separated by being cut into two; that very cut-up state is "the cut-up" (vicchiddaka). Or else, because it is repulsive and disgusting, it is called "the cut-up" — a designation for a corpse cut through the middle.
That which has been gnawed at, here and there, in various ways, by dogs, jackals, and the like, is "gnawed" (vikkhāyita); that very gnawed state is "the gnawed" (vikkhāyitaka). Or else, because it is repulsive and disgusting, it is called "the gnawed" — a designation for a corpse of that kind.
That which is thrown about in various ways is "scattered" (vikkhitta); that very scattered state is "the scattered" (vikkhittaka). Or else, because it is repulsive and disgusting, it is called "the scattered" — a designation for a corpse thrown about in this and that direction, the hand in one place, the foot in another, the head in yet another.
It is both struck (hata) and, in the manner already stated, scattered (vikkhittaka) — hence "the hacked-and-scattered" (hatavikkhittaka). A designation for a corpse struck with a weapon at its limbs and joints in the pattern of a crow's foot, and scattered in the manner already stated.
That which scatters, disperses, and oozes blood here and there is "the bleeding" (lohitaka). A designation for a corpse smeared with oozing blood.
"Puḷavā" means worms; that which scatters worms is "the worm-infested" (puḷavaka). A designation for a corpse filled with worms.
Bone itself is "the skeleton" (aṭṭhika). Or else, because it is repulsive and disgusting, bone is called "the skeleton." This is a designation both for a chain of bones and for a single bone. And these same names — bloated and the rest — apply equally to the signs that arise in dependence on them, and to the jhānas attained in those signs.
Each definition follows the same double pattern already familiar from earlier etymological passages in this treatise: a literal derivation from the word's root sense (a swollen state "rising like a bellows," blood that "scatters and oozes"), offered alongside a second derivation from paṭikkūla, "repulsive" — since either etymology, in the commentarial genre's view, adequately grounds why this particular word was chosen to name this particular thing, and the text does not feel obligated to choose between them.
The closing remark — that these ten names apply equally to the corpse, to the meditative sign, and to the jhāna attained through it — signals a deliberate economy of language the rest of the chapter depends on: when the text later says simply "the bloated," context alone determines whether the actual corpse, its mental image, or the resulting absorption is meant, and this ambiguity is treated as unproblematic rather than something needing separate vocabulary.
a foul object lacking consciousness — a (without) + viññāṇaka (possessing consciousness) + asubha (foul, unlovely); the general category-term for all ten corpse-meditations, distinguishing them from any object that could itself perceive.
a corpse — chava (a dead body) + sarīra (body); the plain designation each of the ten etymologies ultimately resolves to, regardless of which specific decayed state is being named.
in the pattern of a crow's foot — kāka (crow) + pada (foot, track) + ākāra (shape, manner); the vivid image describing the specific multi-directional wound-pattern that distinguishes "the hacked-and-scattered" from a simple cutting.
Preparing to Approach: Caution and Courtesy
Before ever reaching the charnel ground, the chapter insists on real deliberation: a meditator should approach a proper teacher for full instruction, honestly weigh whether he is equal to the danger a corpse-sight poses — from wild animals and non-human beings to the specific risk of an opposite-sex corpse endangering his celibacy — and tell a senior monk before going, for reasons the text illustrates with a story about thieves who use charnel grounds as a hideout. Having taken these precautions, one should go with the same joy a prince feels approaching his own coronation.
Tattha uddhumātakasarīre uddhumātakanimittaṃ uppādetvā uddhumātakasaṅkhātaṃ jhānaṃ bhāvetukāmena yoginā pathavīkasiṇe vuttanayeneva vuttappakāraṃ ācariyaṃ upasaṅkamitvā kammaṭṭhānaṃ uggahetabbaṃ. Tenassa kammaṭṭhānaṃ kathentena asubhanimittatthāya gamanavidhānaṃ, samantā nimittupalakkhaṇaṃ, ekādasavidhena nimittaggāho, gatāgatamaggapaccavekkhaṇanti evaṃ appanāvidhānapariyosānaṃ sabbaṃ kathetabbaṃ. Tenāpi sabbaṃ sādhukaṃ uggahetvā pubbe vuttappakāraṃ senāsanaṃ upagantvā uddhumātakanimittaṃ pariyesantena vihātabbaṃ.
Evaṃ viharantena ca asukasmiṃ nāma gāmadvāre vā aṭavimukhe vā panthe vā pabbatapāde vā rukkhamūle vā susāne vā uddhumātakasarīraṃ nikkhittanti kathentānaṃ vacanaṃ sutvāpi na tāvadeva atitthena pakkhandantena viya gantabbaṃ. Kasmā? Asubhaṃ hi nāmetaṃ vāḷamigādhiṭṭhitampi amanussādhiṭṭhitampi hoti. Tatrassa jīvitantarāyopi siyā. Gamanamaggo vā panettha gāmadvārena vā nahānatitthena vā kedārakoṭiyā vā hoti. Tattha visabhāgarūpaṃ āpāthamāgacchati, tadeva vā sarīraṃ visabhāgaṃ hoti. Purisassa hi itthisarīraṃ itthiyā ca purisasarīraṃ visabhāgaṃ, tadetaṃ adhunāmataṃ subhatopi upaṭṭhāti, tenassa brahmacariyantarāyopi siyā. Sace pana "nayidaṃ mādisassa bhāriya"nti attānaṃ takkayati, evaṃ takkayamānena gantabbaṃ.
Gacchantena ca saṅghattherassa vā aññatarassa vā abhiññātassa bhikkhuno kathetvā gantabbaṃ. Kasmā? Sace hissa susāne amanussasīhabyagghādīnaṃ rūpasaddādianiṭṭhārammaṇābhibhūtassa aṅgapaccaṅgāni vā pavedhenti, bhuttaṃ vā na parisaṇṭhāti, añño vā ābādho hoti. Athassa so vihāre pattacīvaraṃ surakkhitaṃ karissati. Dahare vā sāmaṇere vā pahiṇitvā taṃ bhikkhuṃ paṭijaggissati. Apica susānaṃ nāma nirāsaṅkaṭṭhānanti maññamānā katakammāpi akatakammāpi corā samosaranti. Te manussehi anubaddhā bhikkhussa samīpe bhaṇḍakaṃ chaḍḍetvāpi palāyanti. Manussā "sahoḍḍhaṃ coraṃ addasāmā"ti bhikkhuṃ gahetvā viheṭhenti. Athassa so "mā imaṃ viheṭhayittha, mamāyaṃ kathetvā iminā nāma kammena gato"ti te manusse saññāpetvā sotthibhāvaṃ karissati. Ayaṃ ānisaṃso kathetvā gamane. Tasmā vuttappakārassa bhikkhuno kathetvā asubhanimittadassane sañjātābhilāsena yathānāma khattiyo abhisekaṭṭhānaṃ, yajamāno yaññasālaṃ, adhano vā pana nidhiṭṭhānaṃ pītisomanassajāto gacchati, evaṃ pītisomanassaṃ uppādetvā aṭṭhakathāsu vuttena vidhinā gantabbaṃ. Vuttañhetaṃ —
Herein, a meditator desiring to produce, in a bloated corpse, the bloated-sign, and to develop the jhāna reckoned as "the bloated," should approach a teacher of the kind already described in the section on the earth kasiṇa, and learn the meditation subject from him. And the teacher, in explaining the meditation subject to him, should explain everything, down to the procedure of absorption, in this order: the procedure for going for the purpose of the foul sign, the examination of the surrounding signs, the elevenfold grasping of the sign, and the examination of the path gone and to be returned by. And he too, having thoroughly learned all of this, should go to a dwelling of the kind already described, and dwell there seeking the bloated-sign.
And one dwelling thus, even upon hearing people say, "a bloated corpse has been laid down at such-and-such a village gate, or the mouth of a forest track, or on a road, or at the foot of a mountain, or at the root of a tree, or in a charnel ground," should not immediately rush off as though plunging in at an unsuitable ford. Why? Because this foul thing may well be haunted by fierce wild animals or by non-human beings; there could be danger to his very life in going there. Or else, the path there may pass by a village gate, a bathing-ford, or the edge of a rice-field, where an object of the opposite sex may come into range, or the corpse itself may be of the opposite sex — for a man, a woman's body, and for a woman, a man's body, is "of the opposite sex" — and this, though newly dead, may still appear even attractive, so that there could be danger to his celibate life as well. But if he judges of himself, "this is not too heavy a burden for one such as me," he may go, having made this judgment.
And one going should tell the chapter-elder or some other well-known monk before going. Why? Because if, in the charnel ground, overcome by the disagreeable sights, sounds, and other objects of non-humans, lions, tigers, and the like, his limbs should tremble, or what he has eaten should fail to settle, or some other affliction should occur, then that monk he told will keep his bowl and robe safely at the monastery, or, sending a young monk or a novice, will look after him. Moreover, thinking a charnel ground to be a place free of suspicion, thieves gather there, whether their crime is already done or not yet done; and, being pursued by people, they may even throw down their goods near the monk and flee, whereupon the people, saying "we saw him along with the loot," may seize and molest the monk. Then that monk he told beforehand will pacify those people, saying, "do not molest him — he told me and went for such-and-such a purpose," and will bring about his safety. This is the benefit of telling someone before going. Therefore, having told a monk of the kind described, and having generated joy and gladness — like a prince going, filled with joy and gladness, to his own coronation-site, or a sacrificer to the sacrificial hall, or a poor man to a hidden treasure — through the desire that has arisen for the sight of the foul sign, one should go by the method stated in the commentaries. For it is said —
The frank acknowledgment that a fresh corpse "may still appear even attractive," posing a genuine danger to a monk's celibate life, is a striking piece of psychological honesty: the text does not pretend the foul-object meditations are somehow immune to the very desire they exist to counteract, but instead builds a screening step directly into the practice — a meditator must honestly judge whether the risk of an opposite-sex corpse is "too heavy a burden" for himself specifically, rather than assuming the practice is safe for everyone by default.
The thief story reframes what might look like an excessive bureaucratic formality — telling a senior monk before leaving — as concrete, practical protection for the monk himself: the charnel ground's very reputation as an unsupervised, "suspicion-free" location, which is precisely why a meditator finds an undisturbed corpse there, is the same reputation that draws fleeing criminals, and a witness back at the monastery is what stands between an innocent monk and an angry crowd's mistaken accusation.
an object of the opposite sex — visabhāga (dissimilar, of a different class) + rūpa (form); the specific danger named here, since even a newly dead body of the opposite sex is said to be capable of endangering a celibate meditator's practice.
a place free of suspicion — nirāsaṅka (unsuspected, without misgiving) + ṭhāna (place); the very quality of a charnel ground that makes it suitable for uninterrupted meditation, and simultaneously attractive to thieves fleeing pursuit.
a coronation-site — abhiseka (consecration, anointing) + ṭhāna (place); one of three similes (alongside a sacrificial hall and a hidden treasure) for the joy with which a properly prepared meditator should approach the charnel ground, despite its dangers.
The Canonical Method, in Full
Before unpacking it clause by clause, the chapter first quotes the commentarial source in full — a compact, formal statement of the entire procedure, from going alone with mindfulness established, through examining and grasping the sign, to why each of the three named steps (examining the surroundings, the elevenfold grasping, and reviewing the path) exists at all, closing with the jewel-perception that carries the mind all the way to the first jhāna.
"Uddhumātakaṃ asubhanimittaṃ uggaṇhanto eko adutiyo gacchati upaṭṭhitāya satiyā asammuṭṭhāya antogatehi indriyehi abahigatena mānasena gatāgatamaggaṃ paccavekkhamāno. Yasmiṃ padese uddhumātakaṃ asubhanimittaṃ nikkhittaṃ hoti, tasmiṃ padese pāsāṇaṃ vā vammikaṃ vā rukkhaṃ vā gacchaṃ vā lataṃ vā sanimittaṃ karoti, sārammaṇaṃ karoti. Sanimittaṃ katvā sārammaṇaṃ katvā uddhumātakaṃ asubhanimittaṃ sabhāvabhāvato upalakkheti, vaṇṇatopi liṅgatopi saṇṭhānatopi disatopi okāsatopi paricchedatopi sandhito vivarato ninnato thalato samantato. So taṃ nimittaṃ suggahitaṃ karoti, sūpadhāritaṃ upadhāreti, suvavatthitaṃ vavatthapeti. So taṃ nimittaṃ suggahitaṃ katvā sūpadhāritaṃ upadhāretvā suvavatthitaṃ vavatthapetvā eko adutiyo gacchati upaṭṭhitāya satiyā asammuṭṭhāya antogatehi indriyehi abahigatena mānasena gatāgatamaggaṃ paccavekkhamāno. So caṅkamantopi tabbhāgiyaññeva caṅkamaṃ adhiṭṭhāti. Nisīdantopi tabbhāgiyaññeva āsanaṃ paññapeti.
"Samantā nimittupalakkhaṇā kimatthiyā kimānisaṃsāti? Samantā nimittupalakkhaṇā asammohatthā asammohānisaṃsā. Ekādasavidhena nimittaggāho kimatthiyo kimānisaṃsoti? Ekādasavidhena nimittaggāho upanibandhanattho upanibandhanānisaṃso. Gatāgatamaggapaccavekkhaṇā kimatthiyā kimānisaṃsāti? Gatāgatamaggapaccavekkhaṇā vīthisampaṭipādanatthā vīthisampaṭipādanānisaṃsā.
"So ānisaṃsadassāvī ratanasaññī hutvā cittīkāraṃ upaṭṭhapetvā sampiyāyamāno tasmiṃ ārammaṇe cittaṃ upanibandhati 'addhā imāya paṭipadāya jarāmaraṇamhā parimuccissāmī'ti. So vivicceva kāmehi…pe… paṭhamaṃ jhānaṃ upasampajja viharati. Tassādhigataṃ hoti rūpāvacaraṃ paṭhamaṃ jhānaṃ dibbo ca vihāro bhāvanāmayañca puññakiriyavatthu."
"One learning the bloated foul sign goes alone, without a companion, with mindfulness established, not confused, with the faculties turned inward, with a mind not turned outward, reviewing the path gone and to be returned by. In whatever place the bloated foul sign has been laid down, in that place he makes a stone, an anthill, a tree, a bush, or a creeper into a mark, makes it a support for attention. Having made it a mark and a support for attention, he notes the bloated foul sign according to its actual nature — by way of color, by way of mark, by way of shape, by way of direction, by way of location, by way of delimitation, by way of joints, by way of openings, by way of concavities, by way of convexities, by way of the whole. He makes that sign well grasped, well considered, well determined. Having made that sign well grasped, well considered, and well determined, he goes alone, without a companion, with mindfulness established, not confused, with the faculties turned inward, with a mind not turned outward, reviewing the path gone and to be returned by. Even while walking back and forth, he resolves upon a walk pertaining to that very object; even while sitting, he prepares a seat pertaining to that very object.
"For what purpose, with what benefit, is the examination of the surrounding signs? The examination of the surrounding signs is for the purpose of, and has the benefit of, freedom from confusion. For what purpose, with what benefit, is the elevenfold grasping of the sign? The elevenfold grasping of the sign is for the purpose of, and has the benefit of, binding the mind to the object. For what purpose, with what benefit, is the examination of the path gone and to be returned by? The examination of the path gone and to be returned by is for the purpose of, and has the benefit of, the correct following of the course of practice.
"Seeing this benefit, and perceiving it as a jewel, having set up high regard for it, and cherishing it fondly, he binds his mind to that object, thinking, 'surely, by this practice, I shall be freed from aging and death.' He, quite secluded from sense pleasures ... enters upon and dwells in the first jhāna. There is attained by him the fine-material first jhāna, a divine abiding, and a basis of meritorious action consisting in development."
The citation's structure is itself a small teaching device: it states the full procedure once as a continuous narrative, then steps back to ask, formally, why each of its three most distinctive elements exists — the surrounding-landmark examination, the elevenfold grasping, and the review of the path — answering each with a paired term-and-benefit formula (atthiya/ānisaṃsa) before returning to the procedure's outcome. The chapter's own commentary, in the sections that follow, will unpack this citation clause by clause in the same order it was given.
Calling the developed concentration "a divine abiding" (dibbo vihāro) is a notable classification: this ordinarily designates the four brahmavihāras (loving-kindness and the rest), yet it is applied here to jhāna attained through contemplating a decaying corpse — a reminder that in this treatise's own usage, "divine abiding" names any elevated, wholesome dwelling of the mind achieved through sustained meditative cultivation, not only the four traditionally so-named states.
making it a mark / making it a support for attention — sa (with) + nimitta (mark, sign) and ārammaṇa (object, support); the two-step method of pairing a fixed landmark with the foul object so that the mind has a stable reference point to return to.
binding, tying to — upa (close) + nibandhana (binding); the stated benefit of the elevenfold grasping of the sign, describing how the mind becomes anchored, rather than merely acquainted, with the meditation object.
the correct following of the course of practice — vīthi (path, course) + sampaṭipādana (bringing about, effecting); the stated benefit of reviewing the return path, ensuring the meditation subject's own momentum is not lost through everyday distraction on the way home.
a basis of meritorious action consisting in development — bhāvanāmaya (consisting in mental development) + puññakiriyavatthu (a basis for making merit); one of the traditional ten bases of merit, here credited directly to the attainment of jhāna through this practice.
Going Alone, and Standing to Look
The chapter now turns to practical instruction in its own voice: a mere sightseer may bring a crowd, but a meditator must go alone, carrying only a stick against wild dogs, mindful of every step's direction; he must approach with the wind, never against it, to avoid the corpse's smell disturbing his very concentration; and he must stand at a carefully judged distance and angle — neither too far, too near, too low, nor too high — for the object to appear clearly and the mind to remain workable.
Tasmā yo cittasaññattatthāya sivathikadassanaṃ gacchati, so ghaṇḍiṃ paharitvā gaṇaṃ sannipātetvāpi gacchatu. Kammaṭṭhānasīsena pana gacchantena ekakena adutiyena mūlakammaṭṭhānaṃ avissajjetvā taṃ manasikaronteneva susāne soṇādiparissayavinodanatthaṃ kattaradaṇḍaṃ vā yaṭṭhiṃ vā gahetvā, sūpaṭṭhita bhāvasampādanena asammuṭṭhaṃ satiṃ katvā, manacchaṭṭhānañca indriyānaṃ antogatabhāvasampādanato abahigatamanena hutvā gantabbaṃ.
Vihārato nikkhamanteneva asukadisāya asukadvārena nikkhantomhīti dvāraṃ sallakkhetabbaṃ. Tato yena maggena gacchati, so maggo vavatthapetabbo, ayaṃ maggo pācinadisābhimukho vā gacchati, pacchimauttaradakkhiṇadisābhimukho vā vidisābhimukhovāti. Imasmiṃ pana ṭhāne vāmato gacchati, imasmiṃ ṭhāne dakkhiṇato, imasmiṃ cassa ṭhāne pāsāṇo, imasmiṃ vammiko, imasmiṃ rukkho, imasmiṃ gaccho, imasmiṃ latāti. Evaṃ gamanamaggaṃ vavatthapentena nimittaṭṭhānaṃ gantabbaṃ. No ca kho paṭivātaṃ. Paṭivātaṃ gacchantassa hi kuṇapagandho ghānaṃ paharitvā matthaluṅgaṃ vā saṅkhobheyya, āhāraṃ vā chaḍḍāpeyya, vippaṭisāraṃ vā janeyya "īdisaṃ nāma kuṇapaṭṭhānaṃ āgatomhī"ti. Tasmā paṭivātaṃ vajjetvā anuvātaṃ gantabbaṃ. Sace anuvātamaggena na sakkā hoti gantuṃ, antarā pabbato vā papāto vā pāsāṇo vā vati vā kaṇṭakaṭṭhānaṃ vā udakaṃ vā cikkhallaṃ vā hoti, cīvarakaṇṇena nāsaṃ pidahitvā gantabbaṃ. Idamassa gamanavattaṃ.
Evaṃ gatena pana na tāva asubhanimittaṃ oloketabbaṃ. Disā vavatthapetabbā. Ekasmiṃ hi disābhāge ṭhitassa ārammaṇañca na vibhūtaṃ hutvā khāyati, cittañca na kammaniyaṃ hoti. Tasmā taṃ vajjetvā yattha ṭhitassa ārammaṇañca vibhūtaṃ hutvā khāyati, cittañca kammaniyaṃ hoti, tattha ṭhātabbaṃ. Paṭivātānuvātañca pahātabbaṃ. Paṭivāte ṭhitassa hi kuṇapagandhena ubbāḷhassa cittaṃ vidhāvati. Anuvāte ṭhitassa sace tattha adhivatthā amanussā honti, te kujjhitvā anatthaṃ karonti. Tasmā īsakaṃ ukkamma nātianuvāte ṭhātabbaṃ. Evaṃ tiṭṭhamānenāpi nātidūre nāccāsanne nānupādaṃ nānusīsaṃ ṭhātabbaṃ. Atidūre ṭhitassa hi ārammaṇaṃ avibhūtaṃ hoti. Accāsanne bhayamuppajjati. Anupādaṃ vā anusīsaṃ vā ṭhitassa sabbaṃ asubhaṃ samaṃ na paññāyati. Tasmā nātidūre nāccāsanne olokentassa phāsukaṭṭhāne sarīravemajjhabhāge ṭhātabbaṃ.
Therefore, one who goes to view a charnel-ground sight merely to compose his mind may go having struck the monastery gong and gathered a group together. But one going for the sake of his meditation subject should go alone, without a companion, never letting go of the fundamental meditation subject, attending to it continuously; he should take a strong stick or staff for warding off the danger of dogs and the like in the charnel ground; he should establish mindfulness, unconfused, by bringing about a well-established state of the object; and, by bringing about the internal state of the six faculties including the mind, he should go with a mind not turned outward.
Just upon leaving the monastery, he should note the gate: "I have gone out in such-and-such a direction, by such-and-such a gate." Then he should determine the path by which he goes: "this path goes facing east, or facing west, north, south, or an intermediate direction"; and, "at this spot it goes to the left, at this spot to the right, and at this spot there is a stone, at this one an anthill, at this one a tree, at this one a bush, at this one a creeper." Determining the path of approach in this way, he should go to the place of the sign — but not against the wind. For, going against the wind, the smell of the corpse, striking his nostrils, might disturb his very brain, or cause him to vomit his food, or produce remorse, thinking, "what a corpse-ground I have come to!" Therefore, avoiding going against the wind, he should go with the wind. If it is not possible to go by a path with the wind, and there intervenes a mountain, a precipice, a rock, a fence, a thorny spot, water, or mud, he should go having covered his nose with the hem of his robe. This is his procedure for going.
But having gone thus, one should not look at the foul sign right away. The direction should first be determined. For, standing in one particular direction, the object appears indistinct, and the mind is not workable. Therefore, avoiding that, one should stand where the object appears distinct, and the mind is workable. Both directly against and directly with the wind should be avoided: for one standing against the wind, the mind runs about, oppressed by the smell of the corpse; and for one standing directly with the wind, if there are non-human beings dwelling there, they may become angry and cause harm. Therefore, one should move slightly aside and stand not directly with the wind either. Standing thus, one should also stand neither too far nor too near, neither level with the feet nor level with the head. For, standing too far, the object is indistinct; standing too near, fear arises; and standing level with the feet or the head, the whole foulness does not appear evenly. Therefore, looking neither too far nor too near, one should stand at a comfortable spot, level with the middle of the body.
The instruction to avoid standing directly downwind is a small but telling detail: the danger there is not the smell (which one has already positioned oneself to avoid by not going upwind of it) but the risk of trespassing on ground a non-human being may consider its own, making anger, not disgust, the operative hazard on that side. The meditator must therefore find a position that avoids two entirely different kinds of danger — physical revulsion on one side, and an entirely different order of risk on the other — simply by moving slightly off the direct line of the wind rather than avoiding it altogether.
The advice on distance and height is a rare moment of purely visual, almost photographic instruction in this treatise: an object viewed from the wrong level — even at a technically correct distance — simply fails to present itself as a coherent whole, "the whole foulness does not appear evenly." This is a reminder that these meditations are, at the outset, genuinely dependent on ordinary visual perception being set up correctly, before any specialized meditative skill can even begin to operate on what is seen.
against the wind / with the wind — the governing consideration for both the approach path and the standing position, though the text is careful to note that standing directly downwind carries its own distinct risk from disturbed non-human residents.
workable, wieldy — describing the state of a mind able to actually engage with its object; standing in the wrong direction is said to render the mind "not kammaniya," unable to do its meditative work regardless of effort.
the six faculties including the mind — mano (mind) + chaṭṭha (sixth) + indriya (faculty); the five physical sense faculties plus mind as the sixth, all of which the meditator is instructed to keep "turned inward" rather than outward toward the surrounding environment.
Examining the Surrounding Landmarks
Before looking at the corpse itself, a meditator first pairs it with a fixed landmark — a stone, an anthill, a tree, a bush, or a creeper — noting that landmark's own qualities and repeatedly binding it, in thought, to the foul object, so that the two become a single linked pair the mind can return to.
Evaṃ ṭhitena "tasmiṃ padese pāsāṇaṃ vā…pe… lataṃ vā sanimittaṃ karotī"ti evaṃ vuttāni samantā nimittāni upalakkhetabbāni. Tatridaṃ upalakkhaṇavidhānaṃ, sace tassa nimittassa samantā cakkhupathe pāsāṇo hoti, so "ayaṃ pāsāṇo ucco vā nīco vā khuddako vā mahanto vā tambo vā kāḷo vā seto vā dīgho vā parimaṇḍalo vā"ti vavatthapetabbo. Tato "imasmiṃ nāma okāse ayaṃ pāsāṇo idaṃ asubhanimittaṃ, idaṃ asubhanimittaṃ ayaṃ pāsāṇo"ti sallakkhetabbaṃ. Sace vammiko hoti, sopi "ucco vā nīco vā khuddako vā mahanto vā tambo vā kāḷo vā seto vā dīgho vā parimaṇḍalo vā"ti vavatthapetabbo. Tato "imasmiṃ nāma okāse ayaṃ vammiko idaṃ asubhanimitta"nti sallakkhetabbaṃ. Sace rukkho hoti, sopi "assattho vā nigrodho vā kacchako vā kapītano vā ucco vā nīco vā khuddako vā mahanto vā tambo vā kāḷo vā seto vā"ti vavatthapetabbo. Tato "imasmiṃ nāma okāse ayaṃ rukkho idaṃ asubhanimitta"nti sallakkhetabbaṃ. Sace gaccho hoti, sopi "sindivā karamando vā kaṇavīro vā kuraṇḍako vā ucco vā nīco vā khuddako vā mahanto vā"ti vavatthapetabbo. Tato "imasmiṃ nāma okāse ayaṃ gaccho idaṃ asubhanimitta"nti sallakkhetabbaṃ. Sace latā hoti, sāpi "lābu vā kumbhaṇḍī vā sāmā vā kāḷavalli vā pūtilatā vā"ti vavatthapetabbā. Tato "imasmiṃ nāma okāse ayaṃ latā idaṃ asubhanimittaṃ, idaṃ asubhanimittaṃ ayaṃ latā"ti sallakkhetabbaṃ.
Yaṃ pana vuttaṃ sanimittaṃ karoti sārammaṇaṃ karotīti, taṃ idheva antogadhaṃ. Punappunaṃ vavatthapento hi sanimittaṃ karoti nāma. Ayaṃ pāsāṇo idaṃ asubhanimittaṃ, idaṃ asubhanimittaṃ ayaṃ pāsāṇoti evaṃ dve dve samāsetvā samāsetvā vavatthapento sārammaṇaṃ karoti nāma.
Standing thus, the surrounding signs stated as "in that place, he makes a stone ... or a creeper into a mark" should be examined. This is the procedure for examining them: if there is a stone within eye-range around that sign, it should be determined thus — "this stone is high or low, small or large, copper-colored, black, or white, long or perfectly round." Then it should be noted: "in such-and-such a location is this stone, and this is the foul sign; this is the foul sign, and this is the stone." If there is an anthill, it too should be determined as "high or low, small or large, copper-colored, black, or white, long or perfectly round"; then it should be noted: "in such-and-such a location is this anthill, and this is the foul sign." If there is a tree, it too should be determined as "a pipal, a banyan, a kacchaka, or a kapītana; high or low, small or large, copper-colored, black, or white"; then it should be noted: "in such-and-such a location is this tree, and this is the foul sign." If there is a bush, it too should be determined as "a sindi, a karamanda, an oleander, or a kuraṇḍaka; high or low, small or large"; then it should be noted: "in such-and-such a location is this bush, and this is the foul sign." If there is a creeper, it too should be determined as "a bottle-gourd vine, a wax-gourd vine, a sāmā-creeper, a black creeper, or a foul-smelling creeper"; then it should be noted: "in such-and-such a location is this creeper, and this is the foul sign; this is the foul sign, and this is the creeper."
As for what was said — "he makes it a mark, he makes it a support for attention" — that is already included in what has just been explained. For one who determines it again and again is said to "make it a mark." And one who determines it by repeatedly joining the two together in pairs — "this stone, this is the foul sign; this is the foul sign, this stone" — is said to "make it a support for attention."
The sheer specificity of this landmark cataloguing — height, size, color, exact species of tree or vine — is not incidental detail but the whole method: by anchoring an unstable, decaying object to an ordinary, stable one through repeated verbal pairing, the meditator builds a retrievable mental link that survives even when the corpse itself is no longer in view, which becomes essential once he leaves the charnel ground and must reconstruct the sign purely from memory during the walk home.
The reversal in the final noting formula — first "this stone, this is the sign," then "this is the sign, this stone" — is a small but deliberate technique: stating the pairing in both directions ensures the association works symmetrically, so that recalling either the landmark or the object independently is enough to bring the other to mind, rather than the link functioning in only one direction.
an anthill or termite-mound — one of the five standard landmark types (alongside stone, tree, bush, and creeper) used to fix the location of a foul sign in memory.
a pipal tree (Ficus religiosa) / a banyan tree (Ficus benghalensis) — two of the specific tree species named as examples when a tree serves as the fixed landmark.
having joined together — from saṃ-as (to throw together, combine); describing the act of mentally pairing landmark and object two at a time, repeatedly, until the association is firmly fixed.
The Sixfold Grasping of the Sign
Once the landmark-pairing is fixed, the meditator examines the corpse itself by six distinct approaches — color, mark, shape, direction, location, and delimitation — a method that works only when the corpse shares the meditator's own sex, since the text is direct about the specific danger an opposite-sex object poses even here.
Evaṃ vavatthapetvā vaṇṇatopi liṅgatopi saṇṭhānatopi disatopi okāsatopi paricchedatopīti chabbidhena nimittaṃ gahetabbaṃ. Kathaṃ? Tena hi yoginā idaṃ sarīraṃ kāḷassa vā odātassa vā maṅguracchavino vāti "vaṇṇato" vavatthapetabbaṃ. "Liṅgato" pana itthiliṅgaṃ vā purisaliṅgaṃ vāti avavatthapetvā paṭhamavaye vā majjhimavaye vā pacchimavaye vā ṭhitassa idaṃ sarīranti vavatthapetabbaṃ. "Saṇṭhānato" uddhumātakassa saṇṭhānavaseneva idamassa sīsasaṇṭhānaṃ, idaṃ gīvāsaṇṭhānaṃ, idaṃ hatthasaṇṭhānaṃ, idaṃ udarasaṇṭhānaṃ, idaṃ nābhisaṇṭhānaṃ, idaṃ kaṭisaṇṭhānaṃ, idaṃ ūrusaṇṭhānaṃ, idaṃ jaṅghāsaṇṭhānaṃ, idaṃ pādasaṇṭhānanti vavatthapetabbaṃ. "Disato" pana imasmiṃ sarīre dve disā nābhiyā adho heṭṭhimadisā uddhaṃ uparimadisāti vavatthapetabbaṃ. Atha vā ahaṃ imissā disāya ṭhito asubhanimittaṃ imissāti vavatthapetabbaṃ. "Okāsato" pana imasmiṃ nāma okāse hatthā, imasmiṃ pādā, imasmiṃ sīsaṃ, imasmiṃ majjhimakāyo ṭhitoti vavatthapetabbaṃ. Atha vā ahaṃ imasmiṃ okāse ṭhito asubhanimittaṃ imasminti vavatthapetabbaṃ. "Paricchedato" idaṃ sarīraṃ adho pādatalena upari kesamatthakena tiriyaṃ tacena paricchinnaṃ, yathāparicchinne ca ṭhāne dvattiṃsakuṇapabharitamevāti vavatthapetabbaṃ. Atha vā ayamassa hatthaparicchedo, ayaṃ pādaparicchedo, ayaṃ sīsaparicchedo, ayaṃ majjhimakāyaparicchedoti vavatthapetabbaṃ. Yattakaṃ vā pana ṭhānaṃ gaṇhati, tattakameva idaṃ īdisaṃ uddhumātakanti paricchinditabbaṃ. Purisassa pana itthisarīraṃ itthiyā vā purisasarīraṃ na vaṭṭati. Visabhāge sarīre ārammaṇaṃ na upaṭṭhāti, vipphandanasseva paccayo hoti. "Ugghāṭitāpi hi itthī purisassa cittaṃ pariyādāya tiṭṭhatī"ti (a. ni. 5.55) majjhimaṭṭhakathāyaṃ vuttaṃ. Tasmā sabhāgasarīreyeva evaṃ chabbidhena nimittaṃ gaṇhitabbaṃ.
Having determined it thus, the sign should be grasped in six ways: by way of color, by way of mark, by way of shape, by way of direction, by way of location, by way of delimitation. How? By that meditator, this body should be determined by way of color: "black, or white, or of a frog's-belly hue." By way of mark, however, without determining it as "the female mark" or "the male mark," it should be determined simply as "this body, standing in early life, middle life, or late life." By way of shape, by way of the bloated corpse's own shape: "this is the shape of the head, this the shape of the neck, this the shape of the hand, this the shape of the belly, this the shape of the navel, this the shape of the hip, this the shape of the thigh, this the shape of the calf, this the shape of the foot." By way of direction: in this body there are two directions, the lower direction below the navel and the upper direction above it; or else, "I am standing in this direction; the foul sign is in that direction." By way of location: "in this location are the hands, in this the feet, in this the head, in this the middle of the body is situated"; or else, "I am standing in this location; the foul sign is in that location." By way of delimitation: "this body is delimited below by the sole of the foot, above by the tips of the hair, and across by the skin, and, within that delimited space, it is simply filled with the thirty-two parts of the corpse"; or else, "this is its hand-delimitation, this its foot-delimitation, this its head-delimitation, this its middle-body-delimitation." Or else, however much space it occupies, that much should be delimited as "this, of such a kind, is the bloated corpse." But for a man, a woman's body — or for a woman, a man's body — is not suitable: in a body of the opposite sex, the object fails to become manifest, and becomes instead merely a condition for mental agitation. For it is said in the Majjhima commentary, "even a woman being carried out dead can still take hold of a man's mind" (A.N. 5.55). Therefore the sign should be grasped in these six ways only in a body of the same sex as the meditator.
The instruction on "mark" (liṅga) is a deliberate redirection: rather than noting the corpse's sex, which is precisely the feature that could trigger desire, the meditator is told to determine only its stage of life — young, middle-aged, or old. This is not an oversight or a euphemism; it is the method's built-in safeguard, steering attention toward a neutral descriptive category and away from the one dimension most likely to defeat the entire purpose of the exercise.
The blunt citation from the Majjhima commentary — that even a woman's corpse being carried to burial can seize a man's mind — is offered without qualification or softening, functioning as the clause's own justification: it is precisely because this danger is real and well attested, not merely theoretical, that the six-way analysis is restricted to a body sharing the meditator's own sex, no exceptions implied.
having the color of a frog's belly — maṅgura (a type of fish or frog) + chavi (skin, complexion); one of the three color options given for describing a corpse, alongside plain black and white.
the thirty-two parts of the corpse — dvattiṃsa (thirty-two) + kuṇapa (corpse, foul thing); referencing the traditional thirty-two-part anatomical inventory (hair, nails, teeth, skin, and so on) that this treatise treats in full elsewhere, here invoked as what fills the body's own delimited space.
agitation, mental disturbance — the specific consequence named for grasping the sign in an opposite-sex body: rather than yielding a workable meditative object, it merely destabilizes the mind.
The Elevenfold Grasping, for Those Who Need It
Not everyone needs the full elevenfold analysis: for the rare, exceptionally prepared meditator, the sign appears at a single glance; for most, the sixfold grasping just given suffices; but for anyone still without the sign, five further approaches are added — by joints, by openings, by concavities, by convexities, and by the whole — bringing the total, for a body's own hundred and eighty joints reduced to fourteen major ones, to eleven ways of seeing the same object.
Yo pana purimabuddhānaṃ santike āsevitakammaṭṭhāno parihatadhutaṅgo parimadditamahābhūto pariggahitasaṅkhāro vavatthāpitanāmarūpo ugghāṭitasattasañño katasamaṇadhammo vāsitavāsano bhāvitabhāvano sabījo ñāṇuttaro appakileso kulaputto, tassa olokitolokitaṭṭhāneyeva paṭibhāganimittaṃ upaṭṭhāti. No ce evaṃ upaṭṭhāti, athevaṃ chabbidhena nimittaṃ gaṇhato upaṭṭhāti. Yassa pana evampi na upaṭṭhāti, tena sandhito vivarato ninnato thalato samantatoti punapi pañcavidhena nimittaṃ gahetabbaṃ.
Tattha "sandhito"ti asītisatasandhito. Uddhumātake pana kathaṃ asītisatasandhayo vavatthapessati. Tasmānena tayo dakkhiṇahatthasandhī, tayo vāmahatthasandhī, tayo dakkhiṇapādasandhī, tayo vāmapādasandhī, eko gīvasandhi, eko kaṭisandhīti evaṃ cuddasamahāsandhivasena sandhito vavatthapetabbaṃ. "Vivarato"ti vivaraṃ nāma hatthantaraṃ pādantaraṃ udarantaraṃ kaṇṇantaranti evaṃ vivarato vavatthapetabbaṃ. Akkhīnampi nimmīlitabhāvo vā ummīlitabhāvo vā mukhassa ca pihitabhāvo vā vivaṭabhāvo vā vavatthapetabbo. "Ninnato"ti yaṃ sarīre ninnaṭṭhānaṃ akkhikūpo vā antomukhaṃ vā galavāṭako vā, taṃ vavatthapetabbaṃ. Atha vā ahaṃ ninne ṭhito sarīraṃ unnateti vavatthapetabbaṃ. "Thalato"ti yaṃ sarīre unnataṭṭhānaṃ jaṇṇukaṃ vā uro vā nalāṭaṃ vā, taṃ vavatthapetabbaṃ. Atha vā ahaṃ thale ṭhito sarīraṃ ninneti vavatthapetabbaṃ. "Samantato"ti sabbaṃ sarīraṃ samantato vavatthapetabbaṃ. Sakalasarīre ñāṇaṃ cāretvā yaṃ ṭhānaṃ vibhūtaṃ hutvā upaṭṭhāti, tattha "uddhumātakaṃ uddhumātaka"nti cittaṃ ṭhapetabbaṃ. Sace evampi na upaṭṭhāti, udarapariyosānaṃ atirekaṃ uddhumātakaṃ hoti, tattha "uddhumātakaṃ uddhumātaka"nti cittaṃ ṭhapetabbaṃ.
But for the clansman who has practiced meditation subjects in the presence of former Buddhas, who has kept up the ascetic practices, who has thoroughly mastered the great elements, who has fully comprehended formations, who has determined mentality-materiality, who has broken through the perception of a being, who has fulfilled the recluse's duty, who is well-perfumed with past practice, whose development is already developed, who possesses the seed, whose knowledge is supreme, whose defilements are few — for such a clansman, the counterpart-sign appears at the very spot where he merely glances. If it does not appear thus, then it appears for one grasping the sign in the sixfold way just described. But for one for whom it does not appear even so, the sign should be grasped once more, in a further fivefold way: by way of joints, by way of openings, by way of concavities, by way of convexities, by way of the whole.
Herein, "by way of joints" means by way of the hundred and eighty joints. But how will one determine the hundred and eighty joints in a bloated corpse? Therefore, by this meditator, it should be determined by way of joints reckoned as fourteen major joints: three joints of the right hand, three of the left hand, three of the right foot, three of the left foot, one neck-joint, and one hip-joint. "By way of openings": an opening means the space between the hands, between the feet, between the belly and limbs, between the ears — it should be determined by way of openings thus; the closed or open state of the eyes, and the shut or open state of the mouth, should also be determined. "By way of concavities": whatever concave place there is in the body — the eye-socket, the interior of the mouth, or the hollow of the throat — that should be determined; or else, "I am standing in a concavity; the body is convex." "By way of convexities": whatever convex place there is in the body — the knee, the chest, or the forehead — that should be determined; or else, "I am standing on a convexity; the body is concave." "By way of the whole": the whole body should be determined all over. Having sent one's knowledge over the entire body, wherever a spot appears distinctly, there the mind should be fixed, thinking, "bloated, bloated." If it does not appear even so, the bloating is greatest at the belly; there the mind should be fixed, thinking, "bloated, bloated."
The list of qualities belonging to the exceptionally prepared meditator — practiced under former Buddhas, kept up the ascetic practices, mastered the elements, comprehended formations — reads almost like a compressed biography of an ideal disciple's entire path so far, and its function here is calibrating: it exists to explain why the elevenfold method is necessary at all for anyone else, by first naming the rare case where no method is needed beyond a single glance.
The reduction of a literal hundred and eighty joints to a manageable fourteen major ones is characteristic of this treatise's practicality: a technically exhaustive anatomical fact (180 joints) is explicitly acknowledged as unusable for actual meditation practice, and immediately replaced with a coarser, workable approximation — accuracy is not abandoned, but subordinated to what a meditator can actually hold in mind at once.
possessing the seed — sa (with) + bīja (seed); describing the ideal meditator's inherent capacity for swift attainment, as though the result were already present in latent form, needing only the right condition to manifest.
the fourteen major joints — cuddasa (fourteen) + mahā (great) + sandhi (joint); the practical reduction of the body's full joint-count used specifically for the "by way of joints" analysis of a bloated corpse.
concavity / convexity — a paired analytical category (alongside color, mark, shape, direction, location, delimitation, joints, and openings) for examining the body's surface topology, used reciprocally: naming a hollow implicitly locates a corresponding rise, and vice versa.
Making the Sign Well-Grasped, and the Return Journey
The chapter now gives its own detailed explanation (vinicchayakathā) of what "well grasped" actually means in practice: alternately opening and closing the eyes, hundreds or even a thousand times, until the image seen and the image recalled become indistinguishable — and only then, if the sign is not yet stable enough to bring to full development on the spot, retracing the outward journey in exact reverse for the walk home.
Idāni "so taṃ nimittaṃ suggahitaṃ karotī"tiādīsu ayaṃ vinicchayakathā — Tena yoginā tasmiṃ sarīre yathāvuttanimittaggāhavasena suṭṭhu nimittaṃ gaṇhitabbaṃ. Satiṃ sūpaṭṭhitaṃ katvā āvajjitabbaṃ. Evaṃ punappunaṃ karontena sādhukaṃ upadhāretabbañceva vavatthapetabbañca. Sarīrato nātidūre nāccāsanne padese ṭhitena vā nisinnena vā cakkhuṃ ummīletvā oloketvā nimittaṃ gaṇhitabbaṃ. "Uddhumātakapaṭikkūlaṃ uddhumātakapaṭikkūla"nti satakkhattuṃ sahassakkhattuṃ ummīletvā oloketabbaṃ, nimmīletvā āvajjitabbaṃ. Evaṃ punappunaṃ karontassa uggahanimittaṃ suggahitaṃ hoti. Kadā suggahitaṃ hoti? Yadā ummīletvā olokentassa nimmīletvā āvajjentassa ca ekasadisaṃ hutvā āpāthamāgacchati, tadā suggahitaṃ nāma hoti.
So taṃ nimittaṃ evaṃ suggahitaṃ katvā sūpadhāritaṃ upadhāretvā suvavatthitaṃ vavatthapetvā sace tattheva bhāvanāpariyosānaṃ pattuṃ na sakkoti, athānena āgamanakāle vuttanayeneva ekakena adutiyena tadeva kammaṭṭhānaṃ manasikarontena sūpaṭṭhitaṃ satiṃ katvā antogatehi indriyehi abahigatena mānasena attano senāsanameva gantabbaṃ.
Susānā nikkhamanteneva ca āgamanamaggo vavatthapetabbo, yena maggena nikkhantosmi, ayaṃ maggo pācīnadisābhimukho vā gacchati, pacchimauttaradakkhiṇadisābhimukho vā gacchati, vidisābhimukho vā gacchati. Imasmiṃ pana ṭhāne vāmato gacchati, imasmiṃ dakkhiṇato, imasmiṃ cassa ṭhāne pāsāṇo, imasmiṃ vammiko, imasmiṃ rukkho, imasmiṃ gaccho, imasmiṃ latāti evaṃ āgamanamaggaṃ vavatthapetvā āgatena caṅkamantenāpi tabbhāgiyova caṅkamo adhiṭṭhātabbo, asubhanimittadisābhimukhe bhūmippadese caṅkamitabbanti attho. Nisīdantena āsanampi tabbhāgiyameva paññapetabbaṃ. Sace pana tassaṃ disāyaṃ sobbho vā papāto vā rukkho vā vati vā kalalaṃ vā hoti, na sakkā taṃdisābhimukhe bhūmippadese caṅkamituṃ, āsanampi anokāsattā na sakkā paññapetuṃ. Taṃ disaṃ anapalokentenāpi okāsānurūpe ṭhāne caṅkamitabbañceva nisīditabbañca. Cittaṃ pana taṃdisābhimukhaṃyeva kātabbaṃ.
Now, as to the passage beginning "he makes that sign well grasped" and so on, this is the detailed explanation — By that meditator, the sign should be thoroughly grasped in that body by way of the grasping already described. With mindfulness well established, it should be brought to mind. Doing so again and again, it should be thoroughly considered and determined. Standing or sitting at a spot neither too far nor too near the body, with the eyes opened, the sign should be looked at and grasped. Thinking, "the bloated is repulsive, the bloated is repulsive," one should look with the eyes opened a hundred times, a thousand times, and bring it to mind with the eyes closed. Doing so again and again, the learning-sign becomes well grasped. When does it become well grasped? When, for one looking with eyes opened and bringing it to mind with eyes closed, it comes into range in exactly the same way both times — then it is called well grasped.
Having made that sign well grasped, well considered, and well determined in this way, if he is not able to reach the completion of development right there, then, at the time of returning, in the manner already stated, alone, without a companion, attending to that very meditation subject, with mindfulness well established, with the faculties turned inward, with a mind not turned outward, he should go to his own dwelling.
Just upon leaving the charnel ground, the path of return should be determined: "by whatever path I have come out, this path goes facing east, or facing west, north, or south, or an intermediate direction; and at this spot it goes to the left, at this spot to the right, and at this spot there is a stone, at this one an anthill, at this one a tree, at this one a bush, at this one a creeper." Having thus determined the path of return, one who has arrived and is walking back and forth should resolve upon a walk pertaining to that very object — meaning, he should walk on a stretch of ground facing the direction of the foul sign. One who is sitting should likewise prepare a seat pertaining to that very object. But if, in that direction, there is a pit, a precipice, a tree, a fence, or mud, so that it is not possible to walk back and forth on a stretch of ground facing that direction, nor, for lack of space, to prepare a seat there, then, without turning away from that direction, one should walk back and forth and sit in a spot suited to the available space — but the mind should still be turned to face that very direction.
The eyes-open/eyes-closed test for "well grasped" is a genuinely operational criterion, not a vague description: the learning-sign counts as secured only when it is indistinguishable which state produced it, meaning the mental image has become as vivid and stable as the direct percept. This is a rare place in the text where success is defined by a repeatable check the meditator can actually perform on himself, rather than by a description he must simply trust.
The insistence on keeping the body, or at least the mind, oriented toward the sign's direction even back at the monastery — walking a "stretch of ground facing" it, sitting on a seat "pertaining to that very object," and, failing available space, at least keeping the mind facing that way — shows how thoroughly the meditation subject is meant to structure the meditator's whole environment, not merely his attention during formal sitting: the orientation of walking paths and seats becomes an extension of the practice itself.
well grasped — su (well) + gahita (grasped, taken); the specific, testable state of the learning-sign once opening and closing the eyes yields an identical image, marking the threshold before the counterpart-sign can arise.
detailed explanatory discussion — vinicchaya (determination, decision) + kathā (discussion); the chapter's own term for its practice of unpacking a compact citation clause by clause, used repeatedly throughout this treatise.
pertaining to that very object — taṃ (that) + bhāgiya (belonging to, sharing in); describing how even ordinary daily activities like walking and sitting should be deliberately aligned with the direction of the meditation object.
The Fear of the Corpse Rising, and Why the Sign Binds the Mind
The chapter now explains why the surrounding-landmark examination exists at all: at an inopportune moment, a corpse can genuinely appear to rise up and pursue the meditator, producing real terror — the text calls this the single most frightening of all thirty-eight canonical meditation objects — and gives the exact reasoning a meditator should use to steady himself, before explaining how the elevenfold grasping itself is what finally binds the mind through learning-sign, counterpart-sign, absorption, and on to insight and arahantship.
Idāni "samantā nimittupalakkhaṇā kimatthiyā"tiādipañhānaṃ "asammohatthā"tiādivissajjane ayaṃ adhippāyo. Yassa hi avelāyaṃ uddhumātakanimittaṭṭhānaṃ gantvā samantā nimittupalakkhaṇaṃ katvā nimittaggahaṇatthaṃ cakkhuṃ ummīletvā olokentasseva taṃ matasarīraṃ uṭṭhahitvā ṭhitaṃ viya ajjhottharamānaṃ viya anubandhamānaṃ viya ca hutvā upaṭṭhāti, so taṃ bībhacchaṃ bheravārammaṇaṃ disvā vikkhittacitto ummattako viya hoti, bhayaṃ chambhitattaṃ lomahaṃsaṃ pāpuṇāti. Pāḷiyaṃ hi vibhattaaṭṭhatiṃsārammaṇesu aññaṃ evarūpaṃ bheravārammaṇaṃ nāma natthi. Imasmiṃ hi kammaṭṭhāne jhānavibbhantako nāma hoti. Kasmā? Atibheravattā kammaṭṭhānassa. Tasmā tena yoginā santhambhetvā satiṃ sūpaṭṭhitaṃ katvā matasarīraṃ uṭṭhahitvā anubandhanakaṃ nāma natthi. Sace hi so "etassa samīpe ṭhito pāsāṇo vā latā vā āgaccheyya, sarīrampi āgaccheyya. Yathā pana so pāsāṇo vā latā vā nāgacchati, evaṃ sarīrampi nāgacchati. Ayaṃ pana tuyhaṃ upaṭṭhānākāro saññajo saññāsambhavo, kammaṭṭhānaṃ te ajja upaṭṭhitaṃ, mā bhāyi bhikkhū"ti tāsaṃ vinodetvā hāsaṃ uppādetvā tasmiṃ nimitte cittaṃ sañcarāpetabbaṃ. Evaṃ visesamadhigacchati. Idametaṃ sandhāya vuttaṃ "samantā nimittupalakkhaṇā asammohatthā"ti.
Ekādasavidhena pana nimittaggāhaṃ sampādento kammaṭṭhānaṃ upanibandhati. Tassa hi cakkhūni ummīletvā olokanapaccayā uggahanimittaṃ uppajjati. Tasmiṃ mānasaṃ cārentassa paṭibhāganimittaṃ uppajjati. Tattha mānasaṃ cārento appanaṃ pāpuṇāti. Appanāyaṃ ṭhatvā vipassanaṃ vaḍḍhento arahattaṃ sacchikaroti. Tena vuttaṃ "ekādasavidhena nimittaggāho upanibandhanattho"ti.
Now, as to the question "for what purpose is the examination of the surrounding signs?" and the answer beginning "for the purpose of freedom from confusion," this is the intent. For, to one who has gone to the bloated-sign's location at an inopportune time, and, having examined the surrounding signs, opens his eyes and looks in order to grasp the sign — to him, that dead body may appear as though it has risen up and is standing, as though bearing down upon him, as though pursuing him; and, seeing that ghastly, terrifying object, his mind becomes distracted, as though deranged, and he attains fear, terror, and the standing-on-end of the body's hairs. For among the thirty-eight objects classified in the Canon, there is no other terrifying object like this one. In this meditation subject, indeed, one may become "one who has strayed from the jhāna." Why? Because of the meditation subject's extreme terror. Therefore, that meditator, steadying himself and firmly establishing mindfulness, should know that there is no such thing as a dead body rising up and pursuing anyone. For, reasoning thus — "if a stone or a creeper standing near this body were to come, then the body too might come; but just as that stone or creeper does not come, so too the body does not come; this appearance of yours is merely born of perception, arisen from perception — your meditation subject has appeared to you today; do not be afraid, monk" — having thus dispelled that fear and produced a smile, he should let his mind range over that sign. Doing so, he achieves distinction. This is what is meant by saying, "the examination of the surrounding signs is for the purpose of freedom from confusion."
But one who accomplishes the elevenfold grasping of the sign binds the meditation subject to his mind. For, from the condition of opening the eyes and looking, the learning-sign arises in him. Letting his mind range over that, the counterpart-sign arises. Letting his mind range over that, he reaches absorption. Standing in the absorption, developing insight, he realizes arahantship. For this reason it was said, "the elevenfold grasping of the sign has the purpose of binding."
Naming this the single most terrifying object among all thirty-eight canonical meditation subjects is a remarkable admission for the treatise to make about one of its own recommended practices — and it makes the earlier landmark-examination instructions retroactively significant: what looked like mere memory-aids for relocating the sign later turn out to double as the meditator's defense against a specific, named psychological hazard unique to this practice, "one who has strayed from the jhāna" through sheer terror.
The reasoning offered to dispel the fear is a clean piece of applied logic rather than mere reassurance: since the neighboring stone and creeper plainly do not move, and the corpse is subject to the same physical laws as they are, its apparent movement cannot be real — it can only be a projection of the perceiver's own agitated mind. Naming this directly as "merely born of perception" (saññajo saññāsambhavo) turns a moment of visceral terror into an object lesson in exactly the kind of insight the whole practice is meant to cultivate: that even a vivid, frightening appearance is a construction of perception, not a straightforward report of what is actually there.
a terrifying object — bherava (terrifying, dreadful) + ārammaṇa (object); the term the text uses to single out the bloated-corpse sign as uniquely fear-inducing among all thirty-eight canonical meditation objects.
one who has strayed from the jhāna — jhāna + vibbhanta (gone astray, deranged); the specific failure mode named for this meditation subject, where terror itself disrupts what would otherwise be a successful attainment.
born of perception, arisen from perception — the exact phrase used to explain away the illusion of a corpse moving, naming perception itself (rather than any external event) as the true source of the frightening appearance.
The Return Journey and Monastic Etiquette
The chapter now explains the third purpose named in the citation — reviewing the path gone and returned by, for the sake of "correctly following the course of practice" — through the very practical problem of a young, fragile learning-sign meeting ordinary monastic life head-on: people who ask the day or a question on the road, or the routine duties owed at a shrine, a Bodhi tree, or the guest-quarters, none of which a meditator may simply ignore, even though answering them will cost him the sign he worked so hard to obtain.
"Gatāgatamaggapaccavekkhaṇā vīthisampaṭipādanatthā"ti ettha pana yā gatamaggassa ca āgatamaggassa ca paccavekkhaṇā vuttā, sā kammaṭṭhānavīthiyā sampaṭipādanatthāti attho. Sace hi imaṃ bhikkhuṃ kammaṭṭhānaṃ gahetvā āgacchantaṃ antarāmagge keci ajja, bhante, katimīti divasaṃ vā pucchanti, pañhaṃ vā pucchanti, paṭisanthāraṃ vā karonti, ahaṃ kammaṭṭhāniko ti tuṇhībhūtena gantuṃ na vaṭṭati. Divaso kathetabbo, pañho vissajjetabbo. Sace na jānāti, na jānāmīti vattabbaṃ. Dhammiko paṭisanthāro kātabbo. Tassevaṃ karontassa uggahitaṃ taruṇanimittaṃ nassati. Tasmiṃ nassantepi divasaṃ puṭṭhena kathetabbameva. Pañhaṃ ajānantena na jānāmīti vattabbaṃ. Jānantena ekadesena kathetumpi vaṭṭati, paṭisanthāropi kātabbo. Āgantukaṃ pana bhikkhuṃ disvā āgantukapaṭisanthāro kātabbova. Avasesānipi cetiyaṅgaṇavattabodhiyaṅgaṇavattauposathāgāravattabhojanasālājantāgharaācariyupajjhāyaāgantukagamikavattādīni sabbāni khandhakavattāni pūretabbāneva. Tassa tāni pūrentassāpi taṃ taruṇanimittaṃ nassati, puna gantvā nimittaṃ gaṇhissāmīti gantukāmassāpi amanussehi vā vāḷamigehi vā adhiṭṭhitattā susānampi gantuṃ na sakkā hoti, nimittaṃ vā antaradhāyati. Uddhumātakaṃ hi ekameva vā dve vā divase ṭhatvā vinīlakādibhāvaṃ gacchati. Sabbakammaṭṭhānesu etena samaṃ dullabhaṃ kammaṭṭhānaṃ nāma natthi. Tasmā evaṃ naṭṭhe nimitte tena bhikkhunā rattiṭṭhāne vā divāṭhāne vā nisīditvā ahaṃ iminā nāma dvārena vihārā nikkhamitvā asukadisābhimukhaṃ maggaṃ paṭipajjitvā asukasmiṃ nāma ṭhāne vāmaṃ gaṇhi, asukasmiṃ dakkhiṇaṃ. Tassa asukasmiṃ ṭhāne pāsāṇo, asukasmiṃ vammikarukkhagacchalatānamaññataraṃ. Sohaṃ tena maggena gantvā asukasmiṃ nāma ṭhāne asubhaṃ addasaṃ. Tattha asukadisābhimukho ṭhatvā evañcevañca samantā nimittāni sallakkhetvā evaṃ asubhanimittaṃ uggahetvā asukadisāya susānato nikkhamitvā evarūpena nāma maggena idañcidañca karonto āgantvā idha nisinnoti evaṃ yāva pallaṅkaṃ ābhujitvā nisinnaṭṭhānaṃ, tāva gatāgatamaggo paccavekkhitabbo. Tassevaṃ paccavekkhato taṃ nimittaṃ pākaṭaṃ hoti, purato nikkhittaṃ viya upaṭṭhāti. Kammaṭṭhānaṃ purimākāreneva vīthiṃ paṭipajjati. Tena vuttaṃ "gatāgatamaggapaccavekkhaṇā vīthisampaṭipādanatthā"ti.
As to "the examination of the path gone and to be returned by is for the purpose of the correct following of the course of practice" — herein, the examination stated of the path gone and the path returned by has the meaning of correctly bringing about the course of the meditation subject. For if, on the road, some people ask this monk, who is returning with his meditation subject, "what day is it today, venerable sir," or ask some other question, or engage him in friendly greeting, it is not proper for him to go on in silence, thinking, "I am a meditator." The day should be told, the question answered. If he does not know, he should say, "I do not know." A proper, courteous exchange should be made. But, doing so, the young sign he has grasped is lost. Even so, when asked the day, it should still be told. If he does not know the answer to a question, he should say, "I do not know"; if he does know, it is proper even to explain it in part, and a courteous exchange should be made. And seeing a visiting monk, a visitor's courteous welcome must be given. All the remaining duties too — the duty at the shrine-terrace, the duty at the Bodhi-tree terrace, the duty at the uposatha-hall, at the refectory, at the bathhouse, toward teachers and preceptors, toward arriving and departing monks, and all the rest of the communal duties set out in the Khandhaka — must likewise be fulfilled. And, fulfilling these, that young sign is lost. And even for one wishing to go again to retake the sign, it may not be possible even to go to the charnel ground at all, on account of it being occupied by non-human beings or fierce wild animals; or the sign itself may have vanished — for a bloated corpse remains as such for only a day or two, after which it passes into the state of the livid and the rest. Among all meditation subjects, there is none so hard to obtain again as this one. Therefore, when the sign is lost in this way, that monk, sitting in his night-quarters or day-quarters, should reconstruct it thus: "I went out from the monastery by such-and-such a gate, in such-and-such a direction; I took the path facing such-and-such a direction; at such-and-such a spot I turned left, at such-and-such a spot right; at such-and-such a spot there was a stone, at such-and-such a spot an anthill, a tree, a bush, or a creeper. Going by that path, I saw the foul object at such-and-such a spot. Standing there facing such-and-such a direction, having noted the surrounding signs in such and such a way, having thus grasped the foul sign, having left the charnel ground in such-and-such a direction, doing this and that by such-and-such a path, I came and sat here" — thus the path gone and returned by should be reviewed, right up to the very spot where he now sits with his legs crossed. For one reviewing it in this way, that sign becomes evident, appearing as though laid down right in front of him, and the meditation subject follows its course exactly as before. For this reason it was said, "the examination of the path gone and to be returned by is for the purpose of the correct following of the course of practice."
This section is remarkably candid that ordinary monastic courtesy and successful meditation can genuinely conflict — answering a simple question about the date is explicitly said to destroy a hard-won learning-sign — and yet the text never once suggests the meditator is entitled to ignore social or communal obligation for the sake of his practice. The instruction is unambiguous both ways: the day must be told, the question answered, the guest welcomed, the shrine duty fulfilled, and the sign, if lost, must simply be painstakingly rebuilt afterward through the reconstruction method given here.
That reconstruction method is itself a small technique worth noting on its own: rather than despairing at a lost sign or attempting to force a memory that will not come, the meditator is told to narrate the entire journey to himself in linear, first-person detail, right down to the exact seated posture he currently holds — a technique that works because it retraces, in the same order, the very sequence of landmark-pairings originally used to fix the sign in the first place.
a young, immature sign — taruṇa (young, tender) + nimitta (sign); describing the fragility of a newly obtained learning-sign, easily lost through any interruption before it becomes fully stabilized.
a communal duty set out in the Khandhaka — khandhaka (the Vinaya's division on monastic procedure) + vatta (duty, observance); the broad category covering all the routine monastic obligations this section insists must still be fulfilled despite the risk to one's meditation subject.
having crossed the legs — the standard description of taking a seated meditation posture, marking the endpoint of the reconstructed journey the meditator narrates to himself to recover a lost sign.
The Jewel Simile, and the Arising of the First Jhāna
The chapter closes its treatment of the bloated corpse with the citation's own image for what it means to "perceive this object as a jewel": a poor man's fierce protectiveness over a single precious gem, applied to a meditation subject the text calls the rarest and most perishable of all forty — before describing, in precise Abhidhamma terms, how the five hindrances fall away and the jhāna factors become manifest once the counterpart-sign finally appears.
Idāni "ānisaṃsadassāvī ratanasaññī hutvā cittīkāraṃ upaṭṭhapetvā sampiyāyamāno tasmiṃ ārammaṇe cittaṃ upanibandhatī"ti ettha uddhumātakapaṭikkūle mānasaṃ cāretvā jhānaṃ nibbattetvā jhānapadaṭṭhānaṃ vipassanaṃ vaḍḍhento "addhā imāya paṭipadāya jarāmaraṇamhā parimuccissāmī"ti evaṃ ānisaṃsadassāvinā bhavitabbaṃ.
Yathā pana duggato puriso mahagghaṃ maṇiratanaṃ labhitvā dullabhaṃ vata me laddhanti tasmiṃ ratanasaññī hutvā gāravaṃ janetvā vipulena pemena sampiyāyamāno taṃ rakkheyya, evameva "dullabhaṃ me idaṃ kammaṭṭhānaṃ laddhaṃ duggatassa mahagghamaṇiratanasadisaṃ. Catudhātukammaṭṭhāniko hi attano cattāro mahābhūte pariggaṇhāti, ānāpānakammaṭṭhāniko attano nāsikavātaṃ pariggaṇhāti, kasiṇakammaṭṭhāniko kasiṇaṃ katvā yathāsukhaṃ bhāveti, evaṃ itarāni kammaṭṭhānāni sulabhāni. 'Idaṃ pana ekameva vā dve vā divase tiṭṭhati, tato paraṃ vinīlakādibhāvaṃ pāpuṇātī'ti natthi ito dullabhatara"nti tasmiṃ ratanasaññinā hutvā cittīkāraṃ upaṭṭhapetvā sampiyāyamānena taṃ nimittaṃ rakkhitabbaṃ. Rattiṭṭhāne ca divāṭhāne ca "uddhumātakapaṭikkūlaṃ uddhumātakapaṭikkūla"nti tattha punappunaṃ cittaṃ upanibandhitabbaṃ. Punappunaṃ taṃ nimittaṃ āvajjitabbaṃ, manasikātabbaṃ. Takkāhataṃ vitakkāhataṃ kātabbaṃ.
Tassevaṃ karoto paṭibhāganimittaṃ uppajjati. Tatridaṃ nimittadvayassa nānākaraṇaṃ, uggahanimittaṃ virūpaṃ bībhacchaṃ bheravadassanaṃ hutvā upaṭṭhāti. Paṭibhāganimittaṃ pana yāvadatthaṃ bhuñjitvā nipanno thūlaṅgapaccaṅgapuriso viya. Tassa paṭibhāganimittapaṭilābhasamakālameva bahiddhā kāmānaṃ amanasikārā vikkhambhanavasena kāmacchando pahīyati. Anunayappahāneneva cassa lohitappahānena pubbo viya byāpādopi pahīyati. Tathā āraddhavīriyatāya thinamiddhaṃ, avippaṭisārakarasantadhammānuyogavasena uddhaccakukkuccaṃ, adhigatavisesassa paccakkhatāya paṭipattidesake satthari paṭipattiyaṃ paṭipattiphale ca vicikicchā pahīyatīti pañca nīvaraṇāni pahīyanti. Tasmiññeva ca nimitte cetaso abhiniropanalakkhaṇo vitakko, nimittānumajjanakiccaṃ sādhayamāno vicāro, paṭiladdhavisesādhigamapaccayā pīti, pītimanassa passaddhisambhavato passaddhi, tannimittaṃ sukhaṃ, sukhitassa cittasamādhisambhavato sukhanimittā ekaggatā cāti jhānaṅgāni pātubhavanti. Evamassa paṭhamajjhānapaṭibimbabhūtaṃ upacārajjhānampi taṅkhaṇaññeva nibbattati. Ito paraṃ yāva paṭhamajjhānassa appanā ceva vasippatti ca, tāva sabbaṃ pathavīkasiṇe vuttanayeneva veditabbaṃ.
Now, as to the passage "seeing this benefit, and perceiving it as a jewel, having set up high regard for it, and cherishing it fondly, he binds his mind to that object" — herein, letting the mind range over the repulsive bloated object, producing jhāna, and developing the insight that has the jhāna as its proximate cause, one should be one who sees the benefit thus: "surely, by this practice, I shall be freed from aging and death."
Just as a poor man, having obtained a costly and precious gem, thinking, "indeed, a rare thing have I obtained," perceiving it as a jewel, developing reverence for it, and cherishing it with abundant affection, would guard it — just so, one should think: "this meditation subject that I have obtained is rare, like a costly, precious gem for a poor man. For one practicing the four-elements meditation subject simply comprehends his own four great elements; one practicing the mindfulness-of-breathing meditation subject simply comprehends his own nasal breath; one practicing a kasiṇa meditation subject simply makes a kasiṇa and develops it at his ease — in this way, the other meditation subjects are easily obtained. But this one lasts only a day or two, and after that reaches the state of the livid and the rest — there is nothing rarer than this." Perceiving it thus as a jewel, having set up high regard for it, and cherishing it fondly, that sign should be guarded. In one's night-quarters and day-quarters, the mind should be bound again and again there, thinking, "the bloated is repulsive, the bloated is repulsive." Again and again that sign should be brought to mind, attended to. It should be struck by reasoning, struck by thought.
For one doing so, the counterpart-sign arises. Herein, this is the difference between the two signs: the learning-sign appears deformed, ghastly, a terrifying sight. But the counterpart-sign appears like a stout-limbed man lying down, having eaten his fill. For him, at the very moment of obtaining the counterpart-sign, sensual desire is abandoned by way of suppression, through non-attention to sensual pleasures outside; and, by the very abandoning of resentment, ill will too is abandoned, as pus is abandoned along with the abandoning of blood. Likewise, through his energy having been aroused, sloth and torpor are abandoned; through his devotion to the peaceful state that produces freedom from remorse, restlessness and worry are abandoned; and, through the direct experience of the distinction attained, doubt is abandoned regarding the Teacher who points out the practice, regarding the practice itself, and regarding its fruit — thus the five hindrances are abandoned. And, in that very sign, the jhāna factors become manifest: applied thought, which has the characteristic of directing the mind onto the sign; sustained thought, which accomplishes the function of examining the sign; joy, which arises from the condition of having attained the distinction; tranquility, which arises from the joyful mind; happiness, which has that as its proximate condition; and unification, which has happiness as its proximate condition and arises from the concentration of a happy mind. Thus, for him, access-concentration, which is the counterpart of the first jhāna, is produced at that very moment. From this point on, up to the absorption of the first jhāna and mastery over it, everything should be understood exactly by the method already stated for the earth kasiṇa.
The comparison to other meditation subjects is a candid piece of practical accounting rather than mere praise: the four-elements meditation draws on a body one always has, mindfulness of breathing on breath that never runs out, a kasiṇa on a disc one can keep indefinitely — but a bloated corpse lasts only a day or two before decaying past the point of use, making it, by the text's own explicit reckoning, the single hardest of all forty meditation subjects to obtain a second time. The jewel simile's urgency is thus not rhetorical exaggeration but a strict accounting of genuine scarcity.
The image contrasting the two signs is quietly striking: the terrifying, deformed learning-sign gives way, once counterpart-sign is reached, to the image of "a stout-limbed man lying down, having eaten his fill" — not a second, different image of horror intensified, but a settled, almost peaceful figure, showing that what stabilizes in meditative development is not increased revulsion but a kind of composed clarity about the same underlying fact.
high regard, esteem — citta (mind, esteemed) + kāra (making); the specific attitude of valuing the meditation subject the way one would value a rare treasure, distinct from mere interest or effort.
struck by reasoning / struck by thought — takka and vitakka (both broadly "thought," here paired for emphasis) + āhata (struck, beaten, as metal is worked); describing the repeated mental application needed to keep the sign alive and workable.
a stout-limbed man — thūla (thick, stout) + aṅgapaccaṅga (limbs and members) + purisa (a man); the simile for the counterpart-sign's settled appearance, deliberately contrasted with the learning-sign's ghastly instability.
Vinīlaka Through Puḷavaka: The Remaining Eight
Having given the bloated corpse's method in full, the chapter applies its announced economy in earnest: every instruction already given — the going, the landmark examination, the elevenfold grasping — carries over to the eight remaining bodily conditions simply by substituting the name, and only what is genuinely distinctive to each (where it is found, and how its learning-sign and counterpart-sign specifically appear) is stated afresh.
Ito paresu pana vinīlakādīsupi yaṃ taṃ "uddhumātakaṃ asubhanimittaṃ uggaṇhanto eko adutiyo gacchati upaṭṭhitāya satiyā"tiādinā nayena gamanaṃ ādiṃ katvā lakkhaṇaṃ vuttaṃ, taṃ sabbaṃ "vinīlakaṃ asubhanimittaṃ uggaṇhanto, vipubbakaṃ asubhanimittaṃ uggaṇhanto"ti evaṃ tassa tassa vasena tattha tattha uddhumātakapadamattaṃ parivattetvā vuttanayeneva savinicchayādhippāyaṃ veditabbaṃ.
Ayaṃ pana viseso — Vinīlake "vinīlakapaṭikkūlaṃ vinīlakapaṭikkūla"nti manasikāro pavattetabbo. Uggahanimittañcettha kabarakabaravaṇṇaṃ hutvā upaṭṭhāti. Paṭibhāganimittaṃ pana ussadavasena upaṭṭhāti.
Vipubbake "vipubbakapaṭikkūlaṃ vipubbakapaṭikkūla"nti manasikāro pavattetabbo. Uggahanimittaṃ panettha paggharantamiva upaṭṭhāti. Paṭibhāganimittaṃ niccalaṃ sannisinnaṃ hutvā upaṭṭhāti.
Vicchiddakaṃ yuddhamaṇḍale vā corāṭaviyaṃ vā susāne vā yattha rājāno core chindāpenti. Araññe vā pana sīhabyagghehi chinnapurisaṭṭhāne labbhati. Tasmā tathārūpaṃ ṭhānaṃ gantvā sace nānādisāyaṃ patitampi ekāvajjanena āpāthamāgacchati iccetaṃ kusalaṃ. No ce āgacchati, sayaṃ hatthena na parāmasitabbaṃ. Parāmasanto hi vissāsaṃ āpajjati. Tasmā ārāmikena vā samaṇuddesena vā aññena vā kenaci ekaṭṭhāne kāretabbaṃ. Alabhantena kattarayaṭṭhiyā vā daṇḍakena vā ekaṅgulantaraṃ katvā upanāmetabbaṃ. Evaṃ upanāmetvā "vicchiddakapaṭikkūlaṃ vicchiddakapaṭikkūla"nti manasikāro pavattetabbo. Tattha uggahanimittaṃ majjhe chiddaṃ viya upaṭṭhāti. Paṭibhāganimittaṃ pana paripuṇṇaṃ hutvā upaṭṭhāti.
Vikkhāyitake vikkhāyitakapaṭikkūlaṃ vikkhāyitakapaṭikkūlanti manasikāro pavattetabbo. Uggahanimittaṃ panettha tahiṃ tahiṃ khāyitasadisameva upaṭṭhāti. Paṭibhāganimittaṃ paripuṇṇaṃva hutvā upaṭṭhāti.
Vikkhittakampi vicchiddake vuttanayeneva aṅgulaṅgulantaraṃ kāretvā vā katvā vā "vikkhittakapaṭikkūlaṃ vikkhittakapaṭikkūla"nti manasikāro pavattetabbo. Ettha uggahanimittaṃ pākaṭantaraṃ hutvā upaṭṭhāti. Paṭibhāganimittaṃ pana paripuṇṇaṃva hutvā upaṭṭhāti.
Hatavikkhittakampi vicchiddake vuttappakāresuyeva ṭhānesu labbhati. Tasmā tattha gantvā vuttanayeneva aṅgulaṅgulantaraṃ kāretvā vā katvā vā "hatavikkhittakapaṭikkūlaṃ hatavikkhittakapaṭikkūla"nti manasikāro pavattetabbo. Uggahanimittaṃ panettha paññāyamānaṃ pahāramukhaṃ viya hoti. Paṭibhāganimittaṃ paripuṇṇameva hutvā upaṭṭhāti.
Lohitakaṃ yuddhamaṇḍalādīsu laddhappahārānaṃ hatthapādādīsu vā chinnesu bhinnagaṇḍapīḷakādīnaṃ vā mukhato paggharamānakāle labbhati. Tasmā taṃ disvā "lohitakapaṭikkūlaṃ lohitakapaṭikkūla"nti manasikāro pavattetabbo. Ettha uggahanimittaṃ vātappahatā viya rattapaṭākā calamānākāraṃ upaṭṭhāti. Paṭibhāganimittaṃ pana sannisinnaṃ hutvā upaṭṭhāti.
Puḷavakaṃ dvīhatīhaccayena kuṇapassa navahi vaṇamukhehi kimirāsipaggharaṇakāle hoti. Apica taṃ soṇasiṅgālamanussagomahiṃsahatthiassaajagarādīnaṃ sarīrappamāṇameva hutvā sālibhattarāsi viya tiṭṭhati. Tesu yattha katthaci "puḷavakapaṭikkūlaṃ puḷavakapaṭikkūla"nti manasikāro pavattetabbo. Cūḷapiṇḍapātikatissattherassa hi kāḷadīghavāpiyā anto hatthikuṇape nimittaṃ upaṭṭhāsi. Uggahanimittaṃ panettha calamānaṃ viya upaṭṭhāti. Paṭibhāganimittaṃ sālibhattapiṇḍo viya sannisinnaṃ hutvā upaṭṭhāti.
As for the remaining ones — the livid and the rest — everything that has been stated by the method beginning with "one learning the bloated foul sign goes alone, without a companion, with mindfulness established," taking the going as its starting point, should be understood in the same way, together with its detailed explanation and intent, simply by substituting, in each case, the word "bloated" with "one learning the livid foul sign," "one learning the festering foul sign," and so on, according to each.
But this is the distinctive feature — In the case of the livid, the attention "the livid is repulsive, the livid is repulsive" should be made to proceed. Here, the learning-sign appears mottled in color. The counterpart-sign, however, appears by way of its predominant feature.
In the case of the festering, the attention "the festering is repulsive, the festering is repulsive" should be made to proceed. Here, the learning-sign appears as though oozing. The counterpart-sign appears motionless and settled.
The cut-up is obtained on a battlefield, in a forest haunted by bandits, or in a charnel ground where kings have thieves cut in two; or else in the forest, at a spot where a man has been cut apart by lions or tigers. Therefore, having gone to such a spot, if the parts, though fallen in various directions, come into range with a single glance, this is good. If they do not, one should not touch them oneself with the hand — for one who touches them becomes overfamiliar with the object. Therefore, it should be arranged into one place by a monastery attendant, a novice, or someone else. Failing that, it should be drawn together, leaving a gap of one finger's breadth, using a strong stick or staff. Having drawn it together thus, the attention "the cut-up is repulsive, the cut-up is repulsive" should be made to proceed. Here, the learning-sign appears as though with a gap in the middle. The counterpart-sign, however, appears whole.
In the case of the gnawed, the attention "the gnawed is repulsive, the gnawed is repulsive" should be made to proceed. Here, the learning-sign appears exactly as though gnawed here and there. The counterpart-sign appears whole.
For the scattered too, having had the gaps of a finger's breadth made, or having made them oneself, in the manner already stated for the cut-up, the attention "the scattered is repulsive, the scattered is repulsive" should be made to proceed. Here, the learning-sign appears with the gaps evident. The counterpart-sign appears whole.
The hacked-and-scattered too is obtained at spots of the same kind already described for the cut-up. Therefore, having gone there, and having had the gaps of a finger's breadth made, or having made them oneself, in the manner already stated, the attention "the hacked-and-scattered is repulsive, the hacked-and-scattered is repulsive" should be made to proceed. Here, the learning-sign appears with the wound-mouths visible. The counterpart-sign appears whole.
The bleeding is obtained at the time of blood oozing from the wounds of those struck on a battlefield or elsewhere, or from hands or feet that have been cut off, or from the mouth of a broken boil or abscess. Therefore, having seen it, the attention "the bleeding is repulsive, the bleeding is repulsive" should be made to proceed. Here, the learning-sign appears in the moving form of a red banner struck by the wind. The counterpart-sign, however, appears settled.
The worm-infested occurs after the passing of two or three days, when a mass of worms is oozing from the nine wound-mouths of the corpse. And it stands there, exactly the size of the body — whether of a dog, a jackal, a human, a cow, a buffalo, an elephant, a horse, a python, or the like — like a heap of cooked rice. In regard to any of these, the attention "the worm-infested is repulsive, the worm-infested is repulsive" should be made to proceed. For the Elder Cūḷapiṇḍapātika Tissa, the sign arose inside an elephant's carcass at Kāḷadīghavāpi. Here, the learning-sign appears as though moving. The counterpart-sign appears settled, like a lump of cooked rice.
The instruction never to touch a scattered corpse's parts by hand, but to have someone else arrange them or to draw them together with a stick, is a fine point of practical discipline: the concern named is not squeamishness but "overfamiliarity" (vissāsa) — direct physical handling would collapse the very distance the meditation depends on, turning what must remain a contemplative object back into something merely handled and managed.
Across all eight variations, the pattern the earth-kasiṇa chapter first established for the counterpart-sign holds without exception: no matter how disturbing the learning-sign (mottled, oozing, gapped, moving), the counterpart-sign is uniformly settled, whole, or motionless — the wound closes, the scattered pieces reunite, the moving flag stills, the crawling worms become a quiet mound of rice. The counterpart-sign's stability, established as a general principle back in chapter four, holds true even for the chapter's most viscerally unsettling objects.
overfamiliarity, presumption — the specific fault named for physically touching a scattered corpse's remains directly, collapsing the contemplative distance the practice depends on.
appearing by way of its predominant feature — describing how the livid corpse's counterpart-sign settles into its dominant bloated shape rather than retaining the mottled coloring emphasized in the learning-sign.
a wound-mouth from a blow — pahāra (a strike, blow) + mukha (mouth, opening); the specific visible feature of the hacked-and-scattered corpse's learning-sign, distinct from the plainer "gap" of the merely cut-up corpse.
The Skeleton (Aṭṭhika)
The tenth and final foul object gets its own fuller treatment, since bone alone requires a specifically adapted version of the elevenfold analysis — colorlessness must be handled carefully to avoid confusion with the white kasiṇa — and because this meditation subject is unusual in succeeding equally well from an entire skeleton or from a single bone, the Elder Mahātissa's famous story of seeing an entire body reduced to bone from nothing more than a glimpse of teeth standing as its most vivid illustration.
Aṭṭhikaṃ "seyyathāpi passeyya sarīraṃ sivathikāya chaḍḍitaṃ aṭṭhisaṅkhalikaṃ samaṃsalohitaṃ nahārusambandha"ntiādinā (ma. ni. 3.154) nayena nānappakārato vuttaṃ. Tattha yattha taṃ nikkhittaṃ hoti, tattha purimanayeneva gantvā samantā pāsāṇādīnaṃ vasena sanimittaṃ sārammaṇaṃ katvā idaṃ aṭṭhikanti sabhāvabhāvato upalakkhetvā vaṇṇādivasena ekādasahākārehi nimittaṃ uggahetabbaṃ.
Taṃ pana "vaṇṇato" setanti olokentassa na upaṭṭhāti, odātakasiṇasambhedo hoti. Tasmā aṭṭhikanti paṭikkūlavaseneva oloketabbaṃ. "Liṅga"nti idha hatthādīnaṃ nāmaṃ. Tasmā hatthapādasīsaurabāhukaṭiūrujaṅghānaṃ vasena liṅgato vavatthapetabbaṃ. Dīgharassavaṭṭacaturassakhuddakamahantavasena pana "saṇṭhānato" vavatthapetabbaṃ. "Disokāsā" vuttanayā eva. Tassa tassa aṭṭhino pariyantavasena "paricchedato" vavatthapetvā yadevettha pākaṭaṃ hutvā upaṭṭhāti, taṃ gahetvā appanā pāpuṇitabbā. Tassa tassa aṭṭhino ninnaṭṭhānathalaṭṭhānavasena pana "ninnato" ca "thalato" ca vavatthapetabbaṃ. Padesavasenāpi ahaṃ ninne ṭhito, aṭṭhi thale, ahaṃ thale, aṭṭhi ninnetipi vavatthapetabbaṃ. Dvinnaṃ pana aṭṭhikānaṃ ghaṭitaghaṭitaṭṭhānavasena "sandhito" vavatthapetabbaṃ. Aṭṭhikānaṃyeva antaravasena "vivarato" vavatthapetabbaṃ. Sabbattheva pana ñāṇaṃ cāretvā imasmiṃ ṭhāne idamaṭṭhīti "samantato" vavatthapetabbaṃ. Evampi nimitte anupaṭṭhahante nalāṭaṭṭhimhi cittaṃ saṇṭhapetabbaṃ.
Yathā cettha, evaṃ idaṃ ekādasavidhena nimittaggahaṇaṃ ito purimesu puḷavakādīsupi yujjamānavasena sallakkhetabbaṃ. Idañca pana kammaṭṭhānaṃ sakalāyapi aṭṭhikasaṅkhalikāya ekasmimpi aṭṭhike sampajjati. Tasmā tesu yatthakatthaci ekādasavidhena nimittaṃ uggahetvā "aṭṭhikapaṭikkūlaṃ aṭṭhikapaṭikkūla"nti manasikāro pavattetabbo. Idha uggahanimittampi paṭibhāganimittampi ekasadisameva hotīti vuttaṃ, taṃ ekasmiṃ aṭṭhike yuttaṃ. Aṭṭhikasaṅkhalikāya pana uggahanimitte paññāyamāne vivaratā. Paṭibhāganimitte paripuṇṇabhāvo yujjati. Ekaṭṭhikepi ca uggahanimittena bībhacchena bhayānakena bhavitabbaṃ. Paṭibhāganimittena pītisomanassajanakena, upacārāvahattā.
Imasmiṃ hi okāse yaṃ aṭṭhakathāsu vuttaṃ, taṃ dvāraṃ datvāva vuttaṃ. Tathā hi tattha "catūsu brahmavihāresu dasasu ca asubhesu paṭibhāganimittaṃ natthi. Brahmavihāresu hi sīmasambhedoyeva nimittaṃ. Dasasu ca asubhesu nibbikappaṃ katvā paṭikkūlabhāveyeva diṭṭhe nimittaṃ nāma hotī"ti vatvāpi puna anantarameva "duvidhaṃ idha nimittaṃ uggahanimittaṃ paṭibhāganimittaṃ. Uggahanimittaṃ virūpaṃ bībhacchaṃ bhayānakaṃ hutvā upaṭṭhātī"tiādi vuttaṃ. Tasmā yaṃ vicāretvā avocumha, idamevettha yuttaṃ.
Apica mahātissattherassa dantaṭṭhikamattāvalokanena sakalitthisarīrassa aṭṭhisaṅghātabhāvena upaṭṭhānādīni cettha nidassanānīti.
Iti asubhāni subhaguṇo, dasasatalocanena thutakitti;
Yāni avoca dasabalo, ekekajjhānahetunīti.
Evaṃ tāni ca tesañca, bhāvanānayamimaṃ viditvāna;
Tesveva ayaṃ bhiyyo, pakiṇṇakakathāpi viññeyyā.
The skeleton is described in various ways by the method beginning, "suppose one were to see a body discarded in a charnel ground, a chain of bones, with flesh and blood, held together by tendons" and so on (M.N. 3.154). Herein, having gone in the manner already stated to wherever it has been laid down, and, by way of the surrounding stones and the like, having made a mark and a support for attention, and having noted it, according to its actual nature, as "this is a skeleton," the sign should be grasped in the elevenfold way, by way of color and the rest.
As to that, by way of color: it should not be looked at as "white," for that would result in a confusion with the white kasiṇa. Therefore the skeleton should be looked at simply as repulsive. "By way of mark" here means the names of the hand and the rest; therefore it should be determined by way of mark according to the hand, foot, head, chest, arm, hip, thigh, and calf. By way of shape, it should be determined according to long, short, round, square, small, and large. Direction and location are as already stated. By way of delimitation, having determined it by way of the boundary of each particular bone, whichever appears evidently, that should be taken hold of, and absorption should be reached through it. By way of concavity and convexity, it should be determined according to each particular bone's own concave and convex places; or, by way of location, it may also be determined thus: "I am standing in a concavity, the bone is on a convexity," or "I am standing on a convexity, the bone is in a concavity." By way of joints, it should be determined by way of the places where two bones are fitted together. By way of openings, it should be determined by way of the gaps between the bones themselves. And, having sent one's knowledge everywhere, it should be determined by way of the whole: "in this place is this bone." If the sign still does not appear even so, the mind should be settled on the forehead-bone.
Just as here, so this elevenfold grasping of the sign should be noted, applying it as fitting, for the worm-infested and the others preceding this one as well. And this meditation subject succeeds through an entire chain of bones, or even through a single bone. Therefore, having grasped the sign in the elevenfold way at any of these, the attention "the skeleton is repulsive, the skeleton is repulsive" should be made to proceed. It was said that here the learning-sign and the counterpart-sign are exactly alike; that applies to the case of a single bone. But in the case of a chain of bones, the learning-sign is characterized by visible gaps, while the counterpart-sign fittingly appears whole. And even in the case of a single bone, the learning-sign should be ghastly and frightening, while the counterpart-sign should be productive of joy and gladness, since it brings on access-concentration.
For, in this connection, what is said in the commentaries was said only after allowing for an exception. For there it is said, "in the four divine abidings and in the ten foul objects, there is no counterpart-sign; in the divine abidings, the sign is simply the breaking down of boundaries between beings; and in the ten foul objects, the sign is simply what is seen, without differentiation, in the mere state of repulsiveness" — and yet, immediately after saying this, it is also said, "here the sign is twofold, the learning-sign and the counterpart-sign; the learning-sign appears deformed, ghastly, and frightening," and so on. Therefore, what we have said, having considered the matter, is what is fitting here.
Moreover, the case of the Elder Mahātissa — for whom, from merely glancing at a woman's teeth-bone, her entire body appeared as a mass of bones — and similar instances, are illustrations to be cited here.
Thus the foul objects — which the Ten-Powered One, of excellent qualities, whose fame is praised even by the thousand-eyed one, declared — each the cause of a single jhāna. Having thus understood these, and this method of their development, a further miscellaneous discussion concerning these very same objects should also be known.
The instruction not to look at bone's whiteness directly, for fear of it collapsing into the white kasiṇa, is a fine boundary-drawing exercise between two meditation subjects that could otherwise blur into one another: both objects may present a similar visual field, but the entire point of one is repulsion and the entire point of the other is a pure, abstracted color-concept, so the meditator is told to actively suppress the very perception (whiteness) that would make them indistinguishable.
The chapter is unusually self-aware about an apparent tension in its own source material: the commentaries flatly state there is no counterpart-sign at all for the ten foul objects, yet in the very next breath describe a counterpart-sign for them in detail. Rather than silently picking one statement over the other, the text names the contradiction directly and resolves it by treating the first statement as implicitly qualified — a small but valuable window into how this commentarial tradition handles apparent inconsistencies in its own inherited material, through explicit reconciliation rather than silent selection.
confusion with the white kasiṇa — odāta (white) + kasiṇa + sambheda (mixing, confounding); the specific hazard named for looking at bone's color too directly, since it risks turning the foul-object meditation into an entirely different practice.
the breaking down of boundaries — sīmā (boundary, limit) + sambheda (dissolution); the sign specific to the four divine abidings (brahmavihāra), where the goal is dissolving the mental boundary between oneself, a loved one, a neutral person, and an enemy — offered here as a contrasting case to the foul-object meditations' own sign.
the forehead-bone — nalāṭa (forehead) + aṭṭhi (bone); the fallback point of focus recommended when the elevenfold analysis still fails to produce a clear sign anywhere else in the skeleton.
Why the Ten Correspond to a Body's Condition, and to Ten Kinds of Lust
The closing miscellaneous discussion opens by explaining why there are ten foul objects at all, offering two independent justifications: the ten simply track whatever actual condition a decaying body happens to be found in, and each one is separately suited to counteracting a specific, named variety of sensual lust — shape, complexion, fragrance, solidity, fullness, graceful movement, bodily unity, ornamental beauty, possessive attachment, or fine teeth.
Etesu hi yattha katthaci adhigatajjhāno suvikkhambhitarāgattā vītarāgo viya nilloluppacāro hoti. Evaṃ santepi yvāyaṃ asubhappabhedo vutto, so sarīrasabhāvappattivasena ca rāgacaritabhedavasena cāti veditabbo. Chavasarīraṃ hi paṭikkūlabhāvaṃ āpajjamānaṃ uddhumātakasabhāvappattaṃ vā siyā, vinīlakādīnaṃ vā aññatarasabhāvappattaṃ. Iti yādisaṃ yādisaṃ sakkā hoti laddhuṃ, tādise tādise uddhumātakapaṭikkūlaṃ vinīlakapaṭikkūlanti evaṃ nimittaṃ gaṇhitabbamevāti sarīrasabhāvappattivasena dasadhā asubhappabhedo vuttoti veditabbo.
Visesato cettha uddhumātakaṃ sarīrasaṇṭhānavipattippakāsanato saṇṭhānarāgino sappāyaṃ. Vinīlakaṃ chavirāgavipattippakāsanato sarīravaṇṇarāgino sappāyaṃ. Vipubbakaṃ kāyavaṇapaṭibaddhassa duggandhabhāvassa pakāsanato mālāgandhādivasena samuṭṭhāpitasarīragandharāgino sappāyaṃ. Vicchiddakaṃ antosusirabhāvappakāsanato sarīre ghanabhāvarāgino sappāyaṃ. Vikkhāyitakaṃ maṃsupacayasampattivināsappakāsanato thanādīsu sarīrappadesesu maṃsupacayarāgino sappāyaṃ. Vikkhittakaṃ aṅgapaccaṅgānaṃ vikkhepappakāsanato aṅgapaccaṅgalīlārāgino sappāyaṃ. Hatavikkhittakaṃ sarīrasaṅghātabhedavikārappakāsanato sarīrasaṅghātasampattirāgino sappāyaṃ. Lohitakaṃ lohitamakkhitapaṭikkūlabhāvappakāsanato alaṅkārajanitasobharāgino sappāyaṃ. Puḷavakaṃ kāyassa anekakimikulasādhāraṇabhāvappakāsanato kāye mamattarāgino sappāyaṃ. Aṭṭhikaṃ sarīraṭṭhīnaṃ paṭikkūlabhāvappakāsanato dantasampattirāgino sappāyanti evaṃ rāgacaritabhedavasenāpi dasadhā asubhappabhedo vuttoti veditabbo.
For one who has attained jhāna in any of these becomes, through the thorough suppression of lust, one without greedy wandering, like one free of lust. This being so, it should be understood that the tenfold division of the foul stated here is by way of two considerations: the actual condition a body happens to reach, and the difference in temperament among those inclined to lust. For a corpse, undergoing its repulsive transformation, may reach the actual condition of the bloated, or the actual condition of one or another of the livid and the rest. Thus, whatever condition it is possible to obtain, in that very condition the sign should be grasped — "the bloated is repulsive," "the livid is repulsive," and so on. It is by way of this — the actual condition a body happens to reach — that the tenfold division of the foul is said to have been stated.
More specifically, herein: the bloated, by revealing the ruin of the body's shape, is suitable for one lustful with regard to bodily shape. The livid, by revealing the ruin of the skin's color, is suitable for one lustful with regard to bodily color. The festering, by revealing the foul smell bound up with a bodily sore, is suitable for one lustful with regard to a bodily fragrance produced by means of garlands, perfumes, and the like. The cut-up, by revealing the body's hollow interior, is suitable for one lustful with regard to solidity in the body. The gnawed, by revealing the destruction of the body's fleshy fullness, is suitable for one lustful with regard to fleshy fullness in such bodily regions as the breasts. The scattered, by revealing the dispersal of the limbs and members, is suitable for one lustful with regard to the graceful play of the limbs and members. The hacked-and-scattered, by revealing the disfiguring breakup of the body's unity, is suitable for one lustful with regard to the perfection of the body's unity. The bleeding, by revealing the repulsive state of being smeared with blood, is suitable for one lustful with regard to the beauty produced by ornaments. The worm-infested, by revealing the body's being shared in common by many families of worms, is suitable for one lustful with regard to attachment to the body as one's own. The skeleton, by revealing the repulsive state of the body's bones, is suitable for one lustful with regard to the perfection of the teeth. It is by way of this — the difference in temperament among those inclined to lust — that the tenfold division of the foul should be understood to have been stated as well.
The two justifications offered here work at entirely different levels and are not competing explanations needing reconciliation: the first is almost logistical — a meditator takes whatever condition of corpse he happens to actually find — while the second is diagnostic, matching a specific object's revealed defect to a specific variety of desire. Read together, they explain both why any one of the ten might be practiced (circumstance) and why a teacher might deliberately assign one over another to a particular student (temperament), echoing the earlier chapter's own six-temperament framework for the other thirty-nine meditation subjects.
The pairing of the worm-infested corpse with "attachment to the body as one's own" is a quietly pointed piece of diagnosis: the object does not merely disgust, it makes a specific conceptual point — that the body one calls "mine" is, and perhaps always was, equally hospitable to entire families of worms, undermining the sense of exclusive ownership at its very root rather than merely displaying decay in the abstract.
suitable, beneficial — the technical term (already familiar from the earth-kasiṇa chapter's sevenfold suitable/unsuitable analysis) here applied to matching a specific foul object to a specific variety of sensual temperament.
one lustful with regard to shape / one lustful with regard to color — two of the ten named sub-varieties of lust this section catalogues, each paired with the one foul object best suited to counteract it.
one lustful with regard to possessive attachment — mamatta (the sense of "mine") + rāgin (one who is lustful); the temperament specifically addressed by the worm-infested corpse, which undermines the very idea of the body as one's exclusive possession.
Only the First Jhāna, and Joy Despite the Repulsive
The discussion turns to two further questions: why do the foul objects, unlike the kasiṇas, yield only the first jhāna and never the second or beyond, and how can something explicitly repulsive still give rise to genuine joy and gladness? The chapter answers the first with the image of a boat on rough water kept steady only by its rudder, and the second with two homely comparisons — a flower-sweeper delighted by wages even while working in filth, and a gravely ill patient grateful even for the ordeal of vomiting and purging that will cure him.
Yasmā pana dasavidhepi etasmiṃ asubhe seyyathāpi nāma aparisaṇṭhitajalāya sīghasotāya nadiyā arittabaleneva nāvā tiṭṭhati, vinā arittena na sakkā ṭhapetuṃ, evameva dubbalattā ārammaṇassa vitakkabaleneva cittaṃ ekaggaṃ hutvā tiṭṭhati, vinā vitakkena na sakkā ṭhapetuṃ, tasmā paṭhamajjhānamevettha hoti, na dutiyādīni.
Paṭikkūlepi ca etasmiṃ ārammaṇe "addhā imāya paṭipadāya jarāmaraṇamhā parimuccissāmī"ti evamānisaṃsadassāvitāya ceva nīvaraṇasantāpappahānena ca pītisomanassaṃ uppajjati, "bahuṃ dāni vetanaṃ labhissāmī"ti ānisaṃsadassāvino pupphachaḍḍakassa gūtharāsimhi viya, ussannabyādhidukkhassa rogino vamanavirecanappavattiyaṃ viya ca.
Now, since, in the case of all ten kinds of this foul object, just as a boat on a swift-flowing river of unsettled water stands still only by the strength of its rudder, and cannot be kept still without the rudder — so too, owing to the weakness of the object, the mind stands unified only by the strength of applied thought, and cannot be kept so without applied thought — therefore, only the first jhāna occurs here, not the second and the rest.
And, even though this object is repulsive, joy and gladness arise in regard to it, both through seeing the benefit thus — "surely, by this practice, I shall be freed from aging and death" — and through the abandoning of the torment of the hindrances: just as, for a flower-sweeper who sees the benefit, thinking, "now I shall receive much wages," joy arises even in a heap of dung; and just as, for a sick person afflicted with a severe illness, joy arises in the occurrence of vomiting and purging that will cure him.
The boat-and-rudder simile makes a precise technical claim about why the foul objects are structurally limited to the first jhāna: unlike a kasiṇa's stable, neutral disc, a repulsive object is inherently "weak" as a basis for concentration, in the sense that the mind's grip on it never becomes self-sustaining — applied thought must keep actively steering the mind back onto the object for as long as the meditation continues, exactly as a rudder must keep correcting a boat's course on turbulent water rather than merely being used once to set a direction.
The two similes for how joy arises from something repulsive are carefully chosen to be structurally different from each other: the flower-sweeper's joy comes entirely from an external reward unrelated to the unpleasant task itself (the wages, not the dung), while the sick patient's joy comes from the direct, causal benefit of the unpleasant experience itself (the purging is what cures him). Together they cover both ways joy can legitimately arise alongside something aversive — through an unrelated future benefit, and through the object's own therapeutic function — matching the chapter's own twofold explanation just given (seeing the benefit, and the abandoning of the hindrances' torment).
a rudder or steering-oar — the central image for applied thought's indispensable, continuous function in foul-object meditation, as opposed to a one-time act of orientation.
a flower-sweeper, one who disposes of withered offerings — puppha (flower) + chaḍḍaka (one who discards); the figure in the first simile for finding gladness in an unpleasant task through its unrelated reward.
vomiting and purging — a standard pair of traditional medical treatments; the image for gladness arising directly from an unpleasant process because of its own curative benefit, rather than from any separate reward.
One Shared Characteristic, Living or Dead
The discussion now makes its deepest claim: all ten foul objects, despite their surface variety, share a single underlying characteristic — being impure, foul-smelling, disgusting, and repulsive — and this characteristic is not confined to corpses at all. Two brief stories, one of an elder who saw an entire body reduced to a mass of bones from a glimpse of teeth, another of a novice who saw the same in a king riding an elephant in full royal splendor, establish that a living body is exactly as foul as a dead one; only ordinary grooming conceals the fact.
Dasavidhampi cetaṃ asubhaṃ lakkhaṇato ekameva hoti. Dasavidhassāpi hetassa asuciduggandhajegucchapaṭikkūlabhāvo eva lakkhaṇaṃ. Tadetaṃ iminā lakkhaṇena na kevalaṃ matasarīre, dantaṭṭhikadassāvino pana cetiyapabbatavāsino mahātissattherassa viya, hatthikkhandhagataṃ rājānaṃ olokentassa saṅgharakkhitattherūpaṭṭhākasāmaṇerassa viya ca jīvamānakasarīrepi upaṭṭhāti. Yatheva hi matasarīraṃ, evaṃ jīvamānakampi asubhameva. Asubhalakkhaṇaṃ panettha āgantukena alaṅkārena paṭicchannattā na paññāyati.
And this tenfold foul object is, by way of characteristic, one and the same. For all ten alike, the characteristic is simply the state of being impure, foul-smelling, disgusting, and repulsive. And this characteristic appears not only in a dead body, but even in a living body — as it did for the Elder Mahātissa, a dweller at Cetiyapabbata, who saw a woman's teeth-bone; and as it did for the attendant novice of the Elder Saṅgharakkhita, who was looking at a king seated on the back of an elephant. For just as a dead body is foul, so too a living one is foul. But the characteristic of foulness here is not perceived, on account of its being concealed by adventitious ornamentation.
This is the chapter's real turning point, though it is stated with almost no fanfare: everything said so far about corpses in charnel grounds has, in effect, been preparation for the claim made in a single sentence here — that the living body one inhabits, and every living body one might desire, already possesses this exact characteristic right now, merely disguised rather than absent. The ten foul objects are not really about death as a separate topic from life; they are a method for perceiving something the text insists is already true of the living.
The two stories are chosen to make the same point from opposite social extremes: an ordinary woman's mere tooth undoes the Elder Mahātissa's perception of her whole body as beautiful, while a king in the full ceremonial splendor of riding an elephant — about as thoroughly ornamented a human figure as this culture could depict — is seen by an unnamed novice as no different. Rank, ornament, and royal display are shown to make no difference whatsoever to what is, in the chapter's own terms, the body's actual, unchanging characteristic.
a living body — jīvamānaka (living, alive) + sarīra (body); explicitly equated here with a corpse in terms of the shared characteristic of foulness, the chapter's central claim.
adventitious ornamentation — āgantuka (incoming, adventitious, not innate) + alaṅkāra (ornament, decoration); the concealing layer responsible for why a living body's true characteristic goes unrecognized, to be described in full in the section that follows.
seated on an elephant's back — hatthin (elephant) + khandha (shoulder, back) + gata (gone to, situated on); the image of royal ceremonial splendor the young novice sees straight through to the same foul characteristic beneath.
The Body Truly Considered
The chapter now gives its own celebrated, unflinching description of what a body actually consists of beneath its grooming — a heap of bones, joints, tendons, and flesh, wrapped in skin and constantly discharging from nine openings — and its equally direct claim that this description holds identically for a king and an outcaste alike, with all apparent difference between them created entirely by washing, dressing, and perfuming.
Pakatiyā pana idaṃ sarīraṃ nāma atirekatisataaṭṭhikasamussayaṃ asītisatasandhisaṅghaṭitaṃ navanhārusatanibandhanaṃ navamaṃsapesisatānulittaṃ allacammapariyonaddhaṃ chaviyā paṭicchannaṃ chiddāvachiddaṃ medakathālikā viya niccuggharitapaggharitaṃ kimisaṅghanisevitaṃ rogānaṃ āyatanaṃ dukkhadhammānaṃ vatthu paribhinnapurāṇagaṇḍo viya navahi vaṇamukhehi satatavissandanaṃ. Yassa ubhohi akkhīhi akkhigūthako paggharati, kaṇṇabilehi kaṇṇagūthako, nāsāpuṭehi siṅghāṇikā, mukhato āhārapittasemharudhirāni, adhodvārehi uccārapassāvā, navanavutiyā lomakūpasahassehi asucisedayūso paggharati. Nīlamakkhikādayo samparivārenti.
Yaṃ dantakaṭṭhamukhadhovanasīsamakkhananahānanivāsanapārupanādīhi appaṭijaggitvā yathājātova pharusavippakiṇṇakeso hutvā gāmena gāmaṃ vicaranto rājāpi pupphachaḍḍakacaṇḍālādīsu aññataropi samasarīrapaṭikkūlatāya nibbiseso hoti, evaṃ asuciduggandhajegucchapaṭikkūlatāya rañño vā caṇḍālassa vā sarīre vemattaṃ nāma natthi. Dantakaṭṭhamukhadhovanādīhi panettha dantamalādīni pamajjitvā nānāvatthehi hirikopīnaṃ paṭicchādetvā nānāvaṇṇena surabhivilepanena vilimpitvā pupphābharaṇādīhi alaṅkaritvā "ahaṃ mama"nti gahetabbākārappattaṃ karonti. Tato iminā āgantukena alaṅkārena paṭicchannattā tadassa yāthāvasarasaṃ asubhalakkhaṇaṃ asañjānantā purisā itthīsu, itthiyo ca purisesu ratiṃ karonti.
Paramatthato panettha rajjitabbakayuttaṭṭhānaṃ nāma aṇumattampi natthi. Tathā hi kesalomanakhadantakheḷasiṅghāṇikauccārapassāvādīsu ekakoṭṭhāsampi sarīrato bahi patitaṃ sattā hatthena chupitumpi na icchanti, aṭṭīyanti harāyanti jigucchanti. Yaṃ yaṃ panettha avasesaṃ hoti, taṃ taṃ evaṃ paṭikkūlampi samānaṃ avijjandhakārapariyonaddhā attasineharāgarattā "iṭṭhaṃ kantaṃ niccaṃ sukhaṃ attā"ti gaṇhanti. Te evaṃ gaṇhantā aṭaviyaṃ kiṃsukarukkhaṃ disvā rukkhato apatitapupphaṃ "ayaṃ maṃsapesī"ti vihaññamānena jarasiṅgālena samānataṃ āpajjanti.
But this body, by its very nature, is a heap of more than three hundred bones, joined together by a hundred and eighty joints, bound by nine hundred tendons, plastered with nine hundred pieces of flesh, wrapped in moist hide, covered by skin, riddled with holes here and there, constantly oozing and dripping like a pot of fat, inhabited by families of worms, a base for diseases, a foundation for states of suffering, forever discharging through nine wound-mouths like an old, broken abscess — from whose two eyes eye-discharge oozes, from the cavities of whose ears ear-discharge oozes, from whose nostrils mucus oozes, from whose mouth food, bile, phlegm, and blood come forth, from whose lower openings excrement and urine come forth, and from whose ninety-nine thousand pores an impure sweat-fluid oozes. Blue-bottle flies and the like swarm around it.
Should this body go untended by tooth-cleaning, mouth-washing, head-anointing, bathing, and the wearing of garments and cloaks, and become, just as it was born, coarse-haired and disheveled, wandering from village to village — then even a king would be indistinguishable from a flower-sweeper, an outcaste, or any other such person, in the equal repulsiveness of the body. So too, in the state of being impure, foul-smelling, disgusting, and repulsive, there is no difference at all between the body of a king and that of an outcaste. But here, by tooth-cleaning, mouth-washing, and the rest, people cleanse the dirt of the teeth and so on, cover their private parts with various garments, anoint themselves with fragrant unguents of various colors, and adorn themselves with flowers and ornaments, thereby bringing the body to a condition fit to be taken as "I" and "mine." Then, because the true characteristic of its foulness is thus concealed by this adventitious ornamentation, men and women, failing to recognize it, take delight in one another.
But, in the ultimate sense, there is not even the smallest spot here fit to be delighted in. For indeed, beings are unwilling even to touch with the hand a single one of such things as hair, body-hair, nails, teeth, saliva, mucus, excrement, or urine once it has fallen outside the body — they are disgusted, ashamed, and repelled by it. Yet whatever of these same things remains within the body, though equally repulsive, they take hold of — enveloped in the darkness of ignorance, dyed with attachment and lust for self — as "desirable, lovely, permanent, pleasant, and self." Taking hold of it thus, they become like an old, famished jackal who, seeing a flowering kiṃsuka tree in the forest, mistakes its fallen blossoms for pieces of flesh.
The king-and-outcaste comparison is deliberately drawn from the two most socially distant figures this culture could name, precisely so the claim of "no difference at all" lands with its full force: the text is not saying the two are similar in some respects — it is saying that on this specific axis, the raw physical fact of the body's nature, social rank supplies no distinction whatsoever, and everything that does distinguish them is externally applied and removable.
The observation about what people are willing to touch is a small but devastating piece of reasoning: the very things people recoil from the instant they leave the body — a fallen hair, spit, a nail clipping — are, by simple continuity, identical in substance to what remains inside the body they cherish as "mine." The disgust does not track any actual change in the substance; only its location relative to the boundary of "self" changes, exposing that boundary itself as doing all the work ignorance and attachment need it to do.
the nine wound-mouths — nava (nine) + vaṇa (wound, sore) + mukha (mouth, opening); the body's nine natural orifices (two eyes, two ears, two nostrils, mouth, and the two lower openings), here described as though each were a discharging sore.
"I" and "mine" — the two possessive claims a groomed, ornamented body is made to appear "fit to be taken" as, the exact opposite of how the same substances are treated once they fall outside the body's boundary.
the ultimate sense — parama (highest, ultimate) + attha (meaning, sense); the register in which the body's total lack of anything genuinely delightful is asserted, as distinct from the conventional, ornament-assisted appearance most people actually perceive.
The Kiṃsuka-Flower Jackal, and the Closing Exhortation
The chapter closes with the verses its own prose has been building toward: the jackal simile turned into formal verse, a second set of verses on the body as an inside-out wound that would need constant defense from crows and dogs were its interior ever exposed, and a final direct instruction — the whole point of everything the chapter has said — that a capable monk should take up the sign of foulness wherever it appears, in the living or the dead, and bring the meditation subject all the way to absorption.
Yathāpi pupphitaṃ disvā, siṅgālo kiṃsukaṃ vane;
Maṃsarukkho mayā laddho, iti gantvāna vegasā.
Patitaṃ patitaṃ pupphaṃ, ḍaṃsitvā atilolupo;
Nayidaṃ maṃsaṃ aduṃ maṃsaṃ, yaṃ rukkhasminti gaṇhati.
Koṭṭhāsaṃ patitaṃyeva, asubhanti tathā budho;
Aggahetvāna gaṇheyya, sarīraṭṭhampi naṃ tathā.
Imañhi subhato kāyaṃ, gahetvā tattha mucchitā;
Bālā karontā pāpāni, dukkhā na parimuccare.
Tasmā passeyya medhāvī, jīvato vā matassa vā;
Sabhāvaṃ pūtikāyassa, subhabhāvena vajjitaṃ.
Vuttañhetaṃ —
Duggandho asuci kāyo, kuṇapo ukkarūpamo;
Nindito cakkhubhūtehi, kāyo bālābhinandito.
Allacammapaṭicchanno, navadvāro mahāvaṇo;
Samantato paggharati, asuci pūtigandhiyo.
Sace imassa kāyassa, anto bāhirako siyā;
Daṇḍaṃ nūna gahetvāna, kāke soṇe nivāraye.
Tasmā dabbajātikena bhikkhunā jīvamānasarīraṃ vā hotu matasarīraṃ vā yattha yattha asubhākāro paññāyati, tattha tattheva nimittaṃ gahetvā kammaṭṭhānaṃ appanaṃ pāpetabbanti.
Iti sādhujanapāmojjatthāya kate visuddhimagge
Samādhibhāvanādhikāre
Asubhakammaṭṭhānaniddeso nāma
Chaṭṭho paricchedo.
Just as a jackal, seeing in the forest / a flowering kiṃsuka tree, / thinking, "a tree of flesh have I found," / going swiftly to it,
Biting, in great greed, / each blossom as it falls, / does not know, "this is not flesh, / that is not flesh, which grows on the tree" —
Just so, a wise one should take the fallen portion / itself as foul, / and, not grasping it otherwise, / should regard even that which is within the body in the same way.
For, taking this body to be beautiful, / infatuated with it, / fools, doing evil deeds, / are not freed from suffering.
Therefore let the wise one see, / whether living or dead, / the true nature of the rotten body, / stripped of the appearance of beauty.
For this was said —
Foul-smelling and impure is the body, / a corpse comparable to a rubbish-heap; / censured by those who have eyes to see, / yet delighted in by fools.
Wrapped in moist skin, / a great wound with nine doors, / it oozes on every side, / impure and putrid-smelling.
If the inside of this body / could be turned to the outside, / one would surely have to take a stick / to keep off the crows and dogs.
Therefore, a capable monk, whether it be a living body or a dead one, should, wherever the mode of foulness becomes apparent, take up the sign right there, and bring the meditation subject to absorption.
Thus, in the Visuddhimagga, composed for the gladdening of good people, in the section on the development of concentration, this is the sixth chapter, called the Description of the Foulness Meditation Subjects.
The jackal simile's verse form makes explicit what the prose version implied: the jackal's error is not a failure to see clearly but a failure to categorize correctly — it sees the fallen petals accurately, simply misnames them. The verse's instruction to the meditator is precisely parallel: not to see something new, but to correctly name what internal appetite would rather leave unnamed, applying the same honest classification to what lies within the body that one would unhesitatingly apply to anything similar found outside it.
The image of a body turned inside-out, needing a stick to fend off crows and dogs, is the chapter's final and most physically direct image, and it closes the whole meditation with a plain reversal: what disgusts instantly when exposed is not absent when concealed by skin, only unseen. The chapter's very last instruction, addressed to "a capable monk," makes no distinction at all between where this sign might be found — living or dead — collapsing, in its closing line, exactly the same living/dead boundary the chapter spent its final third dismantling.
the flame-of-the-forest tree (Butea monosperma), bearing vivid red-orange flowers — proverbial in Pāli literature, as here, for a natural object mistaken for something else entirely by an eager but careless observer.
comparable to a rubbish-heap — ukkara (a heap of refuse, a dust-heap) + upama (comparison); one of the verse's most direct images for the body, paired immediately with the observation that it is nonetheless "delighted in by fools."
capable by nature, of able disposition — dabba (capable, skilled) + jātika (by birth, by nature); the chapter's final term of address for the monk urged to seek the foul sign wherever it may be found, closing the chapter on the same note of practical capability it opened on.
Asubhakammaṭṭhānaniddesa Complete
This closes the translation of the Visuddhimagga's sixth chapter, Asubhakammaṭṭhānaniddesa ("The Description of the Foulness Meditation Subjects"), from the Pāli. In full: the etymology of all ten foul objects; the bloated corpse's complete method — approaching a teacher, weighing the real dangers before going, telling a senior monk beforehand, the canonical citation in full, the solitary journey with the wind at one's back, the sixfold and elevenfold grasping of the sign, the detailed explanation of what "well grasped" means, the named terror of a corpse seeming to rise and pursue the meditator, the etiquette of the return journey and ordinary monastic duty, the jewel simile, and the precise arising of the jhāna factors; the remaining eight objects (the livid, the festering, the cut-up, the gnawed, the scattered, the hacked-and-scattered, the bleeding, and the worm-infested) by cross-reference to that same method; the skeleton's own adapted elevenfold analysis and the Elder Mahātissa's story; and the closing miscellaneous discussion — why there are ten (both by a body's actual condition and by ten kinds of lust), why only the first jhāna occurs here, how joy arises from a repulsive object, the claim that a living body is exactly as foul as a dead one, the celebrated unflinching description of the body's true composition with its king-and-outcaste comparison, and the kiṃsuka-flower jackal verses — closing, like the five chapters before it, with the traditional colophon. The Visuddhimagga's seventh chapter, Chaanussatiniddesa ("The Description of the Six Recollections"), beginning with recollection of the Buddha, continues from here — the next undertaking for this translation.