| Tipiṭaka / Tipiṭaka (English) / Saṁyutta Nikāya, English translation |
संयुत्त निकाय ४२।२
Saṁyutta Nikāya 42.2
The Related Suttas Collection 42.2
१। गामणिवग्ग
1. Gāmaṇivagga
1. Chiefs
तालपुटसुत्त
Tālapuṭasutta
With Tālapuṭa
एकं समयं भगवा राजगहे विहरति वेळुवने कलन्दकनिवापे। अथ खो तालपुटो नटगामणि येन भगवा तेनुपसङ्कमि; उपसङ्कमित्वा भगवन्तं अभिवादेत्वा एकमन्तं निसीदि। एकमन्तं निसिन्नो खो तालपुटो नटगामणि भगवन्तं एतदवोच:
Ekaṁ samayaṁ bhagavā rājagahe viharati veḷuvane kalandakanivāpe. Atha kho tālapuṭo1 naṭagāmaṇi yena bhagavā tenupasaṅkami; upasaṅkamitvā bhagavantaṁ abhivādetvā ekamantaṁ nisīdi. Ekamantaṁ nisinno kho tālapuṭo naṭagāmaṇi bhagavantaṁ etadavoca:
At one time the Buddha was staying near Rājagaha, in the Bamboo Grove, the squirrels’ feeding ground. Then Tālapuṭa the dancing master came up to the Buddha, bowed, sat down to one side, and said to the Buddha:
“सुतं मेतं, भन्ते, पुब्बकानं आचरियपाचरियानं नटानं भासमानानं: ‘यो सो नटो रङ्गमज्झे समज्जमज्झे सच्चालिकेन जनं हासेति रमेति, सो कायस्स भेदा परं मरणा पहासानं देवानं सहब्यतं उपपज्जतीऽति। इध भगवा किमाहा”ति?
“sutaṁ metaṁ, bhante, pubbakānaṁ ācariyapācariyānaṁ naṭānaṁ bhāsamānānaṁ: ‘yo so naṭo raṅgamajjhe samajjamajjhe saccālikena janaṁ hāseti rameti, so kāyassa bhedā paraṁ maraṇā pahāsānaṁ devānaṁ sahabyataṁ upapajjatī’ti. Idha bhagavā kimāhā”ti?
“Sir, I have heard that the dancers of the past who were teachers of teachers said: ‘Suppose a dancer entertains and amuses people on a stage or at a festival with truth and lies. When their body breaks up, after death, they’re reborn in the company of laughing gods.’ What does the Buddha say about this?”
“अलं, गामणि, तिट्ठतेतं। मा मं एतं पुच्छी”ति।
“Alaṁ, gāmaṇi, tiṭṭhatetaṁ. Mā maṁ etaṁ pucchī”ti.
“Enough, chief, let it be. Don’t ask me that.”
दुतियम्पि खो तालपुटो नटगामणि भगवन्तं एतदवोच: “सुतं मेतं, भन्ते, पुब्बकानं आचरियपाचरियानं नटानं भासमानानं: ‘यो सो नटो रङ्गमज्झे समज्जमज्झे सच्चालिकेन जनं हासेति रमेति, सो कायस्स भेदा परं मरणा पहासानं देवानं सहब्यतं उपपज्जतीऽति। इध भगवा किमाहा”ति? “अलं, गामणि, तिट्ठतेतं। मा मं एतं पुच्छी”ति।
Dutiyampi kho tālapuṭo naṭagāmaṇi bhagavantaṁ etadavoca: “sutaṁ metaṁ, bhante, pubbakānaṁ ācariyapācariyānaṁ naṭānaṁ bhāsamānānaṁ: ‘yo so naṭo raṅgamajjhe samajjamajjhe saccālikena janaṁ hāseti rameti, so kāyassa bhedā paraṁ maraṇā pahāsānaṁ devānaṁ sahabyataṁ upapajjatī’ti. Idha bhagavā kimāhā”ti? “Alaṁ, gāmaṇi, tiṭṭhatetaṁ. Mā maṁ etaṁ pucchī”ti.
For a second time …
ततियम्पि खो तालपुटो नटगामणि भगवन्तं एतदवोच:
Tatiyampi kho tālapuṭo naṭagāmaṇi bhagavantaṁ etadavoca:
And for a third time Tālapuṭa said to the Buddha:
“सुतं मेतं, भन्ते, पुब्बकानं आचरियपाचरियानं नटानं भासमानानं: ‘यो सो नटो रङ्गमज्झे समज्जमज्झे सच्चालिकेन जनं हासेति रमेति, सो कायस्स भेदा परं मरणा पहासानं देवानं सहब्यतं उपपज्जतीऽति। इध भगवा किमाहा”ति?
“sutaṁ metaṁ, bhante, pubbakānaṁ ācariyapācariyānaṁ naṭānaṁ bhāsamānānaṁ: ‘yo so naṭo raṅgamajjhe samajjamajjhe saccālikena janaṁ hāseti rameti, so kāyassa bhedā paraṁ maraṇā pahāsānaṁ devānaṁ sahabyataṁ upapajjatī’ti. Idha bhagavā kimāhā”ti?
“Sir, I have heard that the dancers of the past who were teachers of teachers said: ‘Suppose a dancer entertains and amuses people on a stage or at a festival with truth and lies. When their body breaks up, after death, they’re reborn in the company of laughing gods.’ What does the Buddha say about this?”
“अद्धा खो त्याहं, गामणि, न लभामि: ‘अलं, गामणि, तिट्ठतेतं, मा मं एतं पुच्छीऽति। अपि च त्याहं ब्याकरिस्सामि।
“Addhā kho tyāhaṁ, gāmaṇi, na labhāmi: ‘alaṁ, gāmaṇi, tiṭṭhatetaṁ, mā maṁ etaṁ pucchī’ti. Api ca tyāhaṁ byākarissāmi.
“Clearly, chief, I’m not getting through to you when I say: ‘Enough, chief, let it be. Don’t ask me that.’ Nevertheless, I will answer you.
पुब्बे खो, गामणि, सत्ता अवीतरागा रागबन्धनबद्धा। तेसं नटो रङ्गमज्झे समज्जमज्झे ये धम्मा रजनीया ते उपसंहरति भिय्योसो मत्ताय। पुब्बे खो, गामणि, सत्ता अवीतदोसा दोसबन्धनबद्धा। तेसं नटो रङ्गमज्झे समज्जमज्झे ये धम्मा दोसनीया ते उपसंहरति भिय्योसो मत्ताय। पुब्बे खो, गामणि, सत्ता अवीतमोहा मोहबन्धनबद्धा। तेसं नटो रङ्गमज्झे समज्जमज्झे ये धम्मा मोहनीया ते उपसंहरति भिय्योसो मत्ताय। सो अत्तना मत्तो पमत्तो परे मदेत्वा पमादेत्वा कायस्स भेदा परं मरणा पहासो नाम निरयो तत्थ उपपज्जति।
Pubbe kho, gāmaṇi, sattā avītarāgā rāgabandhanabaddhā. Tesaṁ naṭo raṅgamajjhe samajjamajjhe ye dhammā rajanīyā te upasaṁharati bhiyyoso mattāya. Pubbe kho, gāmaṇi, sattā avītadosā dosabandhanabaddhā. Tesaṁ naṭo raṅgamajjhe samajjamajjhe ye dhammā dosanīyā te upasaṁharati bhiyyoso mattāya. Pubbe kho, gāmaṇi, sattā avītamohā mohabandhanabaddhā. Tesaṁ naṭo raṅgamajjhe samajjamajjhe ye dhammā mohanīyā te upasaṁharati bhiyyoso mattāya. So attanā matto pamatto pare madetvā pamādetvā kāyassa bhedā paraṁ maraṇā pahāso nāma nirayo tattha upapajjati.
When sentient beings are still not free of greed, and are still bound by greed, a dancer in a stage or festival presents them with even more arousing things. When sentient beings are still not free of hate, and are still bound by hate, a dancer in a stage or festival presents them with even more hateful things. When sentient beings are still not free of delusion, and are still bound by delusion, a dancer in a stage or festival presents them with even more delusory things. And so, being heedless and negligent themselves, they’ve encouraged others to be heedless and negligent. When their body breaks up, after death, they’re reborn in the hell called ‘Laughter’.
सचे खो पनस्स एवंदिट्ठि होति: ‘यो सो नटो रङ्गमज्झे समज्जमज्झे सच्चालिकेन जनं हासेति रमेति, सो कायस्स भेदा परं मरणा पहासानं देवानं सहब्यतं उपपज्जतीऽति, सास्स होति मिच्छादिट्ठि। मिच्छादिट्ठिकस्स खो पनाहं, गामणि, पुरिसपुग्गलस्स द्विन्नं गतीनं अञ्ञतरं गतिं वदामि—निरयं वा तिरच्छानयोनिं वा”ति।
Sace kho panassa evaṁdiṭṭhi hoti: ‘yo so naṭo raṅgamajjhe samajjamajjhe saccālikena janaṁ hāseti rameti, so kāyassa bhedā paraṁ maraṇā pahāsānaṁ devānaṁ sahabyataṁ upapajjatī’ti, sāssa hoti micchādiṭṭhi. Micchādiṭṭhikassa kho panāhaṁ, gāmaṇi, purisapuggalassa dvinnaṁ gatīnaṁ aññataraṁ gatiṁ vadāmi—nirayaṁ vā tiracchānayoniṁ vā”ti.
But if you have such a view: ‘Suppose a dancer entertains and amuses people on a stage or at a festival with truth and lies. When their body breaks up, after death, they’re reborn in the company of laughing gods.’ This is your wrong view. An individual with wrong view is reborn in one of two places, I say: hell or the animal realm.”
एवं वुत्ते, तालपुटो नटगामणि परोदि अस्सूनि पवत्तेसि।
Evaṁ vutte, tālapuṭo naṭagāmaṇi parodi assūni pavattesi.
When he said this, Tālapuṭa cried and burst out in tears.
“एतं खो त्याहं, गामणि, नालत्थं: ‘अलं, गामणि, तिट्ठतेतं; मा मं एतं पुच्छीऽ”ति।
“Etaṁ kho tyāhaṁ, gāmaṇi, nālatthaṁ: ‘alaṁ, gāmaṇi, tiṭṭhatetaṁ; mā maṁ etaṁ pucchī’”ti.
“This is what I didn’t get through to you when I said: ‘Enough, chief, let it be. Don’t ask me that.’”
“नाहं, भन्ते, एतं रोदामि यं मं भगवा एवमाह; अपि चाहं, भन्ते, पुब्बकेहि आचरियपाचरियेहि नटेहि दीघरत्तं निकतो वञ्चितो पलुद्धो: ‘यो सो नटो रङ्गमज्झे समज्जमज्झे सच्चालिकेन जनं हासेति रमेति सो कायस्स भेदा परं मरणा पहासानं देवानं सहब्यतं उपपज्जतीऽ”ति।
“Nāhaṁ, bhante, etaṁ rodāmi yaṁ maṁ bhagavā evamāha; api cāhaṁ, bhante, pubbakehi ācariyapācariyehi naṭehi dīgharattaṁ nikato vañcito paluddho: ‘yo so naṭo raṅgamajjhe samajjamajjhe saccālikena janaṁ hāseti rameti so kāyassa bhedā paraṁ maraṇā pahāsānaṁ devānaṁ sahabyataṁ upapajjatī’”ti.
“Sir, I’m not crying because of what the Buddha said. But sir, for a long time I’ve been cheated, tricked, and deceived by the dancers of the past who were teachers of teachers, who said: ‘Suppose a dancer entertains and amuses people on a stage or at a festival with truth and lies. When their body breaks up, after death, they’re reborn in the company of laughing gods.’
“अभिक्कन्तं, भन्ते, अभिक्कन्तं, भन्ते। सेय्यथापि, भन्ते, निक्कुज्जितं वा उक्कुज्जेय्य, पटिच्छन्नं वा विवरेय्य, मूळ्हस्स वा मग्गं आचिक्खेय्य, अन्धकारे वा तेलपज्जोतं धारेय्य: ‘चक्खुमन्तो रूपानि दक्खन्तीऽति; एवमेवं भगवता अनेकपरियायेन धम्मो पकासितो। एसाहं, भन्ते, भगवन्तं सरणं गच्छामि धम्मञ्च भिक्खुसङ्घञ्च। लभेय्याहं, भन्ते, भगवतो सन्तिके पब्बज्जं, लभेय्यं उपसम्पदन्”ति।
“Abhikkantaṁ, bhante, abhikkantaṁ, bhante. Seyyathāpi, bhante, nikkujjitaṁ vā ukkujjeyya, paṭicchannaṁ vā vivareyya, mūḷhassa vā maggaṁ ācikkheyya, andhakāre vā telapajjotaṁ dhāreyya: ‘cakkhumanto rūpāni dakkhantī’ti; evamevaṁ bhagavatā anekapariyāyena dhammo pakāsito. Esāhaṁ, bhante, bhagavantaṁ saraṇaṁ gacchāmi dhammañca bhikkhusaṅghañca. Labheyyāhaṁ, bhante, bhagavato santike pabbajjaṁ, labheyyaṁ upasampadan”ti.
Excellent, sir! Excellent! As if he were righting the overturned, or revealing the hidden, or pointing out the path to the lost, or lighting a lamp in the dark so people with clear eyes can see what’s there, the Buddha has made the teaching clear in many ways. I go for refuge to the Buddha, to the teaching, and to the bhikkhu Saṅgha. Sir, may I receive the going forth, the ordination in the Buddha’s presence?”
अलत्थ खो तालपुटो नटगामणि भगवतो सन्तिके पब्बज्जं, अलत्थ उपसम्पदं। अचिरूपसम्पन्नो च पनायस्मा तालपुटो …पे… अरहतं अहोसीति।
Alattha kho tālapuṭo naṭagāmaṇi bhagavato santike pabbajjaṁ, alattha upasampadaṁ. Acirūpasampanno ca panāyasmā tālapuṭo …pe… arahataṁ ahosīti.
And the dancing master Tālapuṭa received the going forth, the ordination in the Buddha’s presence. Not long after his ordination, Venerable Tālapuṭa became one of the perfected.
दुतियं।
Dutiyaṁ.
The authoritative text of the Saṁyutta Nikāya is the Pāli text. The English translation is provided as an aid to the study of the original Pāli text. [CREDITS »]
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