# Talaputta sutta

**URL:** <https://classicaltheravada.org/t/talaputta-sutta/2141>\
**Category:** Textual Scholarship\
**Created:** [January 3, 2026, 4:36am UTC](https://classicaltheravada.org/t/talaputta-sutta/2141 "2026-01-03T04:36:00Z")\
**Posts on this page:** 5\
**Page:** 1

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**Author:** ![RobertK](https://classicaltheravada.org/user_avatar/classicaltheravada.org/robertk/32/1498_2.png) [@RobertK](https://classicaltheravada.org/u/RobertK)\
**Post date:** [January 3, 2026, 4:36am UTC](https://classicaltheravada.org/t/talaputta-sutta/2141/1 "2026-01-03T04:36:00Z")

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There has been discussion on this sutta on dhammawheel so it is worth looking at it here:

- [Saḷāyatanavaggasaṁyutta](https://suttacentral.net/pitaka/sutta/linked/sn/sn-salayatanavaggasamyutta)
- [Gāmaṇisaṁyutta](https://suttacentral.net/pitaka/sutta/linked/sn/sn-salayatanavaggasamyutta/sn42)
- [Gāmaṇivagga](https://suttacentral.net/sn42-gamanivagga)
- SN 42.2  
Connected discourses, Bodhi translation

> **Talapuṭa**  
> On one occasion the Blessed One was dwelling at Rājagaha in the Bamboo Grove, the Squirrel Sanctuary. Then Talapuṭa the troupe headman334 approached  
> the Blessed One, paid homage to him, sat down to one side, and said to him:  
> “Venerable sir, I have heard it said among actors of old in the lineage of teachers: ‘If an actor, in the theatre or the arena, entertains and amuses people by truth and lies,335 then with the breakup of the body, after death, he is reborn in the company of the laughing devas.’ What does the Blessed One say about that?”  
> “Enough, headman, let it be! Don’t ask me that!”  
> A second time and a third time Talapuṭa the troupe headman said: “Venerable sir, I have heard it said among actors of old in the lineage of teachers: … [307] … What does the Blessed One say about that?”  
> “Surely, headman, I am not getting through to you336 when I say, ‘Enough, headman, let it be! Don’t ask me that!’ But still, I will answer you. In the theatre or arena, among beings who are not yet free from lust, who are bound by the bondage of lust, an actor entertains them with titillating things that excite themeven more strongly to lust. In the theatre or arena, among beings who are not yet free from hatred, who are bound by the bondage of hatred, an actor entertains them with infuriating things that excite them even more strongly to hatred. In the theatre or arena, among beings who are not yet free from delusion, who are bound by the bondage of delusion, an actor entertains them with bewildering things that excite them even more strongly to delusion.  
> “Thus, being intoxicated and negligent himself, having made others intoxicated and negligent, with the breakup of the body, after death, he is reborn in the ‘Hell of Laughter.’337 But should he hold such a view as this: ‘If an actor, in the theatre or the arena, entertains and amuses people by truth and lies, then with the breakup of the body, after death, he is reborn in the company of the laughing devas’—that is a wrong view on his part. For a person with wrong view, I say, there is one of two destinations: either hell or the animal realm.”338  
> When this was said, Talapuṭa the troupe headman cried out and burst into tears. [The Blessed One said:] “So I did not get through to you when I said, ‘Enough, headman, let it be! Don’t ask me that!’”  
> “I am not crying, venerable sir, because of what the Blessed One said to me, but because I have been tricked, cheated, and deceived for a long time by those actors of old in the lineage of teachers who said: ‘If an actor, [308] in the theatre or the arena, entertains and amuses people by truth and lies, then with the breakup of the body, after death, he is reborn in the company of the laughing devas.’  
> “Magnificent, venerable sir! Magnificent, venerable sir! The Dhamma has been made clear in many ways by the Blessed One, as though he were turning upright what had been turned upside down, revealing what was hidden, showing the way to one who was lost, or holding up a lamp in the dark for those with eyesight to see forms. I go for refuge to the Blessed One, and to the Dhamma, and to the Bhikkhu Saṅgha. May I receive the going forth under the Blessed One, venerable sir, may I receive the higher ordination?”  
> Then Talapuṭa the troupe headman received the going forth under the Blessed One, he received the higher ordination. And soon, not long after his higher ordination … the Venerable Talapuṭa became one of the arahants.

---

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**Post date:** [January 3, 2026, 4:36am UTC](https://classicaltheravada.org/t/talaputta-sutta/2141/2 "2026-01-03T04:36:59Z")

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- Saṁyutta Nikāya 42.2
- 
  1. Gāmaṇivagga

# Tālapuṭasutta Variant: Tālapuṭasutta → puṭo (pts1ed)

Ekaṁ samayaṁ bhagavā rājagahe viharati veḷuvane kalandakanivāpe. Atha kho tālapuṭo naṭagāmaṇi yena bhagavā tenupasaṅkami; upasaṅkamitvā bhagavantaṁ abhivādetvā ekamantaṁ nisīdi. Ekamantaṁ nisinno kho tālapuṭo naṭagāmaṇi bhagavantaṁ etadavoca: Variant: tālapuṭo → tālaputto (sya-all, km); talapuṭo (pts1ed)

“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.

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.

Tatiyampi 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?

“Addhā kho tyāhaṁ, gāmaṇi, na labhāmi: Variant: na labhāmi → nālatthaṁ (sya-all, km, pts1ed, mr) ‘alaṁ, gāmaṇi, tiṭṭhatetaṁ, mā maṁ etaṁ pucchī’ti. Api ca tyāhaṁ byākarissāmi.

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.

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.

Evaṁ vutte, tālapuṭo naṭagāmaṇi parodi assūni pavattesi.

“Etaṁ kho tyāhaṁ, gāmaṇi, nālatthaṁ: ‘alaṁ, gāmaṇi, tiṭṭhatetaṁ; mā maṁ etaṁ pucchī’”ti.

“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.

“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.

Alattha kho tālapuṭo naṭagāmaṇi bhagavato santike pabbajjaṁ, alattha upasampadaṁ. Acirūpasampanno ca panāyasmā tālapuṭo …pe… arahataṁ ahosīti.

Dutiyaṁ.

---

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**Post date:** [January 3, 2026, 9:35am UTC](https://classicaltheravada.org/t/talaputta-sutta/2141/3 "2026-01-03T09:35:24Z")

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##### Tālapuṭasuttavaṇṇanā

##### 2. Commentary on the Tālapuṭa Sutta

728

`354`. Dutiye **tālapuṭo** ti evaṃnāmako.

`354`. In the second (sutta), **tālapuṭo** ti: so named.

Tassa kira bandhanā pamuttatālapakkavaṇṇo viya mukhavaṇṇo vippasanno ahosi, tenassa tālapuṭoti nāmaṃ akaṃsu.

Indeed, his face was clear like the colour of a released palm fruit, hence they named him Tālapuṭa.

Svāyaṃ abhinīhārasampanno pacchimabhavikapuggalo.

This person was one who had made a strong aspiration and was destined for his last existence.

Yasmā pana paṭisandhi nāma aniyatā ākāse khittadaṇḍasadisā, tasmā esa naṭakule nibbatti.

However, because rebirth is uncertain, like a stick thrown into the air, he was reborn in an actor’s family.

Vuḍḍhippatto pana naṭasippe aggo hutvā sakalajambudīpe pākaṭo jāto.

Having grown up, he became pre-eminent in the acting profession and was renowned throughout Jambudīpa.

Tassa pañca sakaṭasatāni pañca mātugāmasatāni parivāro, bhariyāyapissa tāvatakāvāti mātugāmasahassena ceva sakaṭasahassena ca saddhiṃ yaṃ yaṃ nagaraṃ vā nigamaṃ vā pavisati, tatthassa puretarameva satasahassaṃ denti.

He had five hundred carts and five hundred women as his retinue; even his wife had as many, so when he entered any city or town, accompanied by a thousand women and a thousand carts, they would give him one hundred thousand in advance.

Samajjavesaṃ gaṇhitvā pana mātugāmasahassena saddhiṃ kīḷaṃ karontassa yaṃ hatthūpagapādūpagādiābharaṇajātaṃ khipanti, tassa pariyanto natthi.

When he performed, assuming the guise of an actor, accompanied by a thousand women, there was no end to the ornaments such as hand-rings and anklets that were thrown to him.

So taṃdivasaṃ mātugāmasahassaparivārito rājagahe kīḷaṃ katvā paripakkañāṇattā saparivārova yena bhagavā tenupasaṅkami.

On that day, surrounded by a thousand women, he performed in Rājagaha, and being of mature wisdom, he approached the Blessed One with his retinue.

729

**Saccālikenā** ti saccena ca alikena ca.

**Saccālikenā** ti: with truth and falsehood.

**Tiṭṭhateta** nti tiṭṭhatu etaṃ.

**Tiṭṭhateta** nti: let this stand.

**Rajanīyā** ti rāgappaccayā mukhato pañcavaṇṇasuttanīharaṇavātavuṭṭhidassanādayo aññe ca kāmassādasaṃyuttākāradassanakā abhinayā.

**Rajanīyā** ti: performances that give rise to passion, such as displaying five-coloured threads drawn from the mouth, air rising, and other displays associated with sensual pleasure.

**Bhiyyosomattāyā** ti adhikappamāṇattāya.

**Bhiyyosomattāyā** ti: to a greater extent.

**Dosanīyā** ti dosappaccayā hatthapādacchedādidassanākārā.

**Dosanīyā** ti: displays that give rise to aversion, such as showing the cutting of hands and feet.

**Mohanīyā** ti mohappaccayā udakaṃ gahetvā telakaraṇaṃ, telaṃ gahetvā udakakaraṇanti evamādayo māyāpabhedā.

**Mohanīyā** ti: varieties of magic that give rise to delusion, such as taking water and making oil, taking oil and making water, and so forth.

730

**Pahāso**  **nāma nirayo** ti visuṃ pahāsanāmako nirayo nāma natthi, avīcisseva pana ekasmiṃ koṭṭhāse naccantā viya gāyantā viya ca naṭavesaṃ gahetvāva paccanti, taṃ sandhāyetaṃ vuttaṃ.

**Pahāso nāma nirayo** ti: there is no separate hell called Pahāsa; rather, in one section of Avīci, they suffer as if dancing and singing, having assumed the guise of actors; it is said with reference to that.

**Nāhaṃ, bhante, etaṃ rodāmī** ti ahaṃ, bhante, etaṃ bhagavato byākaraṇaṃ na rodāmīti evaṃ sakammakavasenettha attho veditabbo, na assuvimocanamattena.

**Nāhaṃ, bhante, etaṃ rodāmī** ti: “Venerable sir, I do not weep over this explanation of the Blessed One”; the meaning here should be understood as a statement, not merely as shedding tears.

‘‘Mataṃ vā ammarodantī’’tiādayo cettha aññepi vohārā veditabbā.

Other expressions like “Mataṃ vā ammarodantī” (Or weeping for the dead mother) should also be understood here.

---

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**the tika**

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>
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##### Tālapuṭasuttavaṇṇanā

##### 2. Commentary on the Tālapuṭa Sutta

646

`354`. Vāloti vuccati tālo, tassa tālapuṭaṃ nāma.

`Vālo` is called tāla; this is called Tālapuṭa.

Yathā āmalakīphalasamānakaṃ, so pana tālasadisamukhavaṇṇattā **tālapuṭoti evaṃnāmako**.

Like an āmalakī fruit, he was named `tālapuṭa` because his face resembled a tāla fruit.

Tenāha \*\*‘‘tassa kirā’’\*\*tiādi.

Therefore, he says `tassa kirā` (indeed, his) and so on.

**Abhinīhārasampanno** anekesu kappesu sambhatasāvakabodhisambhāro.

`Abhinīhārasampanno` means one who has accumulated the requisites for a disciple’s awakening over many eons.

Tathā hesa asītiyā mahāsāvakesu abbhantaro jāto.

For he was indeed among the eighty great disciples.

**Sahassaṃ denti** naccaṃ passitukāmā.

`Sahassaṃ denti` (they give a thousand) those who wish to see the dance.

**Samajjavesa** nti nepaccavesaṃ.

`Samajjavesaṃ` refers to the attire for the assembly.

**Kīḷaṃ katvā** ti naccakīḷitaṃ kīḷitvā, naccitvāti attho.

`Kīḷaṃ katvā` means having performed the dance play, that is, having danced.

647

Pubbe tathāpavattavuttantadassane **saccena,** tabbipariyāye alikena.

In showing what had happened before in that way, **by truth** ; in its opposite, **by falsehood**.

Rāgapaccayāti rāguppattiyā kāraṇabhūtā.

**“Due to lust”** means they are the causes for the arising of lust.

**Mukhato…pe… dassanādayo** ti **ādi** -saddena mukhato aggijālanikkhamadassanādike saṅgaṇhāti.

**“From the mouth…etc…such as displaying”** – by the word **“etc.”** it includes displays such as the emission of flames from the mouth.

**Aññe ca…pe… abhinayā** ti kāmassādasaṃyuttānaṃ siṅgārahassaabbhutarasānañceva ‘‘aññe cā’’ti vuttasantabībhaccharasānañca dassanakā abhinayā.

**“And others…etc…performances”** are performances that display the erotic, comic, and wondrous sentiments associated with sensual pleasure, as well as the tranquil and odious sentiments mentioned by “and others.”

**Dosapaccayā** ti dosuppattiyā kāraṇabhūtā.

**“Due to hatred”** means they are the causes for the arising of hatred.

**Hatthapādacchedādī** ti **ādi** -saddena saṅgahitānaṃ ruddavīrabhayānakarasānaṃ dassanakā abhinayā.

**“Such as cutting off hands and feet”** – by the word **“etc.”** it includes performances that display the furious, heroic, and terrifying sentiments.

**Mohapaccayā** ti mohuppattiyā kāraṇabhūtā.

**“Due to delusion”** means they are the causes for the arising of delusion.

**Evamādayo** ti **ādi** -saddena saṅgahitānaṃ karuṇāsantabhayānakarasānaṃ dassanakā abhinayā.

**“Such as these”** – by the word **“etc.”** it includes performances that display the compassionate, tranquil, and terrifying sentiments.

Te hi rase sandhāya pāḷiyaṃ ‘‘ye dhammā rajanīyā, ye dhammā dosanīyā, ye dhammā mohanīyā’’ti ca vuttaṃ.

Indeed, with reference to these sentiments, it is also said in the Pāḷi: “which phenomena are associated with lust, which phenomena are associated with hatred, which phenomena are associated with delusion.”

648

**Naṭavesaṃ**  **gahetvāva paccanti** kammasarikkhavipākavasena.

They are tormented, **having adopted the guise of actors** , according to the outcome similar to their actions.

**Taṃ sandhāyā** ti taṃ yathāvuttaṃ niraye paccanaṃ sandhāya.

**“Referring to that”** means referring to that torment in hell as described.

**Etaṃ** ‘‘pahāso nāma nirayo, tattha upapajjatī’’ti **vuttaṃ**.

**“This is said”** : “Pahāsa is a hell, one is reborn there.”

Yathā loke atthavisesavasena sakammakānipi padāni akammakāni bhavanti ‘‘vimuccati puriso’’ti, evaṃ idha atthavisesavasena akammakaṃ sakammakaṃ katvā vuttaṃ – \*\*‘‘nāhaṃ, bhante, etaṃ rodāmī’’\*\*ti.

Just as in the world, some intransitive verbs become transitive depending on the specific meaning, such as “a man is released,” so here an intransitive verb is made transitive due to a specific meaning, as in **“I do not weep, Bhante, over this.”**

Ko pana so atthaviseso?

What, then, is that specific meaning?

Asahanaṃ akkhamanaṃ, tasmā **na rodāmi** na sahāmi, na akkhamāmīti attho.

Not enduring, not tolerating. Therefore, **“I do not weep”** means I do not endure, I do not tolerate.

Rodanakāraṇañhi asahanto tena abhibhūto rodati.

Indeed, one who does not endure the cause of weeping, being overwhelmed by it, weeps.

Tamevassa sakammakabhāvassa kāraṇabhūtaṃ atthavisesaṃ \*\*‘‘na assuvimocanamattenā’’\*\*ti vuttaṃ.

That very specific meaning, which is the reason for its intransitive nature, is stated as **“not merely by shedding tears.”**

**Mataṃ vā, amma, rodantī** ti etthāpi mataṃ rodanti, tassa maraṇaṃ na sahanti, nakkhamantīti pākaṭoyamatthoti.

**“Or, mother, weeping for the dead”** – here too, “weeping for the dead” means not enduring or tolerating their death. This meaning is clear.

649

_Tālapuṭasuttavaṇṇanā niṭṭhitā._

_The commentary on the Tālapuṭa Sutta is concluded._

---

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Sujin: _Some people are afraid to watch TV, but now we are lost in_  
_the concepts with no awareness._