Sumanapal
Bhikkhu
We come to know from the Chinese work
Li-tai-Sanpao-chi and other accounts that Asvaghosa was born in a Brahmana
family. Later he was converted to Buddhism and the aim of his conversion was to
benefit the world with the noble Law of Buddha. Before being converted to
Buddhism Asvaghosa acquired a thorough knowledge of Brahmanical literature
including the four Vedas, six treatises on Vedanga, Epics and Darsanas. His
works proved that he had a profound knowledge of Sanskrit grammar. At the same
time he was equally well versed in the Tripitaka.
Chinese
tradition informs as that Asvaghosha was converted to Buddhism by the Patriarch
Parsuva, but Tibetan legend gives the credit to Parsava’s discipline Purna of
the Sarvastivada School.1
In his life of Asvaghosa Xuang Zang says that Asvaghosha was converted to
Buddhism by Parsva after being defeated by him in a public discussion.
The Tibetan
legend informs us that after being converted to Buddhism Asvaghosha Dagan to propagate
Buddhism in Kusumpura (Modern Patna) not only as a preacher but also as a poet
and musician2. With
regard to music, the songs Asvaghosa Bodhisattva wrote for the drama the story
of Rastrapala3 were a
revelation on worldly impermanence and suffering. When performed in the city of
Pataliputta, the lyrics so touched the audience of five hundred princes that
they subsequently decided to be ordainedand cultivate the Buddha Way.
Asvaghosha propagated
Buddhism through his poems in Sanskrit. But he invented his own style and
preached the difficult Buddhist philosophy. In his poems Asvaghosha wrote about
the life of the Buddha and in doing so he applied interesting literary elements.
He believed that through worship and devotion to the Buddha alone a man can
attain salvation and become free from the cycle of birth and death.
There were many
writers by the name Asvaghosa who glorified the Buddha and his teachings. However
scholars have attributed to him the following prominent and authentic works.
1. Buddhacarita, 2. Soundarananda, 3. Sraddhotpada Sastra, 4.
Vajrasuci, 5. Sariputra Prakarana, 6. Sutralamkara.
Buddhacarita
I-tseing says
about the Buddhacarita4 that
it was a voluminous poem which recounted the life & work of the Buddha from
the time when he was still living in the royal place till his last hour in the
park of the Sala trees. He adds, “It is extensively read in all the five parts
of India and in the countries of the south sea (Sumatra, Java and the neighboring
islands). He clothed manifold notions and ideas in a few words which so
delighted the heart of his reader that they are never wearied of perusing the
poem. Moreover it was regarded as a virtue to read it in as much as it contained
the Noble doctrine in a neat compact form”. What the Chinese pilgrim says in
eulogy of the Buddhacarita we can completely substantiate on the basis of the
torso we possess. Here we have in reality for the first time a proper Buddha
epic created by a true poet who permeated with love and reverence for the
exalted person of the Buddha and profound reverence for the verity of the
doctrine of the Buddha represents the life and the teaching of the master in
noble language of art which is not artificial.
We get the
complete biography of the Buddha in the Bc from his birth to the Parinirvana.
There are 28 cantos in it and these cantosare divided into four equal parts
with regard to a biographical account of Buddha: (1) birth and youth until his
renunciation, (2) wanderings, asceticism, battle with more Mara and
Enlightenments, (3) teaching,
propagationof doctrines in many countries in the four directions, (4) the last
journey and Parinirvana.
In the
Buddhacarita Asvaghosa has described the activities of the present life of the
Buddha. He was kind towards all animals and human beings when he realized that
old age, disease, and death are the causes of sorrow of mankind he became very
sorry and left home in order to find out a remedy for them.
In Ramayana Maharsi
Valmiki wrote the epic Ramayana to immortalize Rama, Sage Vyasa composed the
epic Mahabharata to propagate the teachings of Lord Krishna Likewise the epic
Buddhacarita was composed to preach the teachings of the Buddha. This work by Asvaghosha
is revered by the Buddhists as Ramayana is respected by the Hindus. It is
meritorious to read Buddhacarita epic because it contains the noble doctrine, given
in a concise form.5 With
the help of Buddhacarita Asvaghosha made the Buddha an incarnation of god like
Rama, Krishna, etc.
In Buddhacarita
we find the following characteristics:
1. Devotion to
Buddha
2. Use of
miraculous element
3. Refutation;
of Brahmanical practices
4. The conquest
of Mara
5. The gradual development
of Mahayana
The central
interest of the Buddhacarita is the life story of the Buddha. The poet has
added to it colorful sense of love in the
harem at night which prompted prince Siddhartha to run away from the palace and fight against Mara’s army
in canto XIII.
The poet has
included a number of historical and legendary figures in order to make his
stand point more weighty. They are Agastya, Analya, Aja, Ambarisa, Anaranya, Angiras,
Asita, Bhisma, Brahma, Dasharatha, Dhruva, Gautama Muni, Gautama Maharshi Apsara, Jayanta, Lopamudra, Manu, Maruti,
Meghawat Pandu, Parasara, Rohini, Sakra, Sibi, Upasunda, Urvasi, Vemdeva,
Vasaistha, Videha , Vibhraja, Juhvati etc.
In sculpture we
can find all the important events in the life of the Buddha depicted in the
Buddhacarita. For instance, in Gandhara Art piece No. 16 (Peshawar No. 2071) we find a divine child
being held by two kneeling women with Indra and Brahma pouring water over him
from two flasks. Pieces No. 33 and 34 show the marriage of Siddhartha with
Yasodhara No. 35 depict the, bridal procession and no. 36 depicts the plugging
scene. Here Siddhartha is marketing the tired oxen and birds eating insects.
The poem turns
round the history of the Buddha’s life but deals especially with those scenes
that have been either lightly the 1st canto describes the
establishment of the touched upon or not treated at all in the Buddhacarita city of
Kapilavastu.
Soundarananda
‘Soundarananda’ was another important work of
Asvaghosha. Nanda is the proper name of Siddhartha’s half brother and Sundari
is the name of his wife. The aim of the title is to denote both these names which
untidily signify perfect beauty.
Soundarananda is
an epic written in 18 cantos. In it we find the story of the conversion of
Buddha’s half brother Nanda.
Nanda and his
wife were excessively attached to each other. One day when the Buddha came to
them for begging they gave nothing to him as they were immersed in the
pleasures of the senses with their attendants. When Nanda was aware about this
he was ashamed and went to see the sage. Buddha was unwilling to accept any
apology and wanted to place the bowl in Nanda’s hands but as Nanda was anxious to
return to his wife, he refused to oblige the Buddha so he spiritually attracted
Nanda and took him to a monastery. At first Buddha failed in his attempt to
convert Nanda and then the job was entrusted to Vaideha Muni.
The Muni
appealed to the good sense of Nanda and he consented half heartedly Nanda was
shaved and was taken to heaven where heavenly Apsaras were shown to him. Nanda
found these beautiful celestial maidens to be more beautiful than his wife and
wanted to win them. He was told by the Buddha that in order to obtain them, he
must attain heaven at first. Then the Buddha’s disciple told Nanda that the
joys of heaven was temporary and a man has to return to earth as soon as his
merit is exhausted So Nanda got rid of his desire for heavenly Apsaras and went to the Buddha with
the request to show him the path of Enlightenment. The Buddha was
very pleased by the transformation of Nanda and preached the Dharma. Nanda went
to the forest to meditate and subsequently attained Arhathood. In the end the
Buddha advised him to emancipate others also.
Whilst in
Buddhacarita there is no express doctrine emanating from the Mahayana school, the
concluding portion of the Soundarananda kavya already begins to betray a
blaming towards the Mahayana. It is not sufficient for it that Nanda himself
should become a saint who attains to Nirvana. He must be an apostle of the
faith although it must not be forgotten that even in the Hinayana the
obligation of the propagation of faith and proselytism is highly praised, as in
a Sutra in Anguttara nikaya. Besides in the third great work of Asvaghosa
entitled the Sutralamkara many of the semi-legendary stories are based on a
Hinayanic foundation.
The story of Soundarananda
is found in Pali Dhammapada and Sutta Nipata. However this Pali version and the
Sanskrit version differ in the following respects.
(I). In Pali version, Buddha entered the
palace of Nanda at the time when preparation for his marriage and coronation
was complete. In the version composed by Asvaghosha the sage entered the house
when Nanda and his wife were immersed in pleasure.
(II). In Pali version Sundari cries out
to her husband to return soon but in Asvaghosha’s Sanskrit version Sundari
exhorts a promise from her husband to return before the point on her cheek is
dried.
(III). In Pali version we do not find the
name of the person who converted Nanda but Asvaghosa clearly mentions the name of Ananda
as the converted of Nanda.
(IV). In Pali version Nanda simply says
that he was practicing austerities against his will.
(V). In Pali version the She monkey
(Seen in heaven) is without eye, nose, ears and tail but in Sanskrit she is
only with one eye.
(VI). In Pali version Nanda was the butt
of ridicule for the monks but in Sanskrit Ananda upbraids Nanda.
The name of
Nanda also figures in Theragatha verses 157 and 158 but here we find some
changes in the words uttered by the Buddha and in the description of convinced how
Nanda was convinced to become a follower of Buddha and Arahat.
As a literary creation Soundarananda is
generally regarded as better work tham Buddhacarita. Though no Chinese or
Tibetan version of the work is found it is believed that it was more widely
read than Buddhacarita.6
Sculptors like
many scenes from the Saundarananda but the palace life of Nanda and Sundari
seems to have been very popular with contemporary and post – Asvaghosha artists
No. 12.186 ,inn
Mathura Museum the two panels represent the palace life of Nanda and Sundari as
described by the poet Asvaghosa.7
We find Nanda arranging the hair of
Sundari, who is looking into a mirror,
while a female attendant is holding a toilet casket. In the lower compartment Sundari
is putting a necklace, while looking at the mirror.
In Soundarananda
we find many historical, mythical and .legendary figures from pre-Asvaghosa
literature while emphasizing his stand point with illustrations.8 They are:.
Adityas, Agni,
Analya, Aksamala, Ambarisa. Angiras, Angada, Antidev, Arjuna, Asita, Bhargana,
Bharata, Bhusima, Dilipa, Diti, Gautama, Indra, Janmejaya, Kandarpa, Kasyapa,
Kanna, Kapila (Sage), Madana, Nahusa, Pandu, Rambhu, Sagar, Santanu, Urvasi, Ugratapas, Vasava,
Vayati, and Yamuna.
Buddhacarita and
Soundarnnanda offer two different modes of salvation. In Buddhacarita
Siddhartha sought the advice of many teachers. But Asvaghosa refuted their philosophies
in course of the poem. In the poem Buddha attained enlightenment by virtue of Hetu working
within him. But in Soundarananda we find Buddha advising Nanda to help others
in attaining salvation. Thus in Soundarananda we find the seed of Mahayana.
Sutralamkara
Sutralamkara or
Sutra-Ornament is a collection of legends after the model of the Jataka and
Avadanas which are narrated in prose and verse in the style of Indian poetic
art. Many of these legends are known to us of old as of Dirghayus or Prince
long life and King Sibi. Others already show more of the spirit of the Mahayana
or at best a reverence for the Buddha which is more Mahayanist in its tendency.
An example of
real Mahayanist is Buddha bhakti is also furnished by No. 68, where Gautami,
the foster mother of the Buddha, attains to Nirvana through the grace of the
Buddha.
Vajrasuci:
Vajrasui is the
work in which Asvaghosa bitterly attacks Brahmanical caste system and is full
of illustration from Brahmannical texts.
In the time of
the Buddha Brahmanas and Sramanas were two distinguished religious sects of
India. In us literature finds many descriptions about them. In the society
Brahmanas enjoyed those privileges that were denied to the .people belonging to
the other castes. For instance, Brahmanas were honored by the king and were fined less than the other castes.
Even corporal punishments were not inflicted on them under any circumstances. Besides
Brahmanas were exempted from certain taxes. With the heap of these evidences it
can be proved undoubtedly that the Brahmanas were considered to be superior in
social, political and economic matters and the Sudras or the lowest class of
the society received a very callous treatment in the hands of the Dharma
Sastras and Manu.
This wide gulf
between the Brahmanas and Sudras in the society finally resulted in untouchability
which, in the following age becomes a cancer for the society.
The Buddha was
very diplomatic and tactful waging war against Brahmanism. IN the Buddhist
scriptures we find many definitions of a true Brahmana which says that such a
person is equal to a Buddhist monk in virtues, learning and conduct.
After attaining Enlightenment
the Buddha spent seven days at the foot of the Banyan tree. According to
Mahavagga a Brahmana visited him there. There the Buddha explained to him what
a true Brahmana means h is the best and the highest kind of man. And who has no
blemishes anywhere in the world. Again in the Udana we find the Buddha saying,
that having cast – off all sin, making himself clean (of sin), such a Brahmana
is Enlightened (i.e. the Buddha)
In Vajrasuci
Asvaghosa on the one hand criticized the Brahmanas for their costly sacrifices
and Yajnas and on the other hand Brahmana that can be found in their own their
literature (Brahmana and Vedic). The Buddha equals such a person to an Arahat.
Both Asvaghosa
and his contemporary Vasumitra II refuted for the first time the Brahmanic
doctrine of Sankhya and Vaisesika. In the society a new trend had crept in and
there was a natural protest movement against the supremacy of the Brahmanic
system. Our poet Asvaghosa also felt its impact.
Vajrasuci or Diamond
needle is a small Sanskrit work of thirty seven verses. This work shows.
Asvaghosa’s profound knowledge of Brahmanical religions literature. In this
book the poet has used numerous quotations from the Vedas, Epics, and Law books
and has justified the standpoint of the Buddha. Here Asvaghosa defends the equality of all classes of men and
says “As there is similarity in
joy and sorrow, in life, intellect , in functions, in conduct or in behavior,
birth and death , sexual enjoyments and
in fear, there is indeed no distinction
between a Brahmana and others,
The poet criticizes the caste
system and gives a new definition of the Brahmmana – one who has the Right conduct (Sila qualities).
According to
our poet a true Brahamin is not he who
is born in a Brahmana family, well conversant with Vedic Literature but a man
who with words, actions and mind does not trouble or injure others with body, mind and actions,
is self controlled and a slave to
desires , is compassionate for all
sentient beings, is far away from greed and does not accept what ,is not given
to him serves the cause of others day and night has renounced
worldly life, believes in non violence and
is free from attachment, hatred and
contempt.
There are many
parallel passages in Vajrasuci and Brahmanavagga of Dhammapada (XXVI. 383 – 423).9 The qualities assigned to
a Brahmana in this section of Dhammapada inspired the poet so much that he
seems to have borrowed certain lines and words from it. In order to illustrate
this point we may compare identical passages in Dhammapada (Brahmananavagga)
and Vajrasuci. In Dhammapada Buddha says a man is not a Brahmana by reason of
the matted hair or by lineage or his caste. Asvaghosa also agrees with him when
he says that a man is not Brahmana because of birth or by lineage or by
ceremonies.
In Dhammapada Buddha says” Him I call a
Brahmana who accepts nothing in this world, that is not given to him be it
long, short, small or big beautiful or ugly.” Dharmapada says, “No small advantage gains the
Brahmana who restrains his mind from things dear to him. He averts his mind
from indulging in violence. Again in Dhammapada he says- I call a Brahmana from
whom lust, ill- will, pride and envy have fallen off. Asvaghosa quoting Vaisampayana says, “He who is
detached from lust and hatred…. is a Brahmana.”
In short, Asvaghosa
the poet has tried to combat the faults of Brahmanamism, and exalt the qualities
of sila. The beauty of the work lies in the fact that he has expounded these
qualities in the guise of the qualities of a true Brahmana. Indirectly he has
preached and encouraged Buddhism.
At the same time
he has very wisely recorded the changing trend (From Tapa to morality) of the
religious reformers of his time.
In this work we
find numerous mention of host of legendary figures and historical personages
from different ancient sources.’
Acala, Agastya,
Arni, Dronacharya, Gautama, Indra Kapila, Mahesvara, Pandu, Panini, Ravana,
Renuka’s son Rama, Surya, Uma, Vyasa and Yudhisthira, etc.
Sraddhapada
– Sastra
Sraddhapada
–Sastra is one of the world’s most famous and important Mahayana work. However,
there is a debate regarding the authorship of it. These who are reluctant to
assign its authorship to Asvaghosa argue that there is no affinity of Philosophical
discussion between his two Kavyas m (Soundarananda and Buddhacarita) and this
work. In these two poems we find mention of the ‘non-entity’ of the soul and
there is no mention of ‘Tatthata while Sraddhapada’ is essentially a deviation.
It believes in the existence of the soul. Asvaghosa himself says, For the
purpose of awakening in all beings a pure faith in the Mahayana, of destroying
their doubts and attachment to false doctrines, and of affording them an uninterrupted
inheritance of Buddha –Seeds, I write this discourse.
Prof. Suzuki also
says that the term Mahayana adopted by Asvaghosa points the greatness of suchness
and the term was used by him to prove that this was the safest and surest means
of salvation.
According to
Haraprasad Sastri this work was composed
by Asvaghosa after Kaniska’s council in Kashmir Dr. Sastri is of the
opinion that our poet took the cause of a few Mahayanist who were present in
the council but could not impress much. So Asvaghosa composed Sraddhapada
Sastra and Sutralamkara.10
From the
historical point of view this work by Asvaghosa bears testimony to the
evalution of Buddhist thoughts. In Asvaghosa’s time Buddhism was no longer
confined to its original home Magadha and the original sutras were but
inadequate. When the Buddhists penetrated in the Western part of the Gangetic basin
they had to compete with the Hindu philosophers and the region was the birth
place of the speculations of the Upanishads. The close contact with Brahmanism
influenced Buddhist philosophy profoundly and as a result it adopted Sanskrit
language as the vehicle for expressing philosophical thoughts.
Sraddhapada
Sastra begins with a hymn and ends with a hymn. It is divided into five sections.
(1) Introductory
or reasons for writing the book
(2) General
statement about the Mahayana faith.
(3) The
explanation itself or the exposition of the Mahayana faith.
(4) The practice
of Mahayana faith.
(5) Benefits of
the practice of Mahayana Asvaghosa say that he composed the work .keeping the
following aims in mind.
1.
To save all sentient beings from suffering.
2.
To present the true meaning of
Tathagata’s teaching.
3.
To conserve the gain of those who have
made some advance on the path to enlightenment.
4.
To awaken and strengthen the faith of
beginners.
5.
To show all the followers, the path to
keep their mind free from covering and infatuations.
6.
To help all seekers , to practice right methods
of practicing ‘stopping and reflecting’, so as to guard them against the false
view points of both worldly minded
people and the disciples of Hinayana (elementary school) besides Madhyama to
middle school of Buddhism.
7.
“To explain the expedient means of
reciting the Divine the name of Amitabha Buddha and to prove that those who
recite are born in Buddha’s pure land.
8.
To show the readers of this treatise,
the advantage of one whose faith is awakened, the inestimable advantages of the
practice of Dhyana it.
The Sraddhapada
Sastra or the Awakening of the faith entitles Asvaghosa to rank as the first
systematic expounder of Mahayana.
In this treatise the poet has explained the
fundamental doctrine of the Mahayana faiths its practice and teachings. He says
“All men should respectfully believe and not speak evil of it, thereby injuring
themselves more and more and others too, destroying every hope of deliverance.
In fact the teaching of Asvaghosa is that one becomes identified with truth? Neither
by doctrinal belief nor by behavior, but by following the True Faith in the
right way and thus ultimately is to become identified with the true principles
of Mahayana Buddhism which selfless compassion for all animal life.
Asvaghosa
is a poet by nature he is a highly cultivated man by training and religious
devotee by conviction.11
Traditional Vedic and Brahamanic conceptions dominated in his contemporary
society and the poet has tried to propagate the doctrine of Buddha in a very
unassuming style with a very simple language.
In
Sraddhapada Sastra the poet devotes much space to preaching. But his
expressions are somewhat similar to that of Tripitakas. Though he extols the
joys of solitude and meditation, a tendency towards Mahayana can be discerned.
Vajrasuci which is a direct attack on Brahmanical custom of caste system is a
great work defining a True Brahmana. For Asvaghosa a Brahmana is no less than a
Sramana or a monk, or an Arhat Adorned with the qualities by sila.
Buddhacarita is an integral part of Vinayapitaka
of Dharmagupta sect and Soundarananda is based on Dhammapada’s story of Nanda
with Varieties, Buddha’s first sermon at Benaras known as Dharma Chakra pavattana
Sutra, includes the four noble Truths about suffering and eight fold paths. The
same is elaborated by Asvaghosa in Soundargandha.
Footnote:
1.
Life of Asvaghosa quoted by Suzuki, A. E. p.
257f.
2.
Taranath H.B. p. 391.
3.
Rastrapala was born in a wealthy family, in a
village called Thullakotthita in the state of Kuru. He was ordained and practiced under Sakyamuni
Buddha. Later, when he returned to his village, his parents tried to rule him
away from his monastic vows by distracting him with a woman. However, the woman was so moved by his
instructions on the Dharma that she became a nun. Later, Asvaghosa adapted
Rastrapala’s story into a drama, and personally performed the drama in Pataliputra. Yun, Venerable Master Hsing.,
Infinite Compassion, less Wisdom the practice of the bodhisattva path, p.60.
4.
T.
vol. 4, no. 192. Consists of five fascicles with a total of twenty- eight
chapters. Translated by Dharmaraksa, it describes the life of the Buddha from
his birth to the distribution of his relics upon his parinirvana. It is
Asvaghosa’smost famous work and is a monumental achievement of ancient Indian
literature. Yun, Venerable Master Hsing., Infinite Compassion, less Wisdom
the practice of the bodhisattva path,
p.59.
5.
R.C. Sharma, Mathura Museum, p.33 (ref. plate
III).
6.
Sukomar
Sen, (JASB, 1930., p. 81).
7.
B.C. Law in Asvaghosh has discussed most of
these references.
8.
Dha. 393: Na jatahi na gottena, na
jaccha hoti brahmano.
9.
yassa rago ca doso ca , mano makkho ca
patito, Sarapor’iva aragga, tam aham
brumi brahmano. Dha. 407.
10.
H.P. Shastra, Adv, V. Sang, Intro, p.XXI.
11.
S.K. Dey, H.S. L. p. 76.
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Dr. Samir Kuamr., Asvaghosa as a Poet and a dramatist a critical study, the
University of Burdwan, Burdwan, 1979.
2.
Keith,
A. B., The Sanskrit drama, Oxford University Press , London, 1923.
3.
Khoshla,
Sarla., Asvaghosa and his times, Intellectual Publishing House, New Delhi,
India,1986.
4.
Law,
Bimala Churun., Asvaghosa, The Asiatic Society, Kolkata, 2011.
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Mitra,
Rajendra Lal.,Sanskrit Buddhist Literature of Nepal, PKI, Delhi, 1970.
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Puri,
B.N., The Great Kushanas Motilal Banarasidass Publishers Pvt. Ltd. Delhi.
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Raghavan,
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