THE CHRONICLE OF BUDDHA GOTAMABY MINGUN SAYADAW |
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| Volume Two, Part One, 1994; Translated by U Ko Lay and U Tin Lwin |
CHAPTER
TWO
THE PERFORMANCE OF THE PLOUGING CEREMONY
King Suddhodana performing the ploughing ceremony and saluting the Bodhisatta for the second time
The day arrived for King Suddhodana to perform the ploughing ceremony which was a regular seasonal festival held every year. On that day, the whole royal city of Kapilavatthu was decorated like the abode of Devas. All the people of the city including workers dressed in their best attire, having perfumed and adorned themselves with flowers, assembled in the palace square. In the fields where the ploughing ceremony was to be held, one thousand ploughs were kept in readiness, eight hundred of them being meant for the king and his ministers. Seven hundred and ninety-nine ploughs to be manned by the ministers were decorated with silver ornaments and equipped with ploughshares together with yokes, oxen and driving rods. The plough to be ridden and driven by the king was fully ornamented with red gold.
When King Suddhodana left the royal city with a great retinue of ministers, courtiers, bodyguards and other followers, he brought his son, the Bodhisatta, to the ceremonial sites and kept him under the delightfully cool shade of a big rose-apple (Eugenia Jambolana) tree in full foliage. The ground underneath the tree was well-carpeted with the best velvet cloth on which the royal child was placed. And above him was fixed a crimson red velvet canopy embroidered with gold and silver stars above; the whole place was screened off with heavy curtains, and guards were posted for security. The king then dressed himself in the regal accoutrement customarily put on for the ploughing ceremony and accompanied by ministers and courtiers proceeded to the auspicious field where the ploughing ceremony would be held.
On arrival at the auspicious field, King Suddhodana, mounted the golden plough which was specially prepared for him. The seven hundred and ninety-nine courtiers taking part in the ceremony also rode and drove their respective silver ploughs. The remaining two hundred ploughs were handled by two hundred royal farm workers who proceeded to plough the field thoroughly, going back and forth many times across the field. King Suddhodana ploughed the field only once to bring auspicious blessing to the ceremony by driving across the field from one side to the other. The ceremony was magnificently performed.
So the nursing attendants and security guards assigned to look after the Bodhisatta Prince left their posts and came out of the royal enclosure, saying, "Lets us watch the grand spectacle of our lord performing the ploughing ceremony."
The Bodhisatta Prince's attainmet of the First Anapana Jhana
In the meanwhile, the Bodhisatta, on looking around and seeing no one, quickly rose and sat cross-legged quietly and calmly. He then practised Anapana meditation, concentrating on the inhaling and exhaling breath, and thereby attained the first Rupavacara Jhana. (In this matter, it should be understood that the Bodhisatta achieved the first Rupavacara Jhana within a short time as a result of the habitual practice of Anapana meditation throughout many existences of successive aeons.)
The attendants who left their charge loitered around the food stalls enjoying themselves for quite a while. All the trees with the exception of the rose-apple under which the Bodhisatta was sitting, cast their shade in a natural manner in line with the movement of the sun. When was past noon, the shades of the trees fell on the east. However, the shade of the rose-apple tree under which the Bodhisatta was resting did not move with the sun, even after noontide, strangely remaining in a round shape as before.
The nursing attendants, eventually remembering, "Oh, the son of our lord has been left behind alone', hurried back and on getting inside after parting the curtains of the enclosure, saw with their own eyes and to their amazement the Bodhisatta Prince sitting cross-legged in the place of glory; and saw also the miracle (patihariya) of the shade of the rose-apple tree remaining fixed in the same position and in the same round shape. They went speedily to the king and reported, "Your Majesty, the royal son is sitting quietly and calmly in a certain strange posture. And though the shadow of other trees moved with the changing position of the sun, the shade of the rose-apple tree under which the prince reposed stood unchanged even after noontide, retaining its circular shape."
King Suddhodana quietly came along and observed; on seeing with his own eyes the two strange miracles, he uttered, "O Noble Son, this is the second time that I, your father, salute you," and made obeisance to his son lovingly and adoringly.
Sakka the King of Devas Sent Visukamma Deva to create an auspicious royal lake for the Bodhisatta
In this manner, when the Bodhisatta Prince reached the age of seven, having grown up happily amidst the luxury like that of Devas, King Suddhodana one day asked his ministers, "O men, what kind of sport pleases the children of tender age?" When the ministers informed him, "Your Majesty, young children like to play in the water," King Suddhodana sent for artisans and ordered them to select a suitable site to dig a magnificent royal lake.
Thereupon, Sakka the Deva King, becoming aware through reflection that steps were underway to select a lake-site, thought to himself "It is not proper at all for the Bodhisatta to use a lake built by human beings; only the lake created by Devas will be appropriate for him." He summoned Visukamma Deva and assigned him the task of digging a lake, saying, "Go now, to the human abode, O Deva and create a suitable lake for the Bodhisatta to play about." To the question, "What kind of lake would you like me to create?" Sakka replied thus: "The lake that you will create should be free of mud and slime; its bed should be strewn with rubies, pearls and corals; it should be surrounded by walls made of seven kinds of precious stones. The descending steps leading into the lake should be made with planks of gold, silver, and rubies; the hand-rails should be of rubies and the main balusters supporting the rails should have their tops encrusted with corals. Inside that celestial lake, for the Bodhisatta to play water-throwing, you should create a golden boat equipped with a silver throne, a silver boat with a golden throne, a ruby boat with a coral throne and a coral boat with a ruby throne. They should also be furnished with golden bowls, silver bowls, ruby bowls and coral bowls for water-throwing. The said lake should be beautifully covered and graced with five kinds of lotus."
Visukamma Deva, after giving assent, descended to the human abode that very night and created a lake, complete in all details of the Sakka's instruction, on the site chosen by King Suddhodana. (Here, it may be questioned as to how the five kinds of lotus could grow and blossom in the lake which was devoid of mud. The answer is as follows: Visukamma Deva created small golden boats, silver boats, ruby boats and coral boats in such and such places in the said mud-free lake and made the solemn wish: "Let these small boats be filled with slime and thick mud and let five kinds of lotus grow and bloom in these mud filled boats." Thus created and resolved by Visukamma Deva, five kinds of lotus thrived and bloomed in the royal lake.) The pollen from the lotus flowers spread over the surface of the lake moving with the gentle breeze and rippling waves. Five species of bees in five different colours buzzed and droned merrily as they bustled from flower to flower. In this manner, Visukamma Deva created the royal lake as instructed by Sakka and returned to the celestial abode.
When the new day dawned, thousands of citizens saw the awe-inspiring magnificent lake; they exclaimed joyously, "Surely, this lake must have been created by Sakka and Devas for the Noble Bodhisatta Prince!" And so, with joy and delight, they went and reported the matter to King Suddhodana. King Suddhodana accompanied by a vast retinue went to see the lakes. When he saw the magnificence and splendour of the lake, he exclaimed with delight: "This lake verily is the creation of divine beings because of the power and glory of my son!"
Thereafter, the Bodhisatta Prince went to play in the water of the lake which was a requisite for celestial pleasures. (These are the words quoted from the exposition of the Sukhumala Sutta, Devaduta Vagga, Tikanipata, , Anguttara Commentary, Volume II.)
The construction of three palaces for the use and enjoyment of the Bodhisatta Prince
The Bodhisatta Prince Siddhattha grew up in great comfort and luxury, enjoying such delights as playing in the water of the celestial lakes covered and graced with five kinds of lotus as said above, wearing very soft and smooth garments which were brand new and produced in Kasi country, being at all times given cover and protection against heat cold, dust, mist and snow, with white umbrellas of Devas and men.
When he had thus grown up to the age of sixteen years, King Suddhodana thought, "It is time to build mansions for my son," and he had the most celebrated and skilled architects, carpenters, masons, sculptors and painters summoned to the palace for instructions. He then gave orders for the construction of three palaces named Ramma Golden palace, Suramma palace, and Subha Golden palace, specially designed to suit the weather conditions of the three seasons, after making necessary preliminary preparations such as ground breaking, at the chosen site at the time indicated as propitious by the stars.
These three palaces were of equal measurement in respect of length, breadth and height. They differed in respect of the number of tiers in the spires.
These three palaces are not described in detail in the Commentaries on the Buddhavamsa and Jataka. They are described at length in the expositions of the Sukhumala Sutta of the above Anguttara Commentaryin the exposition of the Magandiya Sutta of the Majjhimapannasa Commentary and that of the Agarikasampatti chapter in the JinaIankara Sub-Commentary. What is presented here is the combined account of the expositions in these various texts.)
(i) Ramma palace was built for residence during winter,
(ii) Suramma palace was built for residence during summer, and
(iii) Subha palace was built for residence during the rainy season.
(i) Ramma (Winter) Palace
The Ramma Palace had nine tiered-spire. The structure and room formations were designed, keeping the floors somewhat low so as to retain warmth. And meticulous care was taken in the arrangement of lion-propped windows and ventilators to prevent elements of cold from outside such as snow, mist, and breeze from entering inside. Painters also drew pictures of blazing fires and flames on the walls, central planks, roofs, etc., of the said palatial mansion to dispel coldness on seeing them. Festoons of perfumes, flowers and pearls were hung dangling here and there at appropriate places. The ceilings were canopied with fabrics of pure wool and silk which were very soft and smooth and warmth-giving and which were adorned with stars of gold, silver and rubies giving out bright and flaming colours; besides, there were woolen partitions and gauze curtains adorned with velvet and woolen shawls which were very soft and smooth to the touch. Velvet garments and woolen apparel appropriate for the cold season were also kept in readiness for wear. In the winter season, nourishing seasonal food such as hot, spicy delicacies were well prepared in readiness. To keep the room warm, windows were kept open in the day and closed at night.
(ii) Suramma (Summer) Palace
There were five tiers in the spire of the Palace named Suramma. The structure and room formations were so designed as to provide ventilation; the tiers were built high, windows and shutters kept spacious and wide, and to procure as much breeze and coolness as required from outside, the main doors and windows were kept not too secure; some doors had perforations and others had nettings (made of iron, gold, silver). The walls, central posts, roofs, etc., were decorated with paintings of blue, red and white lotus to give soothing impressions to the observers. Brand new pots filled with water to the brim were installed near the windows and placed therein were aquatic flowering plants such as blue, red, white lotus, and lotus with a hundred petals. Mechanical devices such as fountains and showers were installed to cool and freshen appropriate places simulating the rainy season when greenness pervaded the scenery. Inside the mansion, flower pots and barrels filled with scented mud and slime were placed at suitable corners and in them were planted five varieties of lotus. The ceilings were canopied with pure cotton fabric, which were soft and smooth and capable of generating a cooling effect; besides, there were golden partitions and soft, thin curtains which were beautifully and marvelously decorated; and floor carpets of very white cloth capable making the atmosphere cool. Sets of very thin white garments suitable for summer wear were also kept ready to wear. Cold and savoury food having the quality of coolness (sitaviriya) were also well prepared.
On the roof of the said Suramma palace were hung a network of small tinkling golden bells producing sounds which were sweet, soft and pleasant and excelling the sounds of the five kinds of celestial music. Ceilings made of fine gold sheets with very tiny holes were fixed under the roofing. When the water from the four ponds (to be described later) on the four sides of the mansion was pumped up by mechanical devices on to the ceilings it fell on the ceilings and trickled down through the tiny holes like rain drops as if it were raining.
Above the ceilings of golden sheets were spread out dried sheets of buffalo hide; then pebbles were lifted aloft by machines to the rooftop and from there released to fall on the stretched buffalo hides. The sound produced by these falling pebbles resembled the rumbling of thunder during the rainy season.
One hundred and eight huge pots made of gold and silver were filled with perfumed water and placed around the royal bed which was in an enclosure of embroidered netting with blue lotus designs. To have the effect of cool and pleasant atmosphere, blue, red and white lotus were planted in large bronze barrels filled to the brim with scented mud and placed here and there. The lotus bloomed when touched by the rays of the sun. All species of honey bees came inside the mansion and hovered around these lotus flowers sucking their sweet nectar. Thus Suramma Palace, the summer resort of the Prince, was always pervaded with sweet fragrance of the flowers. The main door and the windows of that summer residence were kept closed by day and open by night (to have the cool wind element).
When the Bodhisatta took up his residence in this palace, and when it was time for playing in the water, pebbles were thrown on to the sheets of buffalo hides as has been mentioned above to produce roaring sounds as of thunder; water pumped up to the ceilings trickled down in drops through the fine holes therein as if it were raining. At that time, the noble Bodhisatta wearing blue garment and robe and adorning himself in blue, revelled in water, enjoying its coolness for the day in the company of forty-thousand attendants and followers who were also dressed and adorned in blue with their bodies perfumed.
On the four sides of Suramma (Summer) Palace, were four ponds in which the water was emerald green, cool and clean and covered all over with five kinds of lotus. Aquatic birds such as swans, ducks, herons, etc. of various hues, rising from the ponds on the east, flew across the palace making melodious sounds continuously, and went down and gamboled in the pond on the west. In this manner, these water birds from the west pond flew to the east, those from the north lake to the south and those from the south pond to the north and so on. The summer palace even during the summer months was pleasant as in the rainy season.
(iii) Subha (Rainy Season) Palace
There were seven tiers in the spire of the palace named Subha. The structure and room formations were so designed as to be of medium size, neither too low nor too high and neither too wide nor too narrow in order to generate both heat and cold. The main door and windows were designed to suit both the cold and hot seasons, some fitted with closely knit planks and some with holes and wire meshes. There were paintings of blazing fires and flames and also pictures of lakes and ponds. Garments, robes and carpets which would suit both the cold and heat, forming an assortment of apparels used in the two previously mentioned palaces were kept for ready use. Some of the doors and windows were open by day and closed by night; and others were kept closed by day and open by night. (The beauty and perfection of this palatial mansion for the rainy season was identical with that of the summer and winter residences.)
CHAPTER
TWO
THE ARCHERY DISPLAY
The Bodhisatta's display or skill in archery
After King Suddhodana the royal father had thus three palatial mansions constructed for his son in such grandeur and magnificence which no succession of kings had ever enjoyed before, he thought to himself "My son has reached the age of sixteen. After crowning him king with the white umbrella raised, I shall watch him enjoying the luxury and glory of kingship." He then ordered messages to be sent to his eighty thousand Sakyan relatives thus: "Dear Sakyan princes, my son has come of age and is skteen years old now. I will crown him king. All Sakyan princes should bring their daughters, who have come of age, to my palace."
When the Sakyan princes received the royal message from King Suddhodana, they refused to comply with his request, replying in derogatory terms: "Prince Siddhattha lacks education, although possessing a pleasant personal appearance. Not having acquired any skill of a livelihood, he will not be able to discharge his obligation to support a family. So we cannot accede to the demands of King Suddhodana and give our daughters."
(These words are as given in the Commentaries on the Buddhavamsa, the Anguttara and also in the Jinalankara Sub-Commentary. However, in the Introduction to the Jataka Commentary, in the section on the Buddhavamsa, it is mentioned that Sakyan royal relatives made the derogatory remarks about Prince Siddhattha at one of their assemblies only when the Bodhisatta Prince Siddhattha had already been living in luxury in the three palatial mansions amidst forty thousand attendants headed by his Chief Queen Yasodhara Devi.)
On receiving the replies from the Sakyan princes, the fathers of the princesses, King Suddhodana went to the Bodhisatta Prince and related the matter. Then the Bodhisatta asked: "My dear father, I do not have to learn anything. What skill do you want me to display?" King Suddhodana replied: "Dear son, you should demonstrate to the royal relatives the art of archery with a bow which requires one thousand units of weight (pala) to draw." Prince Siddhattha then said: "In that case, royal father, have it proclaimed by the beat of drums in the royal city that on the seventh day from today, there will be a display of archery by me" King Suddhodana accordingly had it proclaimed widely all over the kingdom of Kapilavatthu by the beat of drums.
(With regard to the Pali term sahassathamadhanu the Samantacakkhu, Dipani Vol.I, says that it can also mean a bow which requires one thousand men to draw (in accordance with the expositions of the Tika-nipata of the Anguttara Commentary and its Sub-Commentary and the Commentary on the Budhavamsa). It adds: "If however, the Pali word is taken to refer to the force or weight, it should be translated 'a bow which requires a force equal to one thousand units of weight (pala,) to draw.'"
(The author continues to discuss the units of weight, pala, differently stated in Commentaries and Sub-commentaries and in the Candakinnari Pyo and Maghadeva Linka, which are famous works in Myanma literature. We have left them out from our translation.)
After the proclamation had been made by means of the drumbeat, arrangements were made to prepare a site for the Bodhisatta Prince's demonstration of archery skills and to construct a decorated viewing pandal for the ministers, palace ladies, retinue, service personnel, soldiers, and distinguished royal relatives. On the seventh day, when all the arrangements were completed, the king with his ministers, military commanders and guests were all seated in their respective places; the Bodhisatta after taking his seat on the gem-studded throne in the centre of the open ground, took hold of the big bow handed over to him by the royal attendants. (The bow required one thousand men to draw; or the bow required one thousand units or two thousand units of weight, pala, to draw.)
Sitting cross-legged on the throne, the Prince held the bow in his left hand, twisted the bow string round one big toe with which it was pulled to make it taut; then he struck the bow string with his right hand to adjust it. The vibrating sound emitted from the string was so loud that it echoed throughout the city of Kapilavatthu which appeared as if it was on the verge of flying up into the sky.
Thereupon, some people asked: "What is that sound?"; and some people replied: "This is the roaring sound of thunder." Others, however, said: "Oh, you do not know; this is not the sound of thunder; this is the sound produced when the Sakyan Prince Siddhattha, so graceful in form and resplendant in complexion, drew the bow which requires one thousand men (or two thousand units of weight, palas,) to stretch, and struck the bow string."
All the eighty thousand Sakyan princes and royal relatives witnessing the spectacular display by the Bodhisatta of striking and adjusting the bow strings were exceedingly delighted.
The demonstration of twelve minor types of archery
The noble Bodhisatta sent for the most famous master archers of Kapilavatthu by the name of Akkhanavedhi, Valavedhi, Saravedhi, and Saddavedhi and let them assemble in the palace ground. As for himself (much like in a previous existence, when the Bodhisatta was born as young Jotipala, as mentioned in the Sarabhanga Jataka of the Cattalisa Nipata), he stood in the midst of the four kinds of audience with a majestic bearing like a serpent prince emerging from the earth or Sakka the King of Devas at a military parade. He was clad in martial attire studded with rubies, wearing on his head a diadem adorned with nine kinds of multi-faceted precious gems and girdled around his waist was a sash massively finished with seven kinds of gems. He was holding a crescent-shaped bow, made of an animal horn, with coral-coloured strings and slung over his shoulder was a quiver of emerald colour.
The four aforesaid master archers were made to take up their positions at the four corners as those of a rectangular tank with their personal attendants carrying a supply of thirty thousand arrows each. He himself, however, held an arrow with a vajira diamond tip and called upon the four master archers to shoot at him simultaneously.
(1) The master archers pleaded, "Son of our Lord, we are the most accomplished archers who can shoot and hit the target many times in a flash of lightning (Akkhanavedhi); who can split into two halves a target as small as the tail hair or feather of an animal as if it were a target such as a brinjal (Valavedhi); who can shoot an arrow to hit another arrow which was shot ahead of it (Saravedhi); and who can shoot to hit the target without seeing with the eyes but by listening to the sound (Saddavedhi). Your Highness is young and tender in age; we cannot have the heart to shoot at you."
Replying, "Fear not! If you can shoot to hit, keep on shooting me," he stood erect, fearless like a golden lion in the centre of the open court. Thereupon, the master archers started shooting simultaneously thousands of arrows in a flash of lightning with all their might. The Bodhisatta Prince stopped all the incoming arrows, repulsing them by striking them only with a single arrow tipped with a vajira diamond and manipulating them not to fall in disarray but making the arrow heads, tails, leaves and stems group together in a regular pattern to form a large chamber of arrows (saragabbha). In this manner, the four master archers had exhausted the thirty thousand arrows allotted to each of them. When the Bodhisatta Prince knew full well that all the arrows had been used up, he jumped out of the chamber of arrows without disturbing it.
At this demonstration of archery skill of stopping and warding off the incoming arrows (sarapatibahana), the spectators consisting of princes and princelings, Brahmins and rich people, etc., who filled the whole of the surrounding expanse, made joyous exclamations of praise and wonder, by the beating of breasts; and their tumultous applause reverberated in the sky almost causing the earth to tremble.
(This is in fact the kind of archery skill whereby all the incoming arrows from the enemies are stopped and struck down by one defending arrow, sarapatibahana.)
(2) Thereupon, King Suddhodana asked his son: "Dear son, what do you call the archery skill that you have just demonstrated?" "Respected father, what I have demonstrated is the art of defending the incoming arrows of the enemy with one's own arrow, sarapatib7ihana. " King
Suddhodana asked again: "Dear son, is there anyone other than you who had mastered this skill?" In reply, the Bodhisatta Prince said:
"Respected father, there is no one who has skill in this art in the whole Jambudipa island besides myself" King Suddhodana then said: "Dear son, proceed to demonstrate to us other kinds of archery skill," Upon this the Bodhisatta Prince said, "These four master archers standing at the four corners were unable to shoot and hit my single self. Now I shall shoot with a single arrow and hit all the four master archers." Hearing these words of the Prince, the four master archers could not control themselves, shuddering with great fright.
Then the Bodhisatta Prince had four banana plants to be planted in the four corners where the four master archers were previously positioned; tying a piece of red silk thread to the tail of the arrow tipped with a vajira diamond, he aimed at one banana trunk and released the arrow. The arrow bore through the first banana trunk but without stopping there proceeded to the second banana trunk which it pierced; again continuing to pierce through the third and the fourth banana trunks, it finally hit and bore again the banana trunk he had first aimed at and came to rest in the hand of the Bodhisatta Prince. The four banana trunks each pierced through with red silk thread stood interconnected by it. The spectators resoundingly exclaimed and shouted in approbation.
King Suddhodana again asked his son, "Dear son, what is the name of the archery skill you have just demonstrated?" "Respected father, what I have just demonstrated is the archery skill of hitting all the intended targets in the form of a circle with a single arrow which returns (to the archer's hand). It is named cakkavedhi."
(This is in fact the kind of archery skill whereby a single arrow bores through all intended targets in a circular position and return to the hand of the archer, cakkavedhi.)
Then King Suddhodana said, "Dear son, proceed with the demonstration of other kinds of archery skill." The Prince proceeded to display the following varieties of archery skill one after another:
(3) Saralatthi skill, shooting the arrows continuously to form a stream resembling a long streched vine or creeper.
(4) Sararajju skill, shooting the arrows continuously to resemble a series of strings.
(5) Sarapasada skill, shooting the arrows into a formation resembling a terrace.
(6) Sarasopana skill, shooting the arrows into a formation resembling a stairways with tiered roofs.
(7) Saramandapa skill, shooting the arrows into a formation resembling a pavilion.
(8) Sarapakara skill, shooting the arrows into a formation resembling a circular walling.
(9) Sarapokkharani skill, shooting the arrows into a formation resembling a rectangular lake.
(10) Sarapaduma skill, shooting the arrows in successive tiers into a formation resembling a multi-petalled paduma lotus flower.
(11) Saravedhi skill, shooting the arrows in such a way that the preceeding arrow is hit by the succeeding one.
(12) Saravassa skill, shooting the arrows to cause a shower of arrows resembling the falling of rain.
These are the twelve minor skills in the art of archery.
The demonstration of the four major archery skills
In addition, Prince Siddhattha demonstrated the following four major archery skills to his royal father King Suddhodana and assembled royal guests:
(1) The major skill of Akkhanavedhi, shooting volleys of arrows instantaneously in a flash of lightning at a target without any miss.
(2) The major skill of Valavedhi, shooting to split into two halves a tiny target such as a feather as if it were a brinjal.
(3) The major skill of Saravedhi, shooting to hit every preceding arrow by the subsequent arrows.
(4) The major skill of Saddavedhi, shooting to hit a target not by sight but by listening to the sound.
Demonstration of archery skill in piercing through seven kinds of massive bodies
Besides, the Bodhisatta Prince also demonstrated the assemblage of people presided over by King Suddhodana the skill of shooting to pierce through seven kinds of massive bodies (satta mahakayapadalana).
The seven kinds of massive bodies are enumerated as follows: (1) cammakaya, a great mass of hide; (2) darukaya, a great mass of wood; (3) lohakaya, a great mass of bronze; (4) ayokaya, a great mass of iron; (5) valikakaya, a great mass of sand; (6) udakakaya, a great mass of water; (7) phalakakaya, a great mass of planks.
Of the seven kinds of massive bodies, (1) Other archers who could shoot to penetrate through a mass of hide were able to pierce through only one sheet of buffalo hide at their best. But the Bodhisatta Prince demonstrated by shooting through and through the mass of one hundred sheets of buffalo hide.
(2-7) Whereas other archers could shoot to penetrate through one plank of udumbara (Ficus Glomerata) of the thickness of eight finger breadth, or one plank of panasa (Pentaptera Tomentosa) of thickness of four finger-breadth, the Bodhisatta Prince could shoot to pierce through one hundred such planks. Similarly, whereas other archers could shoot to pierce through only one copper sheet of two finger-breadth thickness or an iron sheet of one finger-breadth thickness, the Bodhisatta Prince could shoot to penetrate many layers of such copper and iron sheets. Although other archers could shoot an arrow from the front through a cart loaded with sand or planks or hay to let it come out from the rear, or from its rear to let it come out from the front, the Bodhisatta Prince could shoot to penetrate through many such carts either from the front or from the back. Whereas other archers could shoot to cover a distance of just four usabhasin water and just eight usabhas on land, the Bodhisatta Prince demonstrated shooting to cover many usabhas (or even yojanas if desired, in water or on land). (Reproduced from the Asadisa Jataka of the Dukanipata). ( usabha: a measure of length=140 cubits.)
(This in fact is the demonstration of archery skill of shooting through seven kinds of massive bodies, Satta Mahakaya padalana.)
The marvellous skill in archery of Bodhisatta Asadisa Prince
The Bodhisatta demonstrated his skill in archery not only in his last human existence as Prince Siddhattha; he had also made the same kind of marvellous display of archery even while he was still in the early stages of Parami-fulfillment in his existence as Prince Asadisa. Here follows a brief account of this episode.
The Bodhisatta, while still fulfilling the Perfections, was born in one of the existences as Prince Asadisa, the eldest son of King Brahmadatta of the City of Varanasi. When he attained the age of sixteen, he proceeded to the University town of Takkasila where under the world-famous teacher, Disapamokkha, he learned the three Vedas together with the eighteen branches of learning to the highest stage of perfection. In particular he had mastered without equal the archery skills. When he returned to Varanasi after completion of his study he refused the kingship offered to him as the elder son in accordance with the dying wishes of his father, King Brahmadatta. The ministers then elected the younger brother, Prince Brahmadatta, to be king. The elder Prince Asadisa continued to live the princely life in a peaceful manner. But the sycophants and opportune seekers serving the king, in order to sow the seeds of discord, maligned Prince Asadisa, saying to the king thus: "Prince Asadisa is planning to seize your throne." Believing these slanderous words, the king ordered the arrest of his elder brother, Prince Asadisa.
On being informed of the said matter by a well-wishing palace attendant, the Bodhisatta felt deeply hurt and left the kingdom of Varanasi to go to another country. There he had words sent to the king that a master archer had arrived at the palace gate, seeking permission to be in the king's service. Summoning the master archer to his presence, the king questioned him as to the remuneration he sought for his services. Agreeing to be employed on a salary of one hundred thousand pieces of silver per annum, Prince Asadisa remained henceforth in the service of the king as an archer. The incumbent archers were jealous of the newcomer being thus paid a salary of one thousand a year, and spoke in disparagement of him.
One day, while in the royal garden near the auspicious stone slab, the king saw a bunch of mangoes high up on the top of a big mango tree. Considering "It is impossible to climb up and pluck the mango bunch," the king summoned the old archers and asked them, "Can you shoot down that bunch of mangoes with an arrow?" They submitted unanimously, "Your Majesty, there is no trouble for us to shoot it down; but Your Majesty has seen our performance many a time. Let the new archer, who is earning much more than we do, bring it down."
The king then sent for the Bodhisatta Prince Asadisa and asked him, "My son, can you shoot down that bunch of mango with an arrow?" The Bodhisatta Prince replied, "Your Majesty, if I have the permission to use the place where you are reclining, the job can be done." (He made this request as the stalk of the mango bunch was directly above the place where the king had been reclining.) The king moved out from his reclining position and permitted the Bodhisatta prince to shoot from there.
Unlike other archers, the Bodhisatta did not go about carrying his bow in his hand ostentatiously. He moved about with his bow folded and wrapped up in cloth. The Bodhisatta had an enclosure formed of screens and curtains. Then entering the enclosure to take off the white outer garment, he changed into red attire. He also then girded up his loins and had a red sash wrapped tightly round his chest, after which he took out the sword from inside the bag and hung it on the left shoulder; he then put on a cloak of the colour of gold and with the quiver slung on the back, held the large bow made of a ram's horn, each sector of which was fastened properly at the joints and set the bow strings of 'coral red colour. And, with a frontlet of precious gems adorning his head, and rotating the sharp arrow with his finger nails, he parted the curtain and came out like a Naga youth emerging from the earth. Then going straight to the place for shooting, he asked the king, "Your Majesty, shall I shoot down the bunch of mangoes with the ascending arrow or with a descending one?" The king replied, "My son, I had seen many archers bring down (fruit) with the ascending arrow, but I have not seen archers shoot them down with the descending one. I want you to shoot and cut the stem with the descending arrow". The Bodhisatta Prince replied, "Your Majesty, this first arrow I am shooting will go up as far as Catumaharajika abode of Devas; I beseech you to be patient and wait for the arrow's descent from the said Deva abode." "So be it," said the king.
The Bodhisatta further explained thus: "Your Majesty, this first arrow I am shooting on its way up will cleave half the stalk of the mango bunch and when it descends from the sky, it will cut the remaining half precisely without missing it even by a hair's breadth, and bring down the bunch. Behold now, Your Majesty". Uttering these bold words, the Bodhisatta shot the arrow accelerating its speed.
The said arrow went up after cleaving half the mango stalk (as the Bodhisatta had said). The Bodhisatta, judging, "the arrow may have reached the Catumaharajika Deva abode by now", shot out a second arrow with greater force and speed than the first one. The second arrow went up and struck the tail-feather of the first arrow to make it turn and fall downwards; and then it went up and up till it reached the Tivatimsa abode of Devas where it was caught by the Tivatimsa Devas.
The sound produced by the descending arrow cutting through strong winds in the atmosphere roared loudly like that of thunder as if to make the earth tremble. When people asked, "What is that sound?" the Bodhisatta replied, "It is the sound of the first arrow descending." He calmed the fears of the people who were feeling anxious lest the arrow might fall on them, saying, "Do not be afraid; the arrow will not be allowed to fall on the ground, I will catch it without causing harm to anyone."
The said arrow on coming down cut the remaining half of the stalk of the mango bunch without veering even a hair's breadth from it in the full view of the spectators and fell downwards carrying the bunch of mangoes with it. The Bodhisatta Prince Asadisa clutched in midair the falling arrow with one hand and the mango bunch with the other, not allowing them to fall to the ground.
The king and spectators marvelled at the astonishing and magnificent display and exclaimed, "We had never before witnessed such a wonderful demonstration." They applauded and praised the Bodhisatta Prince by clapping their arms with open hands, snapping their fingers and throwing up into the air their turbans and headgears by more than thousands. The king's audience, being pleased and delighted, lavished on him presents and rewards worth a crore of money; the king showered on the archer much bounty and a large retinue which may be likened to a heavy downpour of rain.
(This is a description of the wonderful skill in archery of the Bodhisatta, Prince Asadisa).
In this manner, the Bodhisatta had demonstrated the extraordinary wonderful skill in archery also at the time when he was born as Prince Asadisa. In this last existence as Prince Siddhattha also he demonstrated to the same assembly not only the aforesaid skill in archery, namely, the twelve minor kinds, the four major kinds, the seven kinds of shooting to pierce through massive bodies, but all skills, dexterity and accomplishments which a prince should learn and master. Only then the doubts and suspicions of the eighty thousand royal relatives, "Does he ever have manly accomplishments?" were cleared away.
THE ACCESSION TO THE THRONE
The assumption of kingship attended upon by forty thousand Sakyan princesses
In this manner, the Bodhisatta Prince Siddhattha displayed the skill in archery to dispel all distrust, disdain, slander and reproach heaped upon him by the royal relatives—a feat of skill which was beyond equal, so marvellous and rare to witness. Thereupon, all the royal relatives, being cleared of the doubts and misgivings they had entertained earlier, joyously proclaimed, "Never before in the royal annals of the Sakyan dynasty had anyone witnessed such feats of mastery as we have witnessed now", showering praises on the Bodhisatta. They were so fully delighted with such incomparable prowess and all-round accomplishments of the Bodhisatta Prince, that they willingly sent him their own royal daughters beautifully dressed and adorned for royal betrothal. The princesses of pure birth and matchless beauty sent to the royal court numbered forty thousand.
The beauty of Queen Yasodhara
Among the forty thousand Sakyan Princesses, the crown, the crest, and the foremost was the Chief Consort Yasodhara whose maiden name was Bhaddakaccana.
Yasodhara Devi was, as has been said above, one of the connatals of the Bodhisatta. She was born Out of the union of the Sakyan ruler Suppabuddha, the son of the Bodhisatta's grandfather, King Anjana of Devadaha Kingdom, and Princess Amitta, who was the younger sister of King Suddhodana. The Princess earned the name of Yasodhara for being endowed with pristine fame and great retinue. (Yaso=great retinue and high repute; dhara=bearer, hence Princess who is endowed with great retinue and high repute.)
She was of golden colour, permanently eye-catching and beautiful, like an image cast of solid gold or as if the natural flesh and body was made of gold. With her matchless, proportionate body, and of dazzling radiance, she was comparable in beauty and comportment to the victory flag-post erected in the scenic and delightful celestial Kilamandala Amusement Park of Mara King named Manobhu. Like that of the celestial nymph (Devacchara), her bodily radiance could illuminate the whole of her private chamber which was otherwise shrouded in total darkness. She was also endowed with five feminine charms of a virtuous woman, namely, (1) the beauty of skin (chavi kalyana); (2) the beauty of flesh and muscles (mamsa kalyana); (3) the beauty of veins (nharu kalyana), (4) the beauty of bone structure, (atthi kalyana); or the beauty of teeth formation, (danta kalyana); (5) the beauty of hair, (kesa kalyana); or, in other words, the beauty of bones, of skin, of hair, of flesh and of youth.
She also possessed pleasurable touch (sukhasamphassa) like the feel of cotton ginned a hundred times. She was free from six blemishes, viz., being too dark or too white; being too fat or too thin; being too short or too tall; the sweet fragrance of choice sandalwood emanating from her faultless graceful body always pervaded the air; her coral coloured mouth was also ever fragrant with the scent of the blue lotus. Baddakaccana, Yasodhara Devi; was the noble 'treasure of the woman' worthy to be the consort of a Universal Monarch ruling over the four Continents.
The above description of the Princess Yasodhara gives only a few distinguishing features for easy portrayal. In fact, this Yasodhara Devi was unique among human beings and excelling female deities; she was actually enjoying the fruits accruing finally and simultaneously from all the Perfections she had fulfilled, the deeds of merit she had performed in the previous innumerable existences. Subsequently, she became a woman of excellence and great worth, endowed with the most admirable peerless beauty amongst women of virtue and nobility.
Inauguration Ceremony
The eighty thousand royal relatives headed by King Suddhodana, father of the Bodhisatta, assembled at a grand and magnificent convention and celebrated the coronation of the Bodhisatta Prince Siddhattha which included the raising of the royal white umbrella over his head, the sprinkling of cool water (abhiseka) and the formal ascension to the golden throne.
From among the forty thousand princesses presented by the Sakyan relatives, ten thousand princesses were assigned to Yasodhara Devi to form her personal suite. The remaining thirty thousand princesses were assigned to be resident attendants in the three palaces, ten thousand in each of them.
The Bodhisatta Prince Siddhattha, surrounded by young maidens of noble Sakyan origin, was like a youthful Deva being attended upon by Deva Princesses or like Sakka the King of Devas; and he was entertained with very pleasant music played by all-female troupes. He lived amidst great and magnificent luxury of royalty, comparable to that of a Universal Monarch. He took up residence in the three magnificent and elegant palaces of Ramma, Subha, and Suramma in turn according to the three seasons, leading a life of happiness and comfort.
Visiting the Royal Garden
In this matter, the Bodhisatta Prince Siddhattha became the reigning king of Kapilavatthu at the age of sixteen; when he attained the age of twenty-nine, after having enjoyed the comfort and luxury of Universal Monarch, attended upon by a retinue of forty thousand Princesses headed by the Chief Queen Yasodhara, he became desirous one day of visiting the Royal Garden. And so, he sent for the charioteer and ordered him: "Charioteer, have the chariot ready! I will go out to visit the Royal Garden." "Very well, replied the charioteer and had the royal chariot, excellent and fit only for noble personages, adorned with Ornaments and to it were harnessed four thoroughbreds pure white like the full moon or kumuda lotus flower, and fast as the wind or Garuda, king of birds. When informed by the charioteer that the chariot was ready, the Bodhisatta Prince rode in the chariot which was gorgeous like a celestial mansion and headed for the royal garden in a grand procession.
(1) Seeing the omen of an old man
When thus the Bodhisatta Prince had covered some distance on his way to the royal garden, the Devas conferred; "The time for Prince Siddhattha to become a Buddha is drawing near. Let us show him omens which will cause him to renounce the world and become a recluse." They asked a Deva to assume the appearance of an aged man, having gray hair, no teeth, stooping back, and trembling with a walking stick in his hand. This omen of an old man created by the Deva could be seen by no one but the Bodhisatta and the charioteer.
On seeing the old man, the Bodhisatta Prince asked the charioteer, "O charioteer, the hair of that man is not like that of others; his hair is totally white. His body is also not like that of others: the teeth are gone; there is little flesh (on his body); with a stooping back, he is trembling all over. By what name is he known?" The charioteer replied: Your Majesty, he is called an old man.
The Bodhisatta Prince, who had never even heard before the word old man, much less seeing one, again asked the charioteer, "O charioteer, never before have I seen any one of such nature, whose hair is white, who has no teeth, who is emaciated and trembling with a stooping back. What is meant by an old man?" The charioteer replied, "Your Majesty, one who cannot live longer is known as an old man (an old man is one who has a short time left to live for)"
The Bodhisatta then asked: "O charioteer, how is that? Am I also subject to old age? Am I also one who cannot overcome the nature of ageing?" When the charioteer replied, "Your Majesty, all of us including Your Majesty as well as I are prone to old age; there is no one who can overcome the nature of ageing, the Bodhisatta Prince said, "O charioteer, if all human beings, each and every one of them, cannot overcome the nature of old age, I, being prone to old age, desire no more to go to the royal garden and enjoy the pleasures therein. Turn back even from this place where the old man is seen and drive back to the palace. "Very, well, Your Majesty," replied the charioteer who, instead of proceeding to the royal garden, turned the chariot round at the very place where the old man was seen and drove it back to the golden palace.
The Bodhisatta's samvega
It is the nature of lions, when shot with an arrow, not to seek primarily to remove the arrow which is the effect, but to seek the hostile hunter who has shot the arrow and who is the prime cause of the coming of the arrow. Of the two phenomena, of cause and effect, Buddhas also do not seek to eliminate the effect which is like the arrow, but they seek and find out through intelligence the cause which is like the enemy hunter who shoots the arrow. Therefore, the Buddhas are like the lions. The charioteer had merely explained worldly nature of decay and old age (jara) as far as he understood but the Bodhisatta Prince as befitting one who desires to become a Buddha knew distinctly on reflection that birth (jati) was the prime cause of the process of ageing (jara). After coming back to the golden palace, the Bodhisatta Prince reflected with penetrative samvega, "Oh, birth is detestable indeed. To whomever birth is evident, to him ageing is also evident." Having reflected thus, he became cheerless and morose; he remained gloomy and dejected.
King Suddhodana increased the strength of the guards
King Suddhodana sent for the charioteer and asked him: "O charioteer, why did my son return in a hurry without proceeding to the garden?" The charioteer replied: "Your Majesty, your son has seen an old man so he came back in haste." King Suddhodana mused: "My son should become a ruler over this country. He must not renounce the world and become a recluse. The prediction of the court Brahmins that he would renounce the world and become a recluse must be proved wrong. O courtiers, why did you spoil my plans? Arrange quickly more palace attendants than before; then with more female attendants and dancing girls surrounding him, my son, while enjoying the five sensual pleasures, will no longer think of becoming a recluse." So saying, he ordered to increase the number of guards in the surrounding places at every half yojana distance (two gavutas) in all the four directions.
(When the Bodhisatta Prince came out to the royal garden for enjoyment, he was accompanied by a contingent of troops half a yojana in extent; as the chariot reached a place where it forged ahead, leaving the forces behind in the procession, the great Arahat Brahmas of the Suddhavasa abode, by dint of supernatural power, created the form of an old man in front of the chariot, to be visible only to the prince and the charioteer. The Arahat Brahmas of the Suddhavasa abode, considering, "The Bodhisatta prince is now being mired in the slough of five sensual pleasures like the bull elephant getting swamped in a quagmire. We should let him regain the sense of mindfulness" showed him the form of an old man. The other omens which would appear later should also be understood in the same manner. This account is from the Commentary on the Mahapadana Sutta.)
(2) Seeing the omen of a sick man
Deceived and distracted by the five pleasures of the senses increasingly provided and arranged by his father King Suddhodana to deter him from renouncing the world and becoming a recluse, Prince Siddhattha spent his time enjoying the pleasures and luxuries of the palace life; his sense of religious urgency, generated by the detestation of the nature of birth and old age, became slightly diminished.
When four months had passed after living such a life of luxury, the Bodhisatta Prince again rode out to the royal garden in the chariot drawn by the thoroughbreds as before. On the way, the Prince saw the form of a sick man created a second time by Devas; the man was in great pain being oppressed by disease, and could sit up or lie down only when helped by others; he was helplessly lying in bed covered with his own filth.
Thereupon, the Prince asked the charioteer: "O charioteer, the eyes of that man are not like the eyes of others, they are weak and unsteady. His voice is also unlike that of others; he keeps on crying with an unbearable shrill. His body is also not like the bodies of others. It appears much worn out and exhausted. By what name is he known?" The charioteer replied, "Your Majesty, he is known by the name of 'sick man'."
The Bodhisatta, who had never before seen a sick man or even heard of the word sick man" asked the charioteer again, "O charioteer, I have never come cross such a person, who sits up and lies down only with the help of others, who sleeps mired in his own filth and keeps on shrieking unbearably. What is meant by a sick man?" Explain the nature of this sick man to me." The charioteer replied: "Your Majesty, a sick man is one who knows not whether he will or will not recover from the illness afflicting him now."
The Bodhisatta then asked: "O charioteer, how is that? Am I also prone to illness? Am I also one who cannot overcome the nature of ailment?" When the charioteer replied, "Your Majesty, all of us including Your Majesty as well as I are subject to illness; there is no one who can overcome the nature of ailment." the Bodhisatta Prince said, "O charioteer, if all human beings, each and every one of them, cannot overcome the nature of ailment, I, being prone to illness, desire no more to go to the royal garden and enjoy the pleasures therein. Turn back even from this place where the sick man is seen and drive back to the palace." "Very well, Your Majesty", replied the charioteer who, instead of proceeding to the royal garden, turned the chariot round at the very place where the sick man was seen and drove it back to the golden palace.
The Bodhisatta's samvega
As has been said above, although the charioteer merely explained the painful, unbearable, oppressive worldly nature of illness (vyadhi), as far as he understood, the Bodhisatta, like the lion king and befitting one who desires to become a Buddha, knew distinctly on reflection that birth was the prime cause of illness, and of the above-mentioned old age. Back at the golden palace, the Bodhisatta Prince reflected with penetrative samvega: "Oh, birth is detestable indeed! To whomever birth has become evident, to him ageing is bound to become evident; illness is bound to become evident." Having reflected thus, he became cheerless and morose; he remained gloomy and dejected.
King Suddhodana increased the strength of the guards
King Suddhodana sent for the charioteer and questioned him as before. When the charioteer replied, "Your Majesty, your son came back in a hurry because he has seen a sick man", King Suddhodana thought to himself as before and said in the aforesaid manner, and ordered further increase of guards to be placed every three gavutas in the four directions; he also arranged to appoint more palace attendants and dancing girls.
(3) Seeing the omen of a dead man
Deceived and distracted by the five pleasures of the senses increasingly provided and arranged by his father King Suddhodana to deter him from renouncing the world and becoming a recluse, Prince Siddhattha spent his time enjoying the pleasures and luxuries of the palace life, and his sense of religious urgency generated by the detestation of the nature of birth, old age and illness became slightly diminished.
When four month had passed after living such a life of luxury, the Bodhisatta Prince again rode out to the royal garden in the chariot drawn by the thoroughbreds as before. On the way, he saw the omen created and shown by the Devas for the third time, namely, a crowd of people and a stretcher (bier) decorated with multi-coloured cloth. Thereupon, he asked the charioteer: " Charioteer, why are all these people gathering around? Why are they preparing a stretcher decorated with multi-coloured cloth?" The Charioteer replied: "Your Majesty, the people are gathering around and preparing the stretcher because someone has died."
(He had never seen a bier before; he had seen only a stretcher. He asked, therefore: "Why are all these people gathering around and preparing a stretcher?")
The Bodhisatta who had never seen a dead person before or even heard of the dead, commanded the charioteer: "O charioteer, if they are assembled and engaged in making a stretcher, drive me to where the dead man lies." The charioteer said. "Very well, Your Majesty", and drove the chariot to where the dead man was lying. When the Bodhisatta saw the dead man, he asked: "O charioteer, of what nature is this dead man?" The charioteer replied: "Your Majesty, when a man dies, his relative will never see him again; nor will see his relatives any longer."
Thereupon, the Bodhisatta Prince asked further: "O Charioteer, how is that? Am I also subject to death like that man? Am I also one who cannot overcome the nature of death? Will my father, mother and relatives not see me again one day? Will I also not see them again one day?" The charioteer replied: "Your Majesty, all of us including Your Majesty as well as I are subject to death. There is no one who can overcome death. It is certain that one day your royal father, mother and relatives will not see you any more and it is equally certain that one day you will no longer see them."
(The royal mother in this context refers to Mahapajapati Gotami, the aunt and step-mother.)
Thereupon, the Bodhisatta Prince said, "O charioteer, if all human beings, each and every one of them, cannot overcome the nature of dying, I, being subject to death, desire no more to go to the royal garden and enjoy the pleasures therein. Turn back even from this place where the dead man is seen and drive back to the royal palace." "Very well Your Majesty", replied the charioteer who, instead of proceeding to the royal garden, turned the chariot round at the very place where the dead man was seen and drove it back to the golden palace.
The Bodhisatta's samvega
As has been said above, although the charioteer merely explained the worldly nature of death (marana) as far as he understood that when a man died, the relatives who were left behind would never see him again; nor would the man who passed away see again the relatives he had left behind, the Bodhisatta Prince, like the lion king and befitting one who desires to become a Buddha, knew distinctly on reflection that birth was the prime cause of the three phenomena: death, old age, and illness, which he had seen previously. After his return to the golden palace, the Bodhisatta Prince reflected with penetrative samvega, "Oh, birth is detestable indeed! To whomever birth has become evident, to him old age is bound to become evident, illness is bound to become evident, death is bound to become evident." Having reflected thus, he became cheerless and morose; he remained gloomy and dejected.
King Suddhodana increased the strength of the guards
King Suddhodana sent for the charioteer and questioned him as before. When the charioteer replied, "Your Majesty, the royal son came back in a hurry because he has seen somebody dead", King Suddhodana thought to himself as before and said in the same manner and ordered further strengthening of guards to be placed at every yojana in the four directions; he also arranged to appoint more palace attendants and dancing girls.
(4) Seeing the omen of a recluse
Deceived and distracted by the five pleasures of the senses increasingly provided and arranged by his father King Suddhodana to deter him from renouncing the world and becoming a recluse, Prince Siddhattha spent his time enjoying the pleasures and luxuries of the palace and the sense of religious urgency generated by the detestation of the nature of birth, old age, illness and death became slightly diminished.
When four months had passed after living such a life of luxury, the Bodhisatta Prince again rode out to the royal garden in the chariot drawn by the thoroughbreds as before. On the way, he saw the omen created by the Devas for the fourth time, a man who had embraced the life of a recluse with a clean shaven head and beard wearing a bark dyed robe. "O charioteer," said the Prince, "This man's head is not like the heads of others; he is with a clean shaven head and also has his beard removed. His clothes are also not like those of others and are bark-dyed. By what name is he known? "The charioteer replied: "Your Majesty, he is known as a recluse."
The Bodhisatta asked the charioteer again, "O charioteer, what is meant by a "recluse"? Explain the nature of a recluse to me." The charioteer replied: "Your Majesty, a recluse is a person who, bearing in mind that it is good to practise the ten courses of wholesome actions (kusalakammapathas), beginning with generosity (dana, has gone forth from worldly life and put on the bark-dyed clothes; he is a man who, bearing in mind that it is good to practise the ten courses of wholesome actions which are in accord with righteousness, which are free from blemish, which are clean and pure, has gone forth from the worldly life and put on the bark-dyed clothes; he is one who, bearing in mind that it is good to refrain from ill-treating sentient beings, to work for the promotion of their welfare, has gone forth from the worldly life and put on the bark-dyed clothes."
(Here, although the charioteer had no knowledge of a recluse or his virtues since it was a time prior to the appearance of a Buddha and his Teachings, he said through supernatural powers of the Devas, that the man was a recluse, and explained the virtues of a recluse. This account is taken from the Buddhavamsa (Commentary and JinaIankara Sub-commentary.)
(Those Bodhisattas with a much longer life-span saw the four great omens one after another with the lapse of a hundred years between one and the next occasion. in the case of our Bodhisatta, however, appearing during a far shorter span of life, intervening period between any two events was four months. According to the Digha Nikaya reciters, however, the Bodhisatta saw all the four great omens in one day. Buddhavamsa Commentary.)
Thereupon, the Bodhisatta said to the charioteer "This man is truly admirable and noble for having gone forth from the world, bearing in mind that it is good to practise the ten courses of wholesome actions, which are in accord with righteousness, which are free from blemish, and which are clean and pure. That man is admirable and noble for having gone forth from the world bearing in mind that it is good to refrain from ill-treating sentient beings and to work for the promotion of their welfare. Just because he is admirable and noble, charioteer, drive the chariot to the place where that recluse is." Saying, "Very well, Your Majesty", the charioteer drove the chariot to where the recluse was. On reaching there, the Bodhisatta asked the recluse, a creation of the Devas: "0 man, what is that you are doing? Your head is not like the heads of others; your clothes are also not like those of others". When replied by the recluse, a creation of the Devas through their supernormal powers, "Your Majesty, I am known as a recluse ", the Bodhisatta asked him further: "What do you mean by a recluse?" The recluse, actually a supernormal form created by the Devas (iddhirupa,), replied: "Your Majesty, I am one who has gone forth from the household life, having shaved off the hair and beard and wearing the bark-dyed clothes, and bearing in mind that it is good to practise the ten courses of wholesome actions, beginning with generosity, which are also known by four special epithets Dhamma for being righteous, Sama for being in accord with righteousness, Kusala for being blemish- free and Pannafor being pure and clean both as cause and effect; and also bearing in mind that it is good to refrain from ill-treating sentient beings and to work for the promotion of their welfare." Thereupon, the Bodhisatta Prince said in acknowledgment and approval, "You are indeed admirable and noble. You have gone forth from the household life, having shaved off the hair and beard, and wearing the bark-dyed clothes, and bearing in mind that it is good to practise the ten courses of wholesome actions, which have the special epithets of Dhamma, Sama, Kusala and Panna; and also bearing in mind that it is good to refrain from ill-treating sentient beings and to work for the promotion of their welfare."
The Date of the Bodhisatta's Renunciation
Before he renounced the world by going forth from the household life, the Bodhisatta made four visits to the royal gardens. On his visit to the royal garden riding on the chariot drawn by thoroughbreds on the full moon of Asalha (June-July) in the year 96, Maha Era, he saw on the way the first omen, that of an old man. On seeing this omen he discarded the pride arising from exuberance of youthfulness (yobbana mana,).
Then, when the Bodhisatta Prince proceeded again to the royal garden as before on the full moon of Kattika (October-November), he saw on the way the second omen, that of a sick man. On seeing this second omen he discarded the pride arising from the exuberance of sound health (arogya mana).
On proceeding again to the royal garden as before on the full moon of Phagguna (February-March), he saw on the way the third omen, that of a dead man. On seeing the third omen, the Bodhisatta discarded the pride arising from the exuberance of being alive (jivita mana).
Then again, on the full moon of Asalha, in the year 97, Maha Era, the Bodhisatta went out to the royal garden as before. He saw on the way the omen of the recluse. The sight of this omen awakened in him a liking for the life of a recluse; and, making the resolution, "I shall become a recluse this very day," he proceeded on his journey to reach the garden the same day.
(The Dhammasangani of the Abhidhamma Pataka gives an exposition on samvega in the Nikkhepa Kanda as follows: The fear of jati or the knowledge that jati is a big fearsome danger is called jatibhaya; the fear of jara or the knowledge that jara is a big fearsome danger is called jarabhaya; the fear of vyadhi or the knowledge that vyadhi is a big fearsome danger is called byadhibhaya; and the fear of marana or the knowledge that marana is a big fearsome danger is called. maranabhaya. The group of these four kinds of knowledge is known as samvega.)
(Of the four kinds of great omens already described, the first three are known as samvega nimitta, omens which give rise to sense of religious urgency. Because, if birth takes place, there is unavoidable certainty of manifestation of ageing, illness and death. Because of the arising of birth, there is bound to be the arising of ageing, illness and death. There is no escape from ageing, illness and death for one who has been born. To one who looks upon these phenomenal dangers as fearsome, harsh and dreadful, they form the cause for the arising of terrible fright and alarm in them.)
(The last omen, that of a recluse, is the manifestation to encourage the practice of the Dhamma, as a way of escape from the said dangers of ageing, illness and death. Hence it is called padhana nimitta, omen which gives rise to sense of meditational exertion.)
Sakka despatched Visukamma Deva to help the Bodhisatta Prince dress up
The Bodhisatta Prince spent the whole day in the royal garden, playing and enjoying its delight; after taking a bath as the sun began to set, he remained sitting elegantly on the auspicious stone slab. At that moment he felt inclined to get himself dressed up. Sakka, becoming aware of the wish of the Bodhisatta, dispatched Visukamma Deva who taking the guise of a barber in the service of the Bodhisatta came to him and dressed him up with celestial attire and adornments. (Herein the glory of the Bodhisatta dressed in celestial attire should be visualized in anticipation.)
Just while the musicians were entertaining, with five kinds of musical instruments and others with singing and dancing, and even while the Brahmins were extolling him in sweet words of praise, "May Your Majesty, be crowned with success, free from all forms of danger and hostility; may you be blessed with glory and happiness", the Bodhisatta Prince, thus dressed up in five celestial adornments ascended the royal chariot, decorated with precious ornaments to return to the royal palace.
The Birth of Son Rahula
At that moment, King Suddhodana, the royal father received the information that the Bodhisatta's Chief Queen Yasodhara had given birth to a son. So he sent royal messengers to the Bodhisatta Prince with the glad tidings: "Go convey this good news to my son." When the Bodhisatta Prince Siddhattha heard the news that a son had been born, he remarked, as befitting one who kept in mind the sense of religious urgency (samvega): "The Asura Rahu who will seize and keep me captive has been born; a great bondage has come into existence!" (Rahu' is the name of the Asura (Demon of Fallen Deity) who is supposed to be responsible for the eclipse of the moon by taking it in his mouth.)
When asked by King Suddhodana, "What has my son said?" the messengers related to him the remarks made by the Bodhisatta Prince. Thereupon, King Suddhodana announced the name and title of his grandson thus' "From now on, my grandson shall be known by the name of Prince Rahula."
Sakya Princess Kisa Gotami's joyous utterance of peace
The Bodhisatta entered the royal capital of Kapilavatthu riding the chariot accompanied by a large retinue with majestic elegance at its height. As the Bodhisatta was thus entering the royal city by the chariot, the Sakyan Princess by the name of Kiss Gotami, who was possessed of charm and beauty, and who was not lowly birth but of high noble lineage, on seeing the physique (rupakaya) of the Bodhisatta Prince from where she was on the outer terrace of her mansion, and feeling delighted, uttered her feeling of joy as follow:
Nibbuta nuna sa mata.
Nibbuta nuna so pita
Nibbuta nuna sa nari.
Yassa yam idiso pati
Peaceful and happy will be the mind of the fortunate mother who has given birth to such a son possessing the splendour like the rising sun, an extraordinary son of noble birth, top in beauty, superb in grace, foremost in intelligence. Reflecting meticulously on the twin attributes of her son's talent and beauty, her joyful satisfaction, day after day, will result in peace of mind.
Peaceful and happy will be the mind of the fortunate father who has given rise to such a son possessing the splendour like the rising sun, an extraordinary son of noble birth, top in beauty, super in grace, foremost in intelligence. Reflecting meticulously on the twin attributes of his son's talent and beauty his joyful satisfaction, day after day, will result in peace of mind.
Peaceful and happy will be the mind of the fortunate woman who has become the wife of such a husband possessing the splendour like the rising sun, an extraordinary husband with virility, top in beauty, super in grace, foremost in intelligence. Reflecting meticulously on the twin attributes of her husband's talent and beauty, her joyful satisfaction, day after day, will result in peace of mind.
(When oil is poured into a pot and when it is filled to the brim, oil overflows. In the same way, when someone feels intensely joyful and satisfied for some reason or the other, the said feeling of joy and satisfaction (piti & somanassa,) becomes, as it were, full in the stomach and spills out. The outburst of such feeling of joy and satisfaction expressed in the form of verse (gatha,) or in the form of prose (cunniya) is called udana, expression of intense feeling of joy.)
Hearing the joyful utterance by the Sakyan Princess Kisa Gotami, the Bodhisatta Prince reflected "This cousin sister of mine, Sakyan Princess Kisa Gotami, has made the joyful utterance that the sight of such a personality (attabhava) will give delight and serenity to the mother, the father and the wife. Now, what is that which when extinguished will bring true peace of mind?" It then occurred to the Bodhisatta, whose mind was already detached from defilements (kilesa), thus: "There is true peace only when the fire of passion (raga) is extinguished; there is true peace only when the fire of hatred (dosa) is extinguished, there is true peace only when the fire of delusion (moha) is extinguished, there is true peace only when the heat of defilements such as conceit (mana), wrong views (ditthi), etc., subsides. This Princess Kisa Gotami has spoken pleasant words about the element of peace. And, I am one who is going round in search of Nibbana, the Ultimate Reality, which is the true extinction of all suffering. Even as of today, I should renounce the world by going forth and becoming a recluse in the forest to seek Nibbana, the Ultimate Reality. "With this thought of renunciation occurring continuously to him, the Bodhisatta Prince, saying "Let this pearl necklace be the teacher's fee for the Princess Kisa Gotami for reminding me to go in search of the element of extinction, Nibbuti", took off the pearl necklace worth one lakh from his neck and had it sent to Kiss Gotami. The Princess was overjoyed with the thought, "This cousin of mine, Prince Siddhattha, has sent me the present because his mind is inclined towards me.
The Bodhisatta Prince went up the residential palace, which was dignified, elegant, marvellous for delightful living, and reclined on the royal couch. The moment he reclined thus, all the female palace attendants and dancing girls who possessed the celestial beauty of form and complexion and who were adept in the art of singing, dancing and making music gathered round him with five kinds of musical instruments in their hands and started playing them, dancing and singing to let him enjoy the five kinds of sensual pleasure. But being disgusted with and wearied of activities which would kindle the fire of defilements, he found no pleasure in such entertainments of singing, dancing and music and fell asleep in a moment.
Even as the Bodhisatta Prince had fallen asleep instantly, the female palace attendants and dancing girls thought to themselves thus: "We dance, sing and play music for the Bodhisatta Prince; but he has fallen asleep. Why should we now exhaust ourselves?", and they too fell asleep with their musical instruments pressed underneath. The fragrant oil lamps kept alight inside the golden palace continued to illuminate brilliantly.