SAUNDARANANDA 11.52: Bad Signs

rajo gRhNanti vaasaaMsi mlaayanti paramaah srajaH/
gaatrebhyo jaayate svedo ratir bhavati n' aasane//11.52//

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Their clothes gather dust,

Their glorious garlands wither,

Sweat appears on their limbs,

And in their sitting there is no enjoyment.

COMMENT:
Again, this verse might best be read in conjunction with 11.34, whose theme is also ratiH, enjoyment: Therefore if you want enjoyment, let your mind be directed within./ Tranquil and impeccable is enjoyment of the inner self and there is no enjoyment to equal it.//11.34//

Line 4 of today's verse, as I read it, is a real punch-line, in the background to which is Ananda's experience and understanding that sitting ceases to be enjoyable under the burden of some agenda, hidden or otherwise.

Ananda, as I hear him, is not only saying something preachy about the ultimate undesirability of churning endlessly forward on the wheel of samsara. He is also saying something humorous about our unskillful efforts to step off that wheel, i.e., about our groping around in the dark for the backward step of turning light and letting it shine.

Ashvaghosha might be intending to remind us, through Ananda, that the backward step as taught by the Buddha is inherently enjoyable. Surely this is something that, whatever false starting point we started trying to understand "Buddhism" from, we can all ultimately agree upon: The Buddha taught his followers to sit, and this sitting was totally different from asceticism. Instead of being painful, it was supposed to be enjoyable.

So if we are failing to enjoy it, because of being after something -- like pleasure for example; or recognition; or buddahood; or security, a feeling of being all right, a sense of being on the right path -- it might be wise to go back to first principles and ask: In my sitting, what originally am I after?

A wise answer might be: I am after nothing.

In which case, a wise follow-up question might be: What kind of nothing am I after?


EH Johnston:
Their clothes retain the dust, their magnificent garlands wither, sweat appears on their limbs and they find no delight in their places.

Linda Covill:
Their clothes collect dust, their sublime wreaths wither, sweat appears on their bodies, and they take no joy in their station.

VOCABULARY:
rajaH (acc. sg.): n. impurity , dirt , dust , any small particle of matter
gRhNanti = 3rd pers. pl. graH: to take, grasp, catch ; to pluck , pick , gather
vaasaaMsi = nom. pl. vaasas: n. clothes

mlaayanti = 3rd pers. pl. mlaa / mlai: , to fade , wither , decay , vanish ; to be languid or exhausted or dejected , have a worn appearance
paramaaH (nom. pl. f.): mfn. best, most excellent
srajaH = nom. pl. sraj: f. a wreath of flowers , garland

gaatrebhyaH (abl. pl.): n. n. " instrument of moving " , a limb or member of the body ; the body
jaayate = 3rd pers. sg. jan: to be born or produced , come into existence , to happen
svedaH (nom. sg.): m. sweating , perspiring , sweat

ratiH (nom. sg.): f. rest , repose ; pleasure , enjoyment , delight in , fondness for (loc.)
bhavati = 3rd pers. sg. bhuu: be, become, come into being, happen
na: not
asane (loc. sg.): n. sitting; seat , place , stool

SAUNDARANANDA 11.51: Pain & Pleasure

tiivraM hy utpadyate duHkhaM iha taavan mumuuRshataaM /
kiM punaH patataaM svargaad ev' aante sukha-sevinaaM //11.51//

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For intense already is the pain that arises

In those facing death in this world.

How much worse is it for pleasure-addicts

When they finally fall from heaven?

COMMENT:
The sukha-sevinaam of line 4 means being addicted or devoted to pleasure, which Ananda sees as a fault, as opposed, for example, to the virtue of being devoted to practice or work on the self.

But lest it be misunderstood as a killjoy ascetic view, this verse might be best understood in light of previous verses in which Ananda has spoken of such work on the self as inherently enjoyable, viz: Therefore if you want enjoyment, let your mind be directed within./ Tranquil and impeccable is enjoyment of the inner self and there is no enjoyment to equal it.//11.34// In it, you have no need of musical instruments, or women, or ornaments; / On your own, wherever you are, you can indulge in that enjoyment.//11.35//

Intense emotional pain, it seems to me, is generally associated with pulling my head back and down and thinking what might have been. And so an antidote to such emotional pain might be to direct the head forward and up, in such a way as the back keeps tending to lengthen and widen.

I wonder, then, if it is possible, even at the point of death, to keep looking forward, directing the head forward and -- if one is sitting or standing -- upward.

Dogen in his instructions for sitting-meditation for everyone, seems to point to such a possibility, relying on the power of working on the self.



EH Johnston:
For think how bitter is the suffering in this world of those at the point of death ; how much worse then is the suffering of the devotees of pleasure who fall at the last from Paradise?

Linda Covill:
People at death's door here in this world feel violent sorrow; how much more so the pleasure-addicts when they finally fall from heaven!

VOCABULARY:
tiivram (nom. sg. n.): mfn. strong , severe , violent , intense , hot , pervading , excessive , ardent , sharp , acute , pungent , horrible
hi: for
utpadyate = 3rd pers. sg. ut- √ pad: to arise , rise , originate , be born or produced ; to come forth , become visible , appear
duHkham (nom. sg.): n. suffering, sorrow

iha: ind. in this place , here, in this world, now
taavat: ind. at once , now , just ; indeed, truly; already (opposed to " how much more " or " how much less ")
mumuuRshataam = gen. pl. m. pres. part. desid. mR: to wish or be about to die , face death

kim punar: ind. how much more? how much less?
patataam = gen. pl. m. pres. part. pat: to fall
svargaat (abl. sg.): m. heaven

eva: (emphatic)
ante (loc. sg.): m. end , limit , boundary , term; end of life, death
sukha-sevinaam (gen. pl. m.): addicted to pleasure
sukha: n. pleasure, ease, comfort
sevin: mfn. (only ifc.) going or resorting to , frequenting , inhabiting; addicted to , fond of , enjoying , practising , employing

SAUNDARANANDA 11.50: Oh, Impermanence!

haa caitra-ratha haa vaapi haa mandaakini haa priye /
ity aartaa vilapanto 'pi gaaM patanti divaukasaH //11.50//

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"Oh, the grove of Citra-ratha! Oh, the pond!

Oh, the heavenly Ganges! Oh, my beloved!" --

Thus lament the distressed denizens of heaven

As they fall to earth.

COMMENT:
Buddhists of all schools, as I was reminded by a recent comment on this blog, are liable to discuss impermanence in the abstract. Whereas Ananda's words evoke a more real sense of the reality in which the places and people we love change, or we have to leave them, or else the people we love die, or, worse still, they go off us, or turn against us -- at which time it is very natural to make a primitive noise like "Oh!" or "Haa!" or "Aaaaaaargh!"

Speaking of Buddhist schools, I had an excellent email exchange yesterday with Anandajoti Bhikkhu of Ancient-Buddhist-Texts.net

The point I think we agreed upon is this: if anybody implies that the Theravada teach what the Buddha taught and that Ashvaghosa is not doing the same; or equally if anybody implies that some school of Japanese Zen Buddhism teaches what the Buddha taught and that Ashvaghosa is not doing the same, then we, from our heretical standpoint, find this not to be the case.

Zen Buddhism, as I see it, is just another -ism to be abandoned.

While the Theravada, Anandajoti pointed out, is a school of thought that developed long after the Buddha.

Ashvaghosa on the other hand is really quite close to the original teachings and seems to have been writing from a "what we can all agree on" point of view.

These, to my admittedly imperfect ears, are very excellent words indeed.


EH Johnston:
The inhabitants of heaven fall to earth, even lamenting in their distress, "Alas, grove of Citraratha! Alas, heavenly lake! Alas, Mandakini! Alas, beloved!"

Linda Covill:
The sky-dwellers fall to earth, crying out in regret: 'Oh the groves, oh the lakes, oh the heavenly Ganges, oh my beloved!'

VOCABULARY:
haa: ind. an exclamation expressive of pain , anger , astonishment , satisfaction &c (= ah! alas! oh! ha! often before or after a voc. case)
caitra-ratha (voc. sg.): n. (with or without vana) the grove of kubera cultivated by the gandharva citra-ratha
citra-ratha: mfn. having a bright chariot; m. name of the king of the gandharvas

haa: ind. "oh!"
vaapi (voc. sg.): f. any pond (made by scattering or damming up earth) , a large oblong pond , an oblong reservoir of water , tank , pool , lake

haa: ind. "oh!"
mandaakini (voc. sg.): f. (fr. manda + 2. añc) " going or streaming slowly " , N. of an arm of the Ganges (flowing down through the valley of kedāra-nātha in the himālayas) and of other rivers; (esp.) the heavenly Ganges
manda: mfn. slow
añc: to bend , curve , incline , curl ; to tend , move , go , wander about ;
haa: ind. "oh!"
priye (voc. sg.): f. mistress, wife, beloved

iti: "...," thus
aartaaH (nom. pl. m.): struck by calamity , afflicted , pained , disturbed; oppressed , suffering , sick , unhappy
vilapantaH = nom. pl. pres. part. vi- √ lap: to utter moaning sounds , wail , lament , bewail
api: even

gaam (acc. sg.): f. cow; the earth (as the milk-cow of kings)
patanti = 3rd pers. pl. pat: to fall
divaukasaH = nom. pl.. divaukas: m. " sky-dweller " , a deity

SAUNDARANANDA 11.49: Indra's Luminous Sidekick Falls

saMsadaM shobhayitv" aindriim
upendrash ca tri-vikramaH
kShiiNa-karmaa papaat'
orviiM madhyaad apsarasaaM rasan

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11.49
Again, Indra's luminous sidekick,

He of the three strides, lit up Indra's court,

And yet when his karma waned

He fell to earth from the apsarases' midst, screaming.


COMMENT:
First of all, I have been informed by an authoritative source that in each verse the last syllable of the 1st and 3rd lines is always heavy, and should be marked as such, unless in the seam of a compound where changing it's length may change its meaning.

What this means in practical terms is
1. the analysis of metre that I have been supplying is not always correct
2. it is hard to take the verses pada by pada, because sometimes the words go over the seam.

So a decision has to be made whether to continue presenting the Sanskrit text in four lines, as above, or to start presenting it as it probably should be presented, in two lines, thus:

saMsadaM shobhayitv" aindriim upendrash ca tri-vikramaH /
kShiiNa-karmaa papaat' orviiM madhyaad apsarasaaM rasan //

I think that as soon as possible I should make the transition to Unicode and present the Sanskrit text in two lines instead of four.

Doing translation work like this involves constantly making decisions, usually small ones, one after another. As good decisions arise out of an integrated acceptance and use of the self in samadhi, it helps to sit in lotus allowing the head to go forward and up, et cetera. Equally it helps not to be silly. Thus, on reflection, I have decided against translating Upendra in line 2 as "Indra's little bro' pendra" or as "Indra's younger broth' Upendra."

Upendra (from upa = near to, and indra), meaning Indra's younger brother, is one of the many names of Vishnu. When I was pondering yesterday whether and how to render Upendra into English, it occurred to me to render Upendra as "Indra's little bro' pendra." And something inside me knew that this was a silly translation, which would only attract opprobrium from serious readers and which I would doubtless want to revise and rewrite later on. But still I decided to go with it. Something else inside deems it necessary to not mind attracting opprobrium -- because enemy number one in seeking the truth is trying to be right.

Hence...

11.49
Again, Indra's little bro' pendra,

He of the three strides, lit up Indra's court,

And yet when his karma waned

He fell to earth from the apsarases' midst, screaming.

Now, having slept on it, I have reversed my decision. What I felt yesterday, on balance, to be OK, I now deem to be not OK.

According to Wikipedia, in the Rigveda, Vishnu is mentioned 93 times. He is frequently invoked alongside other deities, especially Indra, who he helps in killing Vritra, and with whom he drinks Soma. (So Vishnu is Indra's boozing partner.) His distinguishing characteristic in the Vedas is his association with light. Two Rigvedic hymns in Mandala 7 are dedicated to Vishnu. In 7.99, Vishnu is addressed as the god who separates heaven and earth. This characteristic he shares with Indra.

Hymn 7.100 refers to the celebrated 'three steps' of Vishnu by which he strode over the universe and in three places planted his step. The 'Vishnu Sukta' (RV 1.154) says that the first and second of Vishnu's strides (those encompassing the earth and air) are visible to men and the third is in the heights of heaven (sky).

Since shobhayitvaa in line 1 means "having lit up" and kShiiNa in line 3, when describing the moon, means "waned" or "grown dim," Ashvagosha seems to be alluding in this verse to the fact that Vishnu (depicted left in the midst of two apsarases) has as his distinguishing characeristic an association with light.

So I decided to bring out this aspect of light, letting go of whatever prosodic possibilities might be presented by the word Upendra, and translating Upendra in a more explanatory and only mildly silly way as "Indra's luminous sidekick."

But allowing for incorrectness, my decision is always subject to revision.

And thus I limp on, with sore left knee, wobbling even more than usual, riding uncertainly in the swing of samsara....


EH Johnston:
Upendra graced the court of Indra and covered the universe with three strides, yet when his store of merit ran out he fell roaring from among the Apsarases to earth.

Linda Covill:
Upendra, who covered the world in three strides, graced the court of Indra. When the credit for his deeds was spent, he fell to earth from among the apsarases, screaming.

VOCABULARY:
saMsadam = acc. sg. saMsad: f. " sitting together " , an assembly meeting , congress , session , court of justice or of a king
shobhayitvaa = abs. causative shubh: to cause to shine, beautify , ornament , decorate
aindriim = acc. sg. f. aindra: mfn. (fr. indra) , belonging to or sacred to indra

upendraH (nom. sg.): m. " younger brother of indra " , N. of viṣṇu or kṛṣṇa (born subsequently to indra , especially as son of aditi , either as āditya or in the dwarf avatāra)
upa: ind. near to; prefixed to proper names upa may express in classical literature " a younger brother " (e.g. upe*ndra , " the younger brother of indra ")
ca: and
tri-vikramaH (nom. sg. m.): mfn. or m. who strided over the 3 worlds in 3 steps (viṣṇu); n. the 3 steps (of viṣṇu)
vikrama: m. a step , stride , pace

kShiiNa-karmaa (nom. sg. m.): when his karma waned
kShiiNa: mfn. diminished , wasted , expended , lost , destroyed , worn away , waning (as the moon)
karman: n. act , action ; work ; product , result , effect ; former act as leading to inevitable results , fate (as the certain consequence of acts in a previous life
papaata = 3rd pers. sg. perfect pat: to fall
urviim (acc. sg.): f. " the wide one " , the wide earth , earth

madhyaat: ind. (abl. sg.) from the midst of
apsarasaam (gen. pl.): f. apsarases, celestial nymphs
rasan = nom. sg. m. pres. part. ras: to roar , yell , cry , sound , reverberate

SAUNDARANANDA 11.48: No Such Thing as a Secure Position

kiM ca raaja'-rShibhis taavad
asurair vaa sur'-aadhibhiH
mah'-endraaH shatashaH petur
maahaatmyam api na sthiraM

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11.48
But why such citing of royal seers,

Or of asuras, suras, and the like?

Mighty Indras have fallen in their hundreds!

Even the most exalted position is not secure.

COMMENT:
There is no such thing as a right position, stated FM Alexander, but there is such a thing as a right direction.

If Alexander's statement is true, what is the point of being ambitious to secure any position, however exalted the position may be?

Moreover, if the Buddha's ultimate teaching is true, what is the point of being ambitious even to go in a particular direction, however right the direction may be?

Perhaps the main point is to prevent oneself travelling too far in the wrong direction, by consciously being not too ambitious.

Whatever happens, I don't want to stiffen my neck and shorten in stature, any more than is unavoidable.


EH Johnston:
But what need to instance the royal seers, the Asuras, Suras and the rest ? Great Indras have fallen hundreds of times; there is no security even in the highest position.

Linda Covill:
But why list examples of royal seers, asuras and gods? Great Indras have fallen in their hundreds -- even the most exalted state is not fixed!

VOCABULARY:
kiM ca: ind. moreover , further ; what more (expressing impatience) raaja'-rShibhiH (inst. pl.): m. royal seers
taavat: ind. so much , so greatly , to such an extent , in such a number ; indeed, really

asuraiH (inst. pl.): m. asuras
vaa: or
sur'-aadhibhiH (inst. pl. m.): the sura-gods and so on

mah'-endraaH (nom. pl.): m. the great indra
shatashaH: ind. by or in hundred , a hundred times
petur = 3rd pers. pl. perfect pat: to fall

maahaatmyam (nom. sg.): n. (fr. mah'-ātman) magnanimity , highmindedness ; exalted state or position , majesty , dignity
api: even
na: not
sthiram (nom. sg. n.): mfn. firm , hard , solid , compact , strong; fixed , immovable , motionless , still , calm ; firm , not wavering or tottering , steady ; unfluctuating , durable , lasting , permanent , changeless ; settled , ascertained , undoubted , sure , certain

SAUNDARANANDA 11.47: Losing Heaven; and Not Leaving It

asuraaH puurva-devaas tu
surair apahRta-shriyaH
shriyaM samanushocantaH
paataalam sharaNaM yayuH

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11.47
Whereas the asuras, who had been gods in heaven

When the suras robbed them of their rank,

Went bemoaning their lost glory

Down to their Patala lair.


COMMENT:
The tu (but, whereas) at the end of line 1, as I read it, is important. I think it confirms that Ashvaghosha is affirming the attitude of excellent kings like Yayati who eventually transcended the samsaric desire for personal gain. The point of the tu is to contrast this transcendent attitude with the endless complaining of moaning minnies who can never let go.

What true transcendence is, I haven't been able to figure out yet. But what it is not, I have been investigating in a lot of detail over a good number of years. And those investigations are continuing, as I skulk here in my Middle England lair, indulging in recurring bouts of angry brooding.

Today's verse as I read it does not exhibit knowledge of ancient Indian mythology as much as it exhibits understanding of the human condition, and a sense of humour.


EH Johnston:
The primeval gods, the Asuras, were robbed of their power by the Suras and took refuge in Patala, bewailing their power.

Linda Covill:
The asuras, former divinities, were robbed of their rank by the gods; they took refuge under the earth, jointly grieving for their lost glory.

VOCABULARY:
asuraaH (nom. pl.): m. an evil spirit , demon , ghost , opponent of the gods
puurva-devaaH (nom. pl. m.): former gods, ancient gods
puurva: mfn. former, ancient
deva: m. god
tu: but

suraiH (inst. pl.): m. (prob. fr. asura as if fr. a-sura) a god , divinity , deity
apahRta-shriyaH (nom. pl. m.): robbed of their glory / high rank
apahRta: mfn. taken away , carried off , stolen , &c
shrii: f. light , lustre , radiance , splendour , glory ; prosperity , welfare , good fortune , success , auspiciousness , wealth , treasure , riches ; high rank , power , might , majesty , royal dignity

shriyam (acc. sg.): f. glory, majesty
samanushocantaH = 3rd pers. pl. pres. part: sam-anu- √ shuc: to mourn over , regret (acc.)

paataalam (acc. sg.): n. one of the 7 regions under the earth and the abode of the nāgas or serpents and demons (sometimes used as a general N. for the lower regions or hells)
sharaNam (acc. sg.): n. shelter , place of shelter or refuge or rest , hut , house , habitation , abode , lair (of an animal) , home , asylum; n. refuge , protection , refuge with (śaraṇaṁ √ gam or yaa or i &c , " to go to any one for protection , seek refuge with " [acc. or gen.] )
yayuH = 3rd pers. pl. perfect yaa: to go

SAUNDARANANDA 11.46: Buying Heaven; and Leaving It

bhuuridyumno yayaatish ca
te c' aanye ca nRpa'-rShabhaaH
karmabhir dyaam abhikriiya
tat-kShayaat punar atyajan

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11.46
Bhuri-dyumna and Yayati

And other excellent kings,

Having bought heaven by their actions,

Left it again, after that karma ran out --


COMMENT:
There are two ways, at least, of reading this verse.

Bhuri-dyumna was apparently known for his piety. His fall from heaven, according to EHJ's notes, is documented in Book 2 of the Ramayana (II. 81, 23-24.). According to this Ramayana translation, however, Book 2, Canto 81 has only 16 verses.

Much more information is available on Yayati, who Asvhaghosha already mentioned, in a somewhat affirmative context, in 1.59:

Those equals of Indra took charge of that city with noble ardour but without arrogance; / And they thus took on the fragrance of honour, forever, like the celebrated sons of Yayati.// [1.59] .

The ambiguity of today's verse, as I read it, derives from the dual nature of Yayati's karma, which was both bad and in the end good, and from the ambiguity of the final word of today's verse atyajan, "they left."

On the negative side of Yayati's karmic balance sheet, he cheated on his wife Devayani. She was the daughter of Sage Shukracharya, the guru of all asuras or anti-gods (who are the complaining protaganists of tomorrow's verse, 11.47). Sage Shukracharya put a curse on Yayati so that, for his sins, he immediately became an old man. Instead of accepting this fate, Yayati created still more bad karma for himself by trying to get one of his five sons to give him their own youth.

On the positive side, Yayati eventually realized the futility of his former shallow actions, let go of his worldly ambitions and took great pains to redeem himself.

Given that Saundara-nanda itself is essentially a tale of redemption, I wonder whether Ashvaghosha is intending to portray Yayati in a somewhat positive light. I wonder, then, if the running out of karma described in line 4 should be understood as the running out of good karma, or the running out of bad karma.

If we understand tat-kShayaat as the running out of good karma, then the departure described by tyaj, "to leave," is no different from the falling back and down, or backsliding, described in several previous verses.

But if, digging deeper, we understand tat-kShayaat as the running out of bad karma, then tyaj is expressing not a fall from grace but, on the contrary, the giving up or letting go of something.

In that case, nRpa'-rShabhaaH, "royal bulls," means not your run-of-the-mill ancient kings, but kings who were excellent among kings.

And true excellence in the Buddha's teaching, invariably, might have to do with tyaj, or leaving something be.

The ultimate truth of sitting, in the end, might be not to do anything but just to leave everything be.

And the ultimate difficulty might be that we are ever liable to turn letting into a doing.

Hence FM Alexander was once overheard telling a pupil during a lesson: "You are doing what you call leaving yourself alone."

My own teacher, Gudo Nishijima, never worried about such niceties. He just merrily got on with out-and-out doing, not worrying whether it was good or bad. And there was a kind of freedom in that approach. A kind of blissful ignorance.


EH Johnston:
Bhuridyumna, Yayati and other royal seers purchased heaven with their actions, but on the exhaustion of their merit left it again.

Linda Covill:
Bhuri-dyumna, Yayati and those other bull-like kings bought heaven with their deeds, but left it again when their merit ran out.


VOCABULARY:
bhuuri-dyumnaH (nom. sg.): m. Bhuri-dyumna; m. " possessing great glory " , N. of a pious prince (son of vīra-dyumna)
bhuuri: mfn. much , many , abundant , frequent , numerous , great , important , strong , mighty ; wealth
dyumna: n. splendour , glory , majesty , power , strength
yayaatih (nom. sg.): m. (prob. fr. √ yat) N. of a celebrated monarch of the lunar race (son of king nahuṣa whom he succeeded ; from his two wives came the two lines of the lunar race , yadu being the son of devayānī , daughter of uśanas or śukra , and puru of śarmiṣṭhā , daughter of vṛṣa-parvan ; yayāti nāhuṣa is also represented as the author of RV)
ca: and

te (nom. pl. m.); those, they
ca: and
anye (nom. pl. m.): others
ca: and
nRpa'-rShabhaaH (nom. pl. m.): best of kings, royal bulls
nR-pa: m. protector of men , prince , king
RShabha: m. a bull, the best or most excellent of any kind or race

karmabhiH = inst. pl. karman: n. acts, actions, deeds ; former act as leading to inevitable results , fate (as the certain consequence of acts in a previous life)
dyaam = acc. sg. div: mf. heaven, the sky
abhikriiya= abs. abhi- √ krii: to buy for a special purpose

tat-kShayaat (abl. sg.): after it ran out
kShaya: m. loss , waste , wane , diminution , destruction , decay , wasting or wearing away (often ifc.) ; fall (as of prices); end, termination
punar: ind. back again
atyajan = 3rd pers. pl. imperfect tyaj: to leave , abandon , quit; to leave a place , go away from