Leaving the City (II)
The prince offers his father a bargain he knows cannot be met — guarantee that he will never age, sicken, lose what he loves, or die, and he will stay — and the king's guards and pleasures tighten around him instead. That very night, waking among his sleeping attendants, the prince sees the same women who had tried to seduce him lying in postures of open ugliness, and reads in it a final, wordless confirmation. He wakes Chandaka, has the white horse saddled, and rides out of Kapilavastu as the city gates swing open on their own — the poem's central turn, staged here as much through recoil from illusion as through argument.
The Four Guarantees
太子恭遜辭, 復啟於父王:
「惟為保四事, 當息出家心。
保子命常存, 無病不衰老,
眾具不損減, 奉命停出家。」
父王告太子: 「汝勿說此言,
如此四事者, 誰能保令無?
汝求此四願, 正為人所笑。
且停出家心, 服習於五欲。」
太子復啟王: 「四願不可保,
應聽子出家, 願不為留難。
子在被燒舍, 如何不聽出?
分析為常理, 孰能不聽求?
脫當自磨滅, 不如以法離,
若不以法離, 死至孰能持?」
父王知子心, 決定不可轉,
但當盡力留, 何須復多言?
更增諸婇女, 上妙五欲樂,
晝夜苦防衛, 要不令出家。
國中諸群臣, 來詣太子所,
廣引諸禮律, 勸令順王命。
太子見父王, 悲感泣流淚,
且還本宮中, 端坐默思惟。
The prince spoke to his father with respectful humility, and said to him once more: "There are only four things I ask you to guarantee me — and on their account alone, I will set aside my wish to go forth.
Guarantee that my life will endure forever, that I will never fall ill or grow old, that everything I possess will never diminish or fail — and I will obey you, and set aside going forth."
The father king said to the prince: "Do not speak such words. These four things you ask — who could possibly guarantee that none of them will ever come to pass?
To ask for these four wishes is only to invite the world's own laughter at you.
Set aside, then, this wish to go forth, and take up instead the practice of the five desires."
The prince spoke to the king once more: "If these four wishes cannot be guaranteed, then you ought to grant your son leave to go forth, and let this wish not be obstructed.
If your own son were trapped inside a burning house, how could you not let him come out?
That all things must, by their very nature, come apart — who could fail, then, to seek release from this?
Rather than simply wait to be destroyed of oneself, it is better to depart from it by the true Dharma; and if one does not depart from it by the true Dharma, then when death itself arrives, who will be able to hold it back?"
The father king, understanding now that his son's heart was resolved beyond any turning, thought only of exerting every effort to keep him — for what use was there in speaking further?
He increased still further the number of palace women and the most exquisite pleasures of the five desires, and set a strict watch over him day and night, determined at all costs not to let him go forth.
The ministers throughout the kingdom came to where the prince sat, citing at length every manner of ritual propriety and law, urging him to submit to the king's command.
The prince, seeing his father so moved to grief that tears streamed from his eyes, withdrew for the time being to his own palace, and sat there in silent, upright reflection.
The Sleeping Women
宮中諸婇女, 親近圍遶侍,
伺候瞻顏色, 矚目不暫瞬。
猶若秋林鹿, 端視彼獵師,
太子正容貌, 猶若真金山。
伎女共瞻察, 聽教候音顏,
敬畏察其心, 猶彼林中鹿。
漸已至日暮,
太子處幽夜, 光明甚輝耀,
如日照須彌。 坐於七寶座,
薰以妙栴檀, 婇女眾圍遶,
奏犍撻婆音, 如毘沙門子,
眾妙天樂聲。 太子心所念,
第一遠離樂, 雖作眾妙音,
亦不在其懷。 時淨居天子,
知太子時至, 決定應出家,
忽然化來下, 厭諸伎女眾,
悉皆令睡眠。 容儀不歛攝,
委縱露醜形, 惛睡互低仰,
樂器亂縱橫。 傍倚或反側,
或復似投深, 纓絡如曳鎖,
衣裳絞縛身。 抱琴而偃地,
猶若受苦人, 黃綠衣流散,
如摧迦尼華。 縱體倚壁眠,
狀若懸角弓, 或手攀窓牖,
如似絞死尸。 頻呻長欠呿,
魘呼涕流涎, 蓬頭露醜形,
見若顛狂人。 華鬘垂覆面,
或以面掩地, 或舉身戰掉,
猶若獨搖鳥。 委身更相枕,
手足互相加, 或顰蹙皺眉,
或合眼開口, 種種身散亂,
狼籍猶橫屍。
時太子端坐, 觀察諸婇女:
「先皆極端嚴, 言笑心諂黠,
妖豔巧姿媚, 而今悉醜穢。
女人性如是, 云何可親近?
沐浴假緣飾, 誑惑男子心。
我今已覺了, 決定出無疑。」
爾時淨居天, 來下為開門。
The palace women drew close around him in attendance, watching for any change in his expression, their gazes fixed on him without so much as a blink.
Like deer in an autumn forest fixing their eyes on the hunter, they stared at the prince's own dignified countenance, as steady and unmoving as a mountain of true gold.
The attendant women watched him closely, listening for his slightest word, waiting on the least change in his voice or expression, their hearts full of reverence and unease — just like those very deer in the forest.
Little by little the day drew down to dusk. The prince, there in the deepening night, shone with a brightness of his own, radiant as the sun lighting up Mount Sumeru. He sat upon a throne of the seven treasures, perfumed with fine sandalwood, surrounded by his palace women, who played for him music like the gandharvas' own — like Vaiśravaṇa's son and every kind of wondrous heavenly sound. Yet what occupied the prince's own heart was the supreme bliss of solitude and detachment alone; however many wondrous strains they played, none of it touched his heart at all. At that moment the Pure Abode gods, knowing that the prince's hour had come and that he was now resolved beyond doubt to go forth, suddenly descended and, wearied themselves of the whole company of attendant women, caused every one of them to fall asleep. Their postures grew slack and unguarded, exposing their bodies in ungainly disarray; drowsy and heavy-headed, they slumped this way and that, while their instruments lay scattered in disorder around them. Some leaned against one another or lay twisted on their sides; some seemed to have collapsed into some pit; their strings of jewels trailed like castoff chains, their garments twisted and binding their limbs. Some lay sprawled with their lutes still clutched to them, like people in the grip of torment; their robes of yellow and green lay strewn about, like the crushed petals of the kiṃśuka flower. Some lay full-length against the walls, their bodies bent like an unstrung bow; some had their hands still caught on the window lattice, as though they hung there like the strangled dead. They groaned and yawned again and again; some cried out as if in nightmare, drooling and weeping, their hair disheveled, their forms laid bare and unlovely, looking for all the world like people driven mad. Some had garlands of flowers fallen across their faces; some lay with their faces pressed to the floor; some had their whole bodies trembling and convulsing, like a lone bird shuddering on its perch. Some lay slumped against one another, using each other as pillows, their limbs tangled together; some frowned and knit their brows; some lay with their eyes shut and their mouths hanging open — every kind of disordered posture, scattered about in disarray, like corpses strewn across a battlefield.
The prince sat upright, surveying all these women, and thought: "Before, every one of them seemed the very image of refinement — their speech and laughter full of flattering cunning, their beauty and charm most artful and alluring — and yet now, every one of them lies here in this hideous disorder. This is the very nature of women — how, then, could anyone hold them dear? Bathed and dressed in borrowed adornment, they exist only to deceive and beguile the hearts of men. I have now seen through it entirely, and my going forth is settled, beyond any further doubt."
At that very moment the Pure Abode gods came down and opened the gate for him.
No commentator's exegesis survives for this poem the way it does for a doctrinal treatise, so this note offers only what the poem's own craft and its place in the wider tradition make visible. The sleeping-women tableau is the poem's single most sustained instance of a device Aśvaghoṣa, himself trained as a Sanskrit court poet before his conversion, uses throughout the Buddhacarita: virūpatā, the deliberate staging of beauty's grotesque underside, used here to do argumentative work no direct statement could. Every earlier chapter has shown these same women through the vocabulary of ornament and allure — jeweled, perfumed, artfully posed. Nothing about their bodies has changed in the interval; only the frame around them has, from waking artifice to unguarded sleep. The technique argues, without a single line of doctrine, exactly the point the prince has been working toward since the first old man on the road: that what desire finds beautiful was never intrinsic to the thing itself, only a construction laid over it by the mind's own wanting, and liable to collapse the instant that wanting relaxes its grip.
The scene also has a documented place in the pan-Buddhist narrative tradition rather than standing as Aśvaghoṣa's own invention: versions of it appear in the Pali Nidānakathā and in other Sanskrit and Chinese Buddha-biographies (including the parallel account later in this same collection's companion text, the Fo Benxing Ji Jing, T0190), which suggests it was already a fixed episode in the biographical material Aśvaghoṣa inherited rather than a scene he composed from nothing. What is distinctive to his own hand is the sheer density of the imagery — the unstrung bow, the strangled corpse, the crushed kiṃśuka petals, the battlefield of scattered bodies — piled up in the kāvya manner across some three dozen lines with barely a pause, so that the passage reads less like narrative description than like an extended figure of speech (a rūpaka, an implied metaphor) in which "sleeping court" and "battlefield of the dead" are made to occupy the same image at once. The night the prince leaves Kapilavastu is staged, in other words, as much through recoil from an illusion suddenly seen through as through any argument he has made in the five chapters leading up to it.
The Departure
太子時徐起, 出諸婇女間,
踟蹰於內閣, 而告車匿言:
「吾今心渴仰, 欲飲甘露泉,
被馬速牽來, 欲至不死鄉。
自知心決定, 堅固誓莊嚴,
婇女本端正, 今悉見醜形。
門戶先關閉, 今已悉自開,
觀此諸瑞相, 第一義之筌。」
車匿內思惟, 應奉太子教,
脫令父王知, 復應深罪責。
諸天加神力, 不覺牽馬來,
平乘駿良馬, 眾寶鏤乘具。
高翠長髦尾, 局背短毛耳,
鹿腹鵝王頸, 額廣圓瓠鼻,
龍咽臗臆方, 具足驎驥相。
太子撫馬頸, 摩身而告言:
「父王常乘汝, 臨敵輒勝怨,
吾今欲相依, 遠涉甘露津。
戰鬪多眾旅, 榮樂多伴遊,
商人求珍寶, 樂從者亦眾。
遭苦良友難, 求法必寡朋,
堪此二友者, 終獲於吉安。
吾今欲出遊, 為度苦眾生,
汝今欲自利, 兼濟諸群萌,
宜當竭其力, 長驅勿疲惓。」
勸已徐跨馬, 理轡倐晨征,
人狀日殿流, 馬如白雲浮。
束身不奮迅, 屏氣不噴鳴,
四神來捧足, 潛密寂無聲。
重門固關鑰, 天神令自開。
敬重無過父, 愛深莫踰子,
內外諸眷屬, 恩愛亦纏綿。
遣情無遺念, 飄然超出城,
清淨蓮花目, 從淤泥中生。
顧瞻父王宮, 而說告離篇,
不度生老死, 永無遊此緣。
一切諸天眾, 虛空龍鬼神,
隨喜稱善哉, 唯此真諦言。
諸天龍神眾, 慶得難得心,
各以自力光, 引導助其明。
人馬心俱銳, 奔逝若流星,
東方猶未曉, 已進三由旬。
The prince then rose slowly, and made his way out from among the sleeping women. Pausing a moment in the inner chamber, he said to Chandaka: "My heart now thirsts, longing to drink from the very spring of ambrosia. Bring the horse quickly and saddle him — I mean to journey now to the land where nothing dies.
I know my own heart is resolved, my vow made firm and complete: these women, once so lovely, I have now seen in their true, hideous form.
The doors and gates, once shut fast, now stand open of themselves — and seeing these auspicious signs, I read in them the very key to the highest truth."
Chandaka thought to himself: he ought to obey the prince's command, and yet, should the king ever learn of it, he himself would surely be held to the gravest blame.
But the gods lent him their own spiritual power, so that, before he quite realized it, he had already brought the horse — a fine, well-paced steed, its harness inlaid with every kind of jewel.
Its mane stood high and glossy, its tail long and fine, its back compact, its ears short-haired, its belly like a deer's, its neck like a royal goose's, its brow broad, its nose round like a gourd, its throat like a dragon's, its haunches and chest square and full — every mark of the finest thoroughbred was complete in him.
The prince stroked the horse's neck, and, running his hand along his body, said to him: "My father has always ridden you into battle, and always overcome his enemies with you beneath him. Now I too wish to rely on you, to journey far to the very ford of ambrosia.
In battle, one has many companions in arms; in the pursuit of glory and pleasure, one has many companions in play; and even the merchant seeking treasure travels with many glad companions besides.
But when suffering comes, a true friend is hard to find, and in the search for the Dharma, one is certain to have few companions at all — yet whoever can be such a friend in both of these, will in the end attain true peace and good fortune.
I wish now to go forth, to deliver suffering beings from their pain; and you too, in seeking your own benefit, will thereby also aid every living creature — so give now your full strength, and press on through the long journey without ever growing weary."
Having spoken these words, he mounted the horse slowly, and, taking up the reins, set out at once in the pre-dawn dark — the men around him glimmering like a flowing stream beneath the sun, the horse himself drifting on like a white cloud.
He held his own body still, without any sudden motion; he held his breath, making no snort or cry; and four spirits came to cradle his hooves, so that he moved in utter secrecy, without the least sound.
The heavy gates, barred and bolted fast, were made by the gods themselves to open of their own accord.
Of all reverence, none surpasses that owed a father; of all love, none exceeds that borne a son; and every bond of affection, within the household and without, clings just as tightly in its own way.
Yet he set every such feeling aside, without a single thought left lingering behind, and passed lightly and swiftly out beyond the city — his eyes clear and pure as the lotus, which rises out of the very mud and mire that gave it birth.
Turning to look back once at his father's palace, he spoke these words of parting: "Until I have crossed beyond birth, old age, and death, I will never again have cause to come back this way."
Every god throughout the heavens, and every nāga and spirit in the open sky, rejoiced together and cried out in praise — for these alone were words of ultimate truth.
The gods and nāgas and spirits, delighted at this rarest of attainments, each lent their own radiance to light and guide his way.
Rider and horse together, their hearts equally keen, sped on like a shooting star; and before the eastern sky had even begun to lighten, they had already traveled three yojanas.
Part 7 Complete
This closes Part 7, and with it Fascicle One and Chapter 5: the impossible bargain of the four guarantees, the sleeping women who confirm what argument alone could not, and the night ride out of Kapilavastu with the gates opening of themselves. Part 8 opens Fascicle Two with Chapter 6, "Chandaka Returns," where the prince sends his charioteer and the white horse back to the city alone, and cuts off his own hair at the edge of a forest hermitage.
Continue to Part 8 — Chandaka Returns →