V. Lalitha Kumari

The article is largely based on E.H. Johnston’s English translation of ‘Saundarananda’ a great kavya.

Ityeshapyupasanthaya na rathaye mokshartha garbhakrthih

Srothrunam rahanarthamanya manasam kavyopacarithakrtha

The ‘Saundarananda’ celebrates the conversion of Nanda to Buddhism. Asvaghosha closes his book stating his intention in writing it i.e., “not to give pleasure but to further the attainment of tranquility” and capturing hearts devoted to other things.

Johnston, the translator begins his preface thus: “An apology is hardly needed for bringing out a critical edition of ‘Saundarananda’. Its artistic merits give it a high place among the kavya epics of sanskrit literature. Detailing the epical features of the book he observes. “He (Asvaghosha) himself is careful as a good Buddhist to disclaim merit for the poetic quality of his work and insist on its religious purpose.”

The statements of both establish the didactic design of the book. Indian rhetoricians name three methods to impart moral instruction. One is to dictate like a king, the second to counsel like a friend and the third to teach by pleasing like a woman.

Yadvedath prabhusammi thadabhigatham sabdapradhanachchiram

Yacchartha pravanath puranavachanadishtam suhrussammi thath

Kanthasammi thaya yaya sarasathamapadya kavyasriya

The kavya form proves to be more alluring and appealing than the other ones. Elaborating on Asvaghosha’s technique of writing Johnston remarks “His greatness lies…in the spiritual fervour which informs his simple yet eloquent style, he is a poetic preacher, addressing himself to the educated lovers of good literature among his countrymen, whether Hindu or Buddhist.”

But Asvaghosha appears to have a larger clientele and wider readership in mind. His treatment of the theme, his narrative technique, his language and his similes stand in support of this opinion.

To wean people from mundane matters, materialistic pursuits and sensual pleasures, Asvaghosha has chosen the kavya form as his tool. He prefers the use of the carrot to that of the stick. It so appears that he has great faith in the efficacy of this policy, for he presents the Buddha following a similar method to rescue Nanda from his infatuation for his beloved. The Sage takes him to Himavet and shows him the beauties of the mountain and, as a further incentive, he carries him to Indra’s Paradise where Nanda beholds the amorous Apsarasas “who ravish the weary minds of ascetics.”

Mahachche rupam swanuhanthi rupam, sabdomahan hanti ca sabdamalpam

Gurveeruja hanthi rujamca mrdhveem, sarvo mahanheturanorvadhaya

‘Great beauty eclipses minute beauty, a great noise drowns a little noise, severe pain destroys a faint pain. Every great cause leads to the destruction of a (similar) smaller one.’

To combat passion with passion is the ploy employed here. On Nanda’s supplication for help the sage explains that practicing strenuous austerities is the only method to obtain the Apsarasas. Thus Nanda is made to forget his wife. Likewise the stylistic beauties of the kavya succeed in leading readers towards religious observances and put them on the path to salvation.

For a subject matter which is serious and sublime, Asvaghosha adopts a style exceedingly simple and eloquent. He does this for the benefit of the three types of learners – the intelligent, the mediocre and the laggard – uttama, madhyama and adhama adhikaries. This is in accordance with the dictum ‘Viswassrayam kavyam’ (A kavya is for the good of all).

The story is handled skillfully. As per epic tradition the narration begins with the lineage of the protagonist, runs smoothly on through his youthful pleasures, the challenges, the struggle and reaches culmination when Nanda attains insight and becomes an Arhat.

The descriptions in the book such as Kapila’s hermitage, the forest, Mount Himavat, Indra’s paradise etc. please the eye and the ear and lure the senses away from cheaper enjoyments.

Asvaghosha makes profuse use of comparisons which add to clarity of expression. The similies are meant for elucidation rather than embellishment. They are culled from familiar situations and common man’s experience. The images that recur are those of the fire, the snake, the doctor and medicine, lotuses in a pond and gold washer etc. The spectrum of his similies is so effulgent and effusive that it is to be seen separately and elaborately.

It is believed that Asvaghosha was fond of subjects which dealt with conversion because of their application to himself. Conversion is the sole subject of his first two works and the leading motif throughout Buddhacarita. The treatment of this theme in ‘Saundarananda’ is such that the book would undoubtedly have made its mark on many minds and conquered many hearts. It projects Asvaghosha not only as a poetic preacher but a people’s preacher as well.

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