Thag 7:1 Sundara Samudda & the Courtesan — A courtesan invites a monk to disrobe.
Ornamented, finely clothed,
garlanded, adorned,
her feet stained red with lac,
she wore slippers:
a courtesan.
Stepping out of her slippers—
her hands raised before me,
palm-to-palm over her heart—
she softly, tenderly,
in measured words
spoke to me first:
“You are young, recluse.
Heed my message:
Partake of human sensuality.
I will give you luxury.
Truly I vow to you,
I will tend to you as to a fire.
When we are old,
both leaning on canes,
then we will both become recluses,
winning the benefits of both worlds.”
And seeing her before me—
a courtesan, ornamented, finely clothed,
hands palm-to-palm over her heart—
like a snare of death laid out,
apt attention arose in me,
the drawbacks appeared,
disenchantment stood
at an even keel:
With that, my heart was released.
See the Dhamma’s true rightness!
The three knowledges
have been attained;
the Buddha’s bidding,
done.
See also: SN 1:20
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Thag 9 Bhūta — No greater enjoyment than this.
When, knowing, “stress, aging-&-death”—
where people run-of-the-mill are attached—
comprehending stress,
the wise man does jhāna, mindful,
there’s no greater enjoyment than that.
When, striking down
attachment,
the bringer of stress
& craving,
the bringer of stress bound up
with objectification,
he does jhāna, mindful,
there’s no greater enjoyment than that.
When, touching (1 ) with discernment
the auspicious, two-times-four road,
the ultimate path,
cleansing away all defilement,
he does jhāna, mindful,
there’s no greater enjoyment than that.
When he develops the peaceful state,
—sorrowless, stainless, unfabricated,
cleansing away all defilement,
cutting through fetters & bonds—
there’s no greater enjoyment than that.
When, in the sky, the thundercloud roars,
with torrents of rain on all sides
of the path of the birds,
and the monk, having gone to a cave, does jhāna,
there’s no greater enjoyment than that.
When, seated on the bank of rivers
covered with flowers,
garlanded with various forest plants,
happy at heart, he does jhāna,
there’s no greater enjoyment than that.
When, at midnight in the secluded grove,
the devas drizzle, the fanged animals roar,
and the monk, having gone to a cave, does jhāna,
there’s no greater enjoyment than that.
When, having kept his own thoughts in check,
taking refuge in the mountains in a mountain fissure,
free from disturbance, free
from barrenness,
he does jhāna,
there’s no greater enjoyment than that.
When, happy,
destroying stain, barrenness, grief,
free from door-bolts, free from underbrush, free
from arrows,
having put an end to all effluents,
he does jhāna,
there’s no greater enjoyment than that.
Note
1. Reading phusitvā with the Thai edition. The Sri Lankan, Burmese, and PTS editions read passitvā, “seeing.”
See also: Thag 1:41; Thag 1:110; Thag 18
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Thag 10:1 Kāludāyin — The Buddha’s former barber invites him to return home to teach his relatives after his awakening.
This is a poem in at least two parts. In the first part, Ven. Kāludāyin is addressing the Buddha soon after the latter’s awakening, inviting him to return home to visit his family. In the second part, Kāludāyin is addressing the Buddha’s father, Suddhodana, at the time of the Buddha’s return, perhaps to make Suddhodana favorably inclined to receive his son.
There is a question, though, as to where the first part ends and the second begins. The Commentary assigns only the last stanza—beginning with, “I am the son of the Buddha”—to the second part, and everything before that to the first. This, however, doesn’t fit with the fact that the seventh stanza is obviously addressed to the person who engendered the Buddha, and not to the Buddha himself. For this reason, I have placed the division into two parts after the sixth stanza, as the first six stanzas are unified by the theme of bearing fruit, with the fourth and fifth stanzas possibly included to remind the Buddha of the good results that would come to his family if he provided them with the opportunity to give him alms. Alternatively, the division could be placed after the fourth stanza, in that the fifth stanza could be interpreted as beginning a line of thought aimed at putting the listener into the proper mood to accept the principle of the results of good kamma seen not in this lifetime but in the next.
Covered in embers now are the trees,
shedding their canopy, lord, in search of fruit.
As if flaring up, they glow.
The time, great hero, partakes of savors.
The trees in bloom, delightful,
waft delights
all around, in all directions,
dropping their petals in hope of fruit.
Now, O hero, is the time to set forth.
Neither too cold nor too hot:
pleasant the season, lord, fit for a journey.
Let them see you—the Sakyans & Koliyans—
facing west, crossing in the Rohiṇī. (1)
In hope they plow the field.
In hope the seed is sown.
In hope do merchants go to sea,
bringing back wealth.
Let the hope in which I stand bear fruit. (2)
Again & again they sow the seed. (3)
Again & again the deva-kings rain.
Again & again farmers plow the fields.
Again & again grain comes to the kingdom.
Again & again beggars wander.
Again & again lords of giving give.
Again & again having given, the lords of giving
again & again go to the heavenly place.
* * *
Truly, an enlightened (4) one of deep discernment
cleanses, back for seven generations,
the family in which he’s born.
I would imagine you to be Sakka, (5) the deva of devas
for you engendered a sage truly named.
Suddhodana is the name of the Great Seer’s father,
and Māyā name of the Buddha’s mother (6)
who, having nurtured the bodhisatta with her womb,
at the break-up of the body, rejoices in the threefold divine realm. (7)
She, Gotamī, having passed away,
having fallen away from here,
is now endowed with heavenly sensual pleasures.
She rejoices in the five strings of sensuality,
surrounded by those groups of devas.
I am the son of the Buddha,
who endures what is hard to endure—
Aṅgīrasa (8) : incomparable, Such.
You, Sakka, are my father’s father.
In the Dhamma, Gotama,
you are my grandfather.
Notes
1. Rohiṇī is the name both of a river at the edge of the Sakyan lands and of an asterism, i.e., a star in the zodiac used to indicate a season of time.
2. Reading vipaccatu with the Thai edition, which seems to fit better with the imagery in the earlier part of the poem than the reading in the other editions—samijjhatu, “may it succeed.”
3. Reading kasate with the Thai edition.
4. Reading dhīro with the Thai edition. The other editions read vīro, “hero.”
5. Sakka is the name of the king of the devas of the heaven of the Thirty-three. Ven. Kāludāyin is playing here with the similarity between this name and that of the Sakyan lineage.
6. Reading Māyanāmā with the Sri Lankan and PTS editions. The Thai edition reads Māyā mahesī, so that the line would read, “The Buddha’s mother is Queen Māyā.” This would provide a play on words—mahesi, great seer, and mahesī, queen—but there is nothing in the early suttas to indicate that Suddhodana was a king, or Māyā a queen.
7. The Commentary identifies the threefold divine realm as the Tusita (Contented) heaven, but doesn’t explain why that heaven would be given this name. Some verses in the Jātaka identify the threefold divine realm as the heaven of the Thirty-three, and the later reference to “those groups of devas” in this poem would seem to support this latter interpretation.
8. An epithet for the Buddha, meaning “resplendent.” Aṅgīrasa was the name of an ancient brahmanical sage to which the Gotama clan claimed a connection. The Commentary suggests that this was one of the bodhisatta’s personal names prior to his awakening.