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had begun to appear. Måra comes not only with three daughters (named here Rati,
Pr¥ti, and T®Σˆå) but also with three sons—Vibrama (Confusion), HarΣa (Gaiety),
and Darpa (Pride). Of course, Måra himself is represented as an enemy of the
perfect Dharma (Saddharmaripu) and is actually called Kåmadeva, the God of
Love:
“He whom they call in the world Kåmadeva, the owner of the various
weapons, the flower-arrowed, the lord of the course of desire—it is he
whom they also style Måra, the enemy of liberation.”
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In the typical style of this Indian Cupid, the first weapons used are the five
flower-arrows. When they fail, Måra thinks: “He is not worthy of my flowershaft
nor my arrow ‘gladdener,’ nor the sending of my daughter Rati (to tempt him); he
deserves the alarms and rebukes and blows from all the gathered hosts of
demons.” Thus he summoned his army of animal-faced and hideous monsters,
which AßvaghoΣa describes conjuring many a grotesque appearance. Their
collective assault on the future Buddha finds lively description in as many as
twenty-three verses. The reaction of the future Buddha is his resolute stead-
fastness and an admonition to Måra to desist from his futile effort:
“Give not way, then, to grief but put on calm, let not your greatness, O
Måra, be mixed with pride; it is not well to be confident—fortune is
unstable—why do you accept a position on a tottering base?”
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The description of the encounter ends with the following four verses:
70. Having listened to his words, and having seen the unshaken
firmness of the great saint, Måra departed dispirited and broken in
purpose with those very arrows by which, O world, you are smitten in
your heart;
71. With their triumph at an end, their labor all fruitless, and all their
stones, straw, and trees thrown away, that host of his fled in all
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directions, like some hostile army when its camp has been destroyed
by the enemy.
72. When the flower-armed god thus fled away vanquished with his
hostile forces and the passionless sage remained victorious, having
conquered all the power of darkness, the heavens shone out with the
moon like a maiden with a smile, and a sweet-smelling shower of
flowers fell down wet with dew.
73. When the wicked one thus fled vanquished, the different regions of
the sky grew clear, the moon shone forth, showers of flowers fell
down from the sky upon the earth and the night gleamed out like a
spotless maiden.
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There is no reference to either the ten squadrons of Måra or the matching
armies, in the form of the recollection of the Ten Perfections (Påramitå) by the
future Buddha. Nor is the question of the right to the seat raised or the earth
summoned as a witness.
As writer after writer vied with one another to present the momentous struggle
of the Buddha in his endeavor to attain Enlightenment, new details were added
and new imagery created. Right down to the modern writers and poets in Buddhist
countries, particularly Sri Lanka, Burma, and Thailand, the process has continued.
The license which they continue to exercise is an indication, by itself, that what is
elaborated is an allegory, a symbolic representation of an inner conflict and crisis,
and not an historical event. The writers or the artists are not meddling with facts
and misrepresenting history but are sharpening their own conception and
appreciation of the most critical experience of a man who transcended himself.
AßvaghoΣa takes up the episode of Måra’s daughters in Chapter 15. The
Buddha has passed four weeks since the Enlightenment and Måra comes to him
saying, “O holy one, be pleased to enter Nirvåˆa, your desires are accomplished.”
The Buddha’s response being negative, Måra becomes despondent and the
daughters take upon themselves the task of luring the Buddha. What follows, in
contrast to the Victory over Måra, is a tame dialogue between the Buddha and
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each of the daughters. The whole theme is disposed of in twelve verses and the
girls end up by professing to be the Buddha’s disciples.
This episode, too, underwent embellishment and elaboration. Earlier Påli
sources as well as the Lalitavistara had given an indication of the potential which
the theme has both in descriptive poetry and graphic art. Poets in several
languages have succeeded in conjuring up scenes of singing and dancing of three
damsels in seductive postures.
According to the tenets of Oriental poetry, a great poem has to evoke a range
of emotions among which heroism and eroticism have been especially sought
after. The Victory over Måra and the Temptation by Måra’s daughters provided
the basis for many a creative effort, in rendering a more balanced character, in
terms of the tenets of ornate poetry, to poems on the Buddha which could
otherwise be humdrum or deeply philosophical. Whether this was permissible had
been a question which the Buddhist writers had grappled with from the days of
AßvaghoΣa. But the fact that the themes have been widely, if not entirely, viewed
as symbolic and allegorical have all alone ensured a very high degree of liberty in
artistic expression. This is what the far-flung representations of these themes in
sculpture and painting demonstrate even more convincingly.
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