Pleasure and Poetics as Tools for Transformation in Aśvaghoṣa's mahākāvya

Bibliographic Data

ID3494409
AuthorsJulie Regan (La Salle University, corresponding author)
Year2022
Volume13
Issue7
Pages578
Publication date2022-06-22
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueReligions (JOURNAL)
Journal identifiersISSN: 2077-1444 • E-ISSN: 2077-1444
PublisherMDPI AG (PUBLISHER • IT)
DOI10.3390/rel13070578
OpenAlexW4283369269
LanguageEN
Citations received2
References cited20

Why does Aśvaghoṣa (c. second century C.E.), the first known author of a Buddhist literary work, choose a literary genre (mahākāvya) with erotic scenes and elaborate poetic language to present the truth that leads to liberation? This question, which has puzzled and fascinated scholars since the first known translations of Buddhacarita and Saundarananda, is often answered by turning to a statement Aśvaghoṣa makes, which suggests that such methods are necessary to reach his worldly audience, who are interested only in pleasure and not liberation. Dismissed as mere sugarcoating for "the bitter truth" of the Buddhist doctrine, the impact of the pleasures and poetics of Aśvaghoṣa's work upon the reader has rarely been explored. Methods emphasizing a hermeneutic approach to scholarship, focused on interpreting what such works have to say, has meant less attention to what these works do to transform readers (their poetics). However, new attention to the literary aspects of Aśvaghoṣa's mahākāvya, a genre of long-form narrative literature known for its poetic features, as well as recent scholarship on the Sanskrit courtly culture for which it was produced, suggest pleasure is a central feature. In this article I argue that comparative analysis of the dramatic structure of Buddhacarita and Saundarananda demonstrates that Aśvaghoṣa uses his ability as a dramatist to employ rasa, pleasurable aesthetic experiences, staged to gradually transform the minds of readers. I argue that as the plots of Buddhacarita and Saundarananda unfold, and the Buddha and his brother Nanda go from erotic and ascetic scenes to the sites of liberation, readers are engaged and moved in ways that refine their perceptions, introducing forms of concentration and insight not unlike the Buddhist practices depicted in these works

Aesthetics · Art · Buddhism · Gautama Buddha · Literary criticism · Literature · Narrative · Pleasure · Poetics · Poetry · Scholarship · Theology · Emotions and Moral Behavior · Indian and Buddhist Studies · Mindfulness and Compassion Interventions · Philosophy · Psychology

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