From the Matriposhaka Jataka, Ajanta Caves, Gupta Period,5th Century CE

Preface and Story

This story about the Buddha and his mother is a jātaka story, that is, it is a story about a previous birth of the Buddha in which he practiced and developed virtues that he was to realize fully once he became enlightened. There are many jātaka stories and they form the oldest and the most popular genre of literature across the Buddhist world from India to Japan. In some stories, the future Buddha is a human, in others, as here, he is an animal.

Jātaka stories generally have three parts: a story of the present, which provides the contextual frame for the telling of a story of the past. In the third part, persons in the present are identified with the characters in the story of the past. A striking part of that conventional jātaka structure here is that Mahaprajapati Gautami, the Buddha’s adoptive mother in the present, is identified with his birth mother in the past.

All of the stories about the Buddha’s previous lives provide rich opportunities for we humans to think about how we can best live with and for others. In the jātakas, we see Buddhism as a practical way of life, concerned with everyday ethics, and we also see in them the power of Buddhism as a religion of the heart.

The monks said to the Buddha, “Lord, do you see what we see? How did Mahaprajapati Gautami who had become blind out of grief over you, become no longer blind after having come close to you?” The Buddha said, “Monks, this is not the only time that Mahaprajapati Gautami has become blind by crying with grief over me, but after having come close to me, she was no longer blind. There was another time that this happened.” The monks said, “Really, it happened another time?” and the Buddha said, “Yes, there was another time.”

“Long ago, Monks, at some point way in the past, there was a mountain named Candagiri that was in the foothills of the Himalayas. There was a large forest that covered the side of the mountain, dense with thousands of trees that were themselves covered with flowers and fruits. That forest was remote and lonely, but it was filled with lotus ponds and ashrams and groups of rishis came there to do their ascetic practices within it.

“A herd of elephants also lived there, all of them of the kind that has six tusks. A thoroughbred elephant baby was born in that herd, and he had six tusks, red hair on his head, and the complexion of a white lotus; moreover, the seven bodily parts distinctive to an elephant were all perfect. As he grew up, he waited on his mother with the respect due to a teacher and with love. He gave food and drink to her first, and only ate afterwards himself. He routinely cleaned and bathed her highborn body using a forest vine. And so that elephant calf grew up, continually waiting on his mother with a sense of being taken care of, and with love, and respect.

“Sometimes, after he had bathed his mother and waited on her, and after he knew that she was lying down, he went outside, going about together with a group of elephants. On one of those times, he was seen by some hunters as they chased their game who went to the king of Kashi and reported what they had seen, ‘Your Majesty, an elephant calf of such a sort, gracious and beautiful, lives in the forest out there. He is fit for a king.’

“Monks, the king of Kashi listened to what his hunters told him. He then went with his army to that forest with his army, and he captured that young elephant. He was brought to Kashi, surrounded with an escort of female elephants. Once there, he was bathed in the elephant stable. The king had this thought: ‘This one will be a beautiful mount for me.’ He treated the elephant well in every way. He made all kinds of promises to him. The king even gave the elephant his own food and drink. The king’s kindness did not please the elephant who sighed deeply whenever he remembered his mother with grief and his tears fell; the elephant languished and grew faint.

“Out of his affection, the king greeted the young elephant with honor and asked him: ‘Greatest of elephants, I honor you in every way, but all the same you languish, grow weak, and do not thrive. I never see any vitality in your skin-color or in your body, I never see any happiness, I never see you with a smile on your face.’ Tell me about it, explain to me how to help you to get over whatever it is. Best of elephants, you are dear to me, pleasing to me. Tell me why you have grown so weak, and never take any food or drink.’

“Then the young elephant replied in human speech to the king’s question: “Your Majesty, it’s neither care nor food that I need. My mother lives back in the forest out there. She is old, aged, her strength is gone; she can’t see and her body is weak. I cannot remember a time, from the time I reached maturity, that I ever ate of drank anything without having first given some to my mother. This is my vow, ‘I shall die right here rather than eat or drink something first to my mother.’

“The king of Kashi was righteous, kind, always ready to care for others. He said to himself, ‘This is incredible to see. This young elephant’s concern for his mother is both righteous and natural, and for so many days he has neither ate or drank out of grief for his mother. These good qualities that this young elephant has are very rare among humans. It would not be right nor fitting if we were to harm such a beautiful being as this.’

“Then the king said to his chief ministers, ‘Free this young elephant, let him go back to the forest where we captured him. He is someone who cares for his mother, so let him be re-united with her. Don’t let him die here from starvation, turning us into sinners for no reason [or making us unrighteous].’ Thus, by the king’s command, the young elephant was brought to the forest and set free.

“The elephant went into the forest but he did not eat or drink. He only searched for his mother. His mother was crying out of grief and not seeing her son, she had become blind.

“When the young elephant could not find his mother, he climbed to the top of a mountain and cried out loud. As he was crying out in this way, his voice was recognized by his mother, and she cried out too, as she realized ‘This is the voice of my son.’ Then he recognized the voice of his mother and he immediately went to where she was.

“He found his mother sitting right at the edge of a large lake. Blind, she was going in circles, her body was covered in dust. She was right where she was when she heard the sound of her son’s voice.

“The young elephant broke off some very soft vines and cleaned his mother, getting the dust off her body. Using his trunk to bring water, he washed her, and as he did so, he was glad and happy, becoming loving and joyous.

“He bathed her body and washed out her eyes, removing all the dirt that was in her eyes. She became clear-sighted once more. As soon as she was able to see her son, she herself became loving and joyous. She asked him, ‘Child, where did you go? I was abandoned, left in a state where no one defended me and I couldn’t fend for myself.’

“He told his mother the key things that happened in every detail, from when he was captured to when he was freed. She said to her son, ‘Child, may the king of Kashi and all who surround him rejoice in just the same way as I am rejoicing after seeing my son today.’

“It certainly may be, Monks, that you may think something like this, ‘At that time, the king of Kashi was someone or other,’ but you shouldn’t even consider that possibility. Why? Nanda, my half-brother was that king of Kashi at that time. And, Monks, you may also think something like this, ‘At that time the young elephant was someone or other,’ but you shouldn’t even consider that possibility. Why not? Monks, at that time, I was that the young elephant in the forest. Mahaprajapati Gautami was that young elephant’s mother. Just as she had become blind then by crying with grief over me, but after having come close to me, she was no longer blind, in the same way now, she has become blind by crying with grief over me, but after having come close to me, she is no longer blind.’ ”

Translated from Sanskrit for this website by Charles Hallisey.

The story was read by Wendy Garling.

Resources for
Reflection

There are many ways to read a text, just as there are many ways to spend time with a good friend. Included here are a variety of resources for reading and reflection. They are like conversation-starters meant to facilitate an encounter between a reader or readers and a text.

Each of the activities can be used to read any one of the stories. Additionally, the same activity can be used to read the same story on separate occasions. If you are reading alone, treat the prompts as opportunities for individual reflection, journaling, or meditation. If you are reading in community, use the prompts as jumping-off points for group discussion.

Feel free to modify any activity based on your own interests and accessibility needs, or to create your own! 

Read through the text, either silently or aloud. Then, turn your mind to the experience you just had. What is memorable for you? What was especially moving or touching? Was there anything that you found yourself resisting or something that was particularly challenging? Do you have any lingering questions? If you have a religious or spiritual practice, do you have a sense of how the text might be of benefit to that practice?

In his introduction to Stirring and Stilling: A Liturgy of Cambodian Dharma Songs, Trent Walker quotes the female Cambodian lay priest Koet Ran as saying, “Dharma songs stir us and still us if we have affinity for the Dharma” (2011, 6).

In Buddhist teaching, “stirring” (Pāli: saṃvega) refers to an unsettling experience caused by the shock of impermanence. “Stilling” (Pāli: pasāda) is a settling of the mind or heart, a feeling of resolution, joy or equanimity.

Read through the text. Then, reflect: What stirs you? What stills you?

Further reading: Walker, Trent. 2011. Stirring and Stilling: A Liturgy of Cambodian Dharma Songs, http://www.stirringandstilling.org. 

Read through the text, either silently or aloud. Then, imagine yourself into the world of the text and tell the story, or a particular moment in the story, from a different point of view. You might focus on the viewpoint of a certain character, explore something that is not explained in the text itself, or re-tell the story in your own way. This activity can be done in written form (prose, poetry, script, interview, etc.), as an embodied practice (a play, a dance), or through any other medium. Be creative!

If you are working in a group, make space for each person to share what they have created, if they wish.

Afterwards, reflect on the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions? 

Read through the text, either silently or aloud. Then, formulate a question about something that takes place within the world of the text. You might focus on a moment that surprised you or on something that the text does not explain fully. For this activity, the best questions are ones that do not have clear answers but have a variety of possible answers.

Brainstorm possible answers to your question, taking time to contemplate how any given answer might shift your understanding of the story. If you are working in a group, take turns sharing your questions and offering possible answers or interpretations. 

Buddhist texts come to us from times long ago, but that doesn’t mean they can’t be put in conversation with our world today. In this activity, read one of the Buddhist stories alongside a contemporary work that addresses the topic of gender.

After exploring the contemporary work, summarize or discuss key insights or impressions. Then, read the Buddhist text with attention to the ideas that you just explored. Does anything jump out to you now as you read, perhaps that you hadn’t noticed before? Do you have lingering questions about how gender appears in the text, or about how the contemporary work relates to the Buddhist text?

Some suggestions for contemporary sources on gender:

For this activity, it can be helpful to listen to the text rather than to read it. You might listen to the recording or, if you are working in a group, invite one person to read the text aloud.

As you listen to the text, close your eyes (if you feel comfortable doing so) and imagine yourself into its world. Perhaps you imagine yourself as a particular person in the story, named or unnamed, or simply as an observer.

As the story unfolds, pay attention to your sensory experiences. What do you hear? What do you smell? What do you see? What can you touch, or taste? What information about this world can you gather through your senses?

Afterwards, share your experience with your group, or use your experience as a prompt for individual reflection. Then, consider the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions? 

Print out the text onto a piece of paper. Then, use scissors to cut out the individual lines so that each sentence or phrase is on its own slip of paper (in the case of longer texts, choose a shorter section for this activity). Place the slips of paper on a surface with the words facing down so that you cannot see what is written on them.

If you are working alone, choose three slips of paper and place them one below the other in the order you pulled them. If you are working in a group, invite each person to choose a slip, and then place them one below the other in the order they were pulled. If your group is large, you may want to split up into groups of three to five people for this activity.

Read your new text aloud three times or invite each person in the group to read it aloud in turn. Then, reflect on the meaning of your “found poem.” What jumps out at you when you focus on these particular lines? Does the order in which they appear suggest any new meanings? Does the poem invoke new questions, surprises, or delights?

If you are working in a large group, come back together and share your “found poems” with each other. 

Read through the text, either silently or aloud. Then, take some time to reflect on what you have learned from a character in the text, named or unnamed, and to draft an expression of appreciation or gratitude for that person. You might write a letter, a poem, or choose any other medium. Feel free to be creative!

If some guidance is helpful, the following three-part blessing is a place to start:

  1. An expression of thanks (i.e., “Mahaprajapati, thank you for…”)

  2. An acknowledgement (i.e., “You have taught me…”)

  3. A wish for the future (i.e., “May the world know your teachings.”)

If you are working in a group, allow time for each person to share their expression of gratitude, if they wish. 

This activity is best done in a group.

Invite someone in your group to read the text aloud. Then, as a group, choose a particular person in the story whose perspective you will focus on for the duration of the activity. If the story is long, you may also want to choose a particular moment to explore from this person’s point of view.

As a group, brainstorm a list of emotions that you think capture something about the experience of this person (emotions are words like: joyful, awed, grieved, tired, calm, etc.). If you have a whiteboard or large piece of paper, it is helpful to write the list down or to ensure in some other way that everyone in the group has access to the list.

Break up into small groups of three or four people. In your small group, choose one word from the list and create a “body sculpture” that illustrates that emotion in some way. The sculpture should not act out the story itself; it should be a creative or associative interpretation of the word. For example, if your group chose “joyful,” you might depict a scene where a person is picking up a loved one from an airport. Make sure that everyone who wants to participate is included in the sculpture. Each body can represent a person, an object (i.e., a suitcase), an energetic force (i.e., wind), or anything else that occurs to you. Be creative! Be silly! Have fun!

Come back to the larger group and invite a small group to share their “body sculpture.” Treat this sculpture as its own sacred text. Reflect together: What do you notice? What sensations or emotions arise in you when you observe the sculpture? What insights, opportunities, surprises, or questions does it inspire? How might you incorporate these insights into your understanding of the written text?

Allow space for each group to share their “body sculpture,” if they so wish, and to reflect together on their insights and opportunities for interpretation.

Finally, reflect on the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions?

Further reading:

Boal, Augusto. 1992. Games for Actors and Non-Actors. Rranslated by Adrian Jackson. London: Routledge.

Rue, Victoria. 2005. Acting Religious: Theatre as Pedagogy in Religious Studies. Cleveland: The Pilgrim Press. 

This activity brings two texts in conversation with each other. You might choose texts that you have read on other occasions so that you already have some familiarity with the stories, or you could use completely new stories.

Read through each of the two texts, either silently or aloud. Then, investigate: How do these texts relate to one another? Do they offer different insights into a particular person? Does one pick up the story where the other leaves off? Does one text make you interpret the other differently? Are the moments where the texts use similar language? What insights, questions or delights arise from their juxtaposition? 

Background
Resources

  1. Kashi, present day Varanasi or Benaras. It is one of the oldest continually inhabited cities in the world.

  2. Nanda, the Buddha’s half-brother. Nanda is the son of Mahaprajapati Gautami, the adoptive mother of the Buddha in the present.

The story translated here is from the Mahāvastu, “The Great Story.” The Mahāvastu is a very eclectic text composed in a form of Sanskrit (“Buddhist Hybrid Sanskrit”) that once was used by Buddhists. The Mahāvastu dates from about the second to the fourth centuries of the Common Era. It seems that the Mahāvastu, as we now have it, once was included in the literature of monastic discipline (Vinaya) of an Indian Buddhist school that no longer exists, the Lokottaravādin School. The Mahāvastu’s contents are diverse, with stories of the Buddha and his disciples juxtaposed with doctrinal discussions and general schemas of Buddhist practice. There are more than 40 jātaka stories in the Mahāvastu, generally introduced in connection with some event or relationship in the Buddha’s life, as the story here is told in connection with his relationship with his adoptive mother, Mahaprajapati Gautami.

A Pali version of the story identifies the blind mother with Mahamaya, the Buddha’s birth mother in the present. That Pali version of the story is found in the Jātaka collection included in the Pali canon of the Theravada Buddhist traditions of Sri Lanka and Southeast Asia. 

A full translation of the Mahāvastu is available in:

Jones, J. J. (trans.). 1949-1956. The Mahāvastu. 3 vols. London: Luzac and Company.

A translation of the Pali version of the story is available at:

Cowell, E. B. (ed.). Chalmers, Robert, W. H. D. Rouse, H. T. Francis, R. A. Neil, E. B. Cowell (trans.). 1895–1907. The Jātaka or Stories of the Buddha’s Former Births. 6 vols. Cambridge: Cambridge University Press. vol. IV, pp. 58-61
which is available online at: https://suttacentral.net/ja455/en/rouse