M.A. (c) Religion (Buddhist Studies)/Bioethics
B.A. East Asian Studies
Department and Centre for the Study of Religion
Joint Centre for Bioethics
University of Toronto, CANADA
A special category of death finds its way into both the epic Mahābhārata and Rāmāyaṇa, that of voluntary death. Sometimes referred to as “self-willed death”[i], such deaths can be further sub-categorized into suicide, heroic and religious. The first has historically been given much more attention in the mass media and academia. Proof of this can be seen in the abundance of court cases and bioethical research that ponder on suicide, Physician Assisted Suicide (PAS) and euthanasia in contrast to that having to do with heroic and religious voluntary death. Most people, when asked, do not easily recognize these latter two categories, which Young calls mors voluntaria heroica and mors voluntaria religiosa respectively[ii], but would typically have a well-formed opinion about the motivations behind, and results of, suicide. Although both deserve much more scholarly attention, this study will keep religious voluntary death as its primary focus. Among religious voluntary deaths there are various types of such a purposeful and consciously directed end to life. These are: The Great Journey or walking in an auspicious direction until falling dead (Mahāprasthāna), sacrificial self-immolation (Agnipraveśa), regular immolation, drowning in rivers and ponds (Jalapraveśa), fasting to death (Anaśana or Anuśān-parva), on the banks of holy rivers, death while in meditation (samādhimaraṇa), abstaining from food and awaiting the approach of death in a seating posture (prāyopaveśana),[iii] and by yogic manipulation of the breath and inner energies resulting in the projection of consciousness (utkrānti)[iv]. How do such deaths differ from ordinary deaths? This study aims to establish that the epics portray religious voluntary death as specifically counteracting some or all of the themes that accompany ordinary death, namely: fear, fate, causality, pursuit by the Lord of Death, loss of senses and breath, dissolution and embodiment. Firstly we will look at how death (as the end of life) and Death (the personified reaper of souls) are presented in each of the twin epics’ third sections, the forest books in particular, while looking at some of the material beyond these books as well. The analysis of death in the Rāmāyaṇa will be particularly linguistic in nature. Next will follow an outline of the various types of religious voluntary deaths found in both, or one or the other, of the twin epics. Lastly, we will look closely at the voluntary deaths of the main protagonists of the epics, the Pāṇḍavas in the Mahābhārata, and Rāma in the Rāmāyaṇa, to establish whether voluntary death counteracts the above-mentioned themes that accompany ordinary death.
Death and death in the Epic Forest Books
If we are to show how religious voluntary death is utilized in the twin epics, first it is necessary to establish how death is presented and contextualized in each. I will start with the Rāmāyaṇa since I have at my disposal Pollock's line-by-line Sanskrit transliteration to assist in locating terminology.
A rigorous survey of The Forest Book of the Rāmāyaṇa reveals that Death and death are distinguished between each other, and are presented in repetitively particular ways. Death is personified as the taker of life, whereas death is a physiological and psycho-spiritual transformation of the individual.
The personification of Death serves several functions: as a metaphor for attackers/harmers; as an object of fear; and as a representation of the bestower of fate and punishment. Pollock's translation often conflates several Sanskrit terms with the same English terminology, so teasing out these terms will prove useful.
Death is portrayed as male, and his image is evoked in descriptions of attacking enemies in battle. In their first encounter with a rākshasa since entering the forest, Virādha attacks the forest dwelling trio Rāma, Lakśmana and Sīta “…like Death (āntaka) attacking people.”[v]rākshasa Khara describes his sister Shurpa-nakha as one who goes about “like Death (āntaka) himself.”[vi] There are many other instances of rākshasas being described this way in the Rāmāyaṇa Forest Book, as moving about the world in a harmful way like Death himself, with āntaka as the operative term.[vii] In these cases, the usage of āntaka makes sense as it is usually translated as 'destroyer.' The For example, the shared Buddhist and Shaiva tantric deity Yamāntaka is known as 'the destroyer of death', and "Krishna…is famous as śrīśa khacū āntaka, the blessed destroyer of the demon Shankhachuda."[viii] In Pali, āntaka is sometimes translated as Evil One, in masculine form, and made synonymous with māra.[ix] This is a fascinating linguistic connection, since māra is subdivided in both Hindu and Buddhist texts as a harmful force with internal and external aspects. Berzin explains that in Hindu mythology, "[t]o rouse Shiva, Kama shot five arrows from his bow. These arrows were to make one ecstatic,…to make one crave,…to make one stupefied,…to make one thin, emaciated and dried out,…to make one dead. These five are called the five types of troubles that are the work of Mara."[x] In Buddhist mythology, since "[t]he term mara derives from the Sanskrit root mr, to murder…mara is what murders or causes interference to us… Mara is also explained as “what puts an end” (mthar-byed, Skt. antaka) – that which puts an end to spiritual practice. There are four types of mara: the mara of death (the Lord of Death), the mara of disturbing emotions and attitudes, the mara of the aggregate factors of experience (the five aggregates), the Mara who is the son of the gods."[xi] Additionally, the mara of death is further subdivided: "Mara is also considered Yama (gShin-rje), the Lord of Death (‘Chi-bdag)…outer Yama is death itself…inner Yama is the disturbing emotions and attitudes…hidden or secret Yama is the three subtlest conceptual minds.”[xii] Bearing this in mind, as some of these points will prove useful later in this study, the usage of āntaka in our Rāmāyaṇa Forest Book context is clearly Death as an external harmer bringing an end to life, evoked as a metaphor to describe Rāmāyaṇa players who are harmers likewise bringing death to others.
Next is the usage of Death as a fearsome object. With this application, several terms are used: āntaka, mṛtyu, mukta and kāla. The appearance of the rākshasa Virādha is “…as terrifying to all creatures as Death (āntaka) with jaws agape.”[xiii] This fearsome image of Death hungry for the living is recurring, with āntaka as the Sanskrit appearing each time.[xiv]āntaka) with noose held ready”[xv], but these are the only instances where this portrayal of Death as prepared to choke the life from his victim has Death as āntaka. The metaphor of Death as prepared to strike his victim with an implement straddles several Sanskrit terms. Khara is twice at the ready in battle “like Death (The female rākshasa Shurpa-nakhaSīta “like the very noose of Death (mṛtyu)[xvi], and Rāma attacks the rākshasa legion “like noose of Doom (mukta).”[xvii] attempts to strike Here we have the introduction of two additional Sanskrit terms, mṛtyu for Death and mukta for Doom, another English term for Death personified. Mṛtyu is translated as death[xviii] and mukta as liberated[xix], so we have three quite different Sanskrit terms subsumed into the same repeated image. Mṛtyu seems to be the predominant usage to specifically portray the fearsome nature of Death. The rākshasa Khara states that “[i]n my rage I could throw the fear of death (maraṇa) into Death (mṛtyu) himself,”[xx] and while abuducting Sīta, the rākshasaRāvana instills terror since “…seeing him advancing like Death (mrtyu) himself, the spirits of the forest fled overpowered by fear.[xxi] Rāvana also informs Sīta that "…all things born are put to flight by fear of Death (mrtyu)."[xxii] The last Sanskrit term used during portrayals of Death as fearsome is kāla, time: "Then suddenly Rāvana…abandoned the kindly form of a beggar and assumed his true shape, one such as Doom (kāla) itself must have. With eyes flaming bright red, with earrings of burnished gold, with bow and arrows, he become once more the majestic ten-faced stalker of the night."[xxiii] Although Pollock presents Death as 'Doom' with two Sanskrit terms, mukta and kāla, for the one English word, this is not an isolated usage of kāla for Death. Just prior to Lakśmana’s death, Yama the Lord of Death himself, in the form of an ascetic, comes to have a private discussion with Rāma and in the Dutt translation of the Rāmāyaṇa, Yama is referred to as Kāla.[xxiv] The Lord of Death also goes by the name of Yama in The Forest Book of the Rāmāyaṇa, but in all but one instance in relation to his underworldly (and assuredly frightening) location: the “house of Yama”[xxv] and his abode.[xxvi] Our discussion of Death’s title ‘Kāla’, given it’s relation to time and the connotation of impending disaster that comes with ‘Doom,’ makes this an appropriate moment to move to the last major purpose for Death personified appearing in The Forest Book of the Rāmāyaṇa: Death as the bestower of fate and punishment.
Here, too, we start with Death the destroyer, āntaka, who is wont for “…attacking people at their fated hour (kāla).”[xxvii] Here the implications are that life-spans are indeed limited, as time for a person runs out in that final hour, and that that time is predetermined by some means. Whereas Death here is still a personified force external to the individual, kāla, rather, seems to belong to the person. Death is implementing the end of life that is according to a specific timing of the individual. This is unlike the other usages we have seen of Kāla as personified Doom or Yama synonym. While in the clutches of the cursed and disfigured Kabāndha, Rāma bemoans to Lakśmana when it seems that their demise is inevitable: “How great the power that doom (kāla) exerts against all creatures… Is not fate (daiva) too much for any creature to endure…? Powerful heroes expert in arms can be overcome by doom (kāla) and collapse on the field of battle like dikes made of sand.[xxviii] Interesting that the term bhāgya does not appear for doom or fate, but rather kāla, also translated as ‘time’, and daiva,Kāla again is translated as ‘doom’ but without capitalization. sometimes translated as ‘destiny.’ If this is not a mistake, could it be a subtle differentiation between Doom and doom with the former being an objective force and the latter a subjective one, as with Death and death? Perhaps. Suffice it to say that fate and doom/time again give one the sense that the end of life is inevitable, merely a matter of time, and that when that time runs out is predetermined. The personified Death is often referenced as the one who dispenses with life, but here the end of life appears to be the result of deeds: “the power of kings is infinite…they can exact punishment like Yama.”[xxix] We could sum up this section by stating that the end of life coming about by an internal kāla or external Kāla could remain a matter of perspective, as the text seems to point to both.
Moving from the personified Death to the death of the individual, not only does a similar theme of time appear as well, but also some unique aspects: that of the loss of one’s senses and breath in the process of dying.
The rākshasa Khara scolds Rāma for being haughty “…when the hour of his death (mṛtyu kāla ) is at hand…”[xxx] Thus far we have shown mṛtyu and kāla mostly translated as Death and Doom, respectively, and also ‘fated hour’ and ‘doom’ for the latter. Having the two terms together, here, has been interpreted by Pollock as having more to do with the death of the individual, rather than the objective and personified Death. However, given the other usages of kāla, it would not be a stretch to read this phrase as having also to do with fate as well.
The loss of sense faculties and breath also seem to accompany the loss of life in the individual in the The Forest Book of the Rāmāyaṇa. Khara says to Rāma: “You have lost all sense of what to say and not to say, because Death (mṛtyu) has you in his power. For once the noose of Doom (Kāla) is wound around his neck, a man no longer knows what is or is not to be done, and all six senses fail him.”[xxxi] Later, Jatāyus the great vulture proclaims while in the throes of dying that “…everything is swimming before my eyes. I see the golden trees now and their streaming hair of spikenard!”[xxxii] In both examples is mention of the senses failing as death approaches, including the mental faculty. The author has Khara speak of the loss of knowing appropriateness, and Jatāyus seems to be describing the onset of a vision. Is he having a glimpse of his destination after death? Jatāyus also describes the increasing difficulty of his dying experience when he states that “[m]y breath is coming harder…”,[xxxiii] and, alas, his life ends when he “…let go the breath of life and could capture it no more.”[xxxiv] Much later in the epic, outside of the Forest Book, a death is again described in such a way when “Kausalya, Rāma’s mother, breathed her last.”[xxxv] The loss of breath, clearly, is presented as the main indicator of the loss of life of an individual. What indicates death in the Mahābhārata?
Shifting now to the other of the twin epics, the Mahābhārata, the analysis of the presentation of death will be based less on linguistics since I do not have a line-by-line Sanskrit transliteration of this text. Regardless, we will take what we have gleaned from the Rāmāyaṇa’s presentation of Death and death in The Forest Book and see what differences and similarities we can find in the Mahābhārata’s Forest Book.
One key feature of the Mahābhārata’s unique presentation of death is an emphasis on the body as the physical embodiment of the soul that is absent from the Rāmāyaṇa. In questioning the ascetic Mārkaṇḍeya on the nature of actions and their results, Yudhiṣṭhira refers to death as the “…embodied soul…shedding his body…”[xxxvi] We see this in the Santi Parva Book also when Brigu states that “The body alone dissolves away. The living creature, though depending upon the body, does not meet with destruction when the body is destroyed.”[xxxvii] Again, in the same book, Bhishma is made to say that death is when “[t]he embodied soul…[is] divested of Rajas.”[xxxviii] This ‘Rajas,’ according to the Samkhya school, is “one of the three gunas” or qualities and is specifically “[that which] is responsible for motion, energy and preservation.”[xxxix] This points to another aspect of death that the Mahābhārata marks as important, that of the departure of the animating force. In the same Santi Parva book, the ascetic Parsara says this of death: “Abandoned by the owner, the body becomes inanimate and motionless. Indeed, when the primal ingredients return to their respective natures (merge into the five elements), the body mingles with the dust… Jiva (the embodied soul), after dissolution of the body it inhabited…”[xl] This loss of animating life-energy accompanies the body’s dissolution at death which Bhishma calls “the destruction of this gross body”[xli] and of which Mārkaṇḍeya states that “[a]t the end of his life he abandons his mostly deteriorated carcass…”[xlii] What is it that abandons the body at death? We can safely assume that it is the soul referred to in the other passages. Dissolution upon death is even mentioned in the Mahābhārata’s telling of Rāma’s story with the death of Rāvaṇa: “The five elements departed from the lordly Rāvaṇa, for he was toppled…”[xliii]
With these excerpts we have shown several themes that sets the MahābhārataSanti Parva, apart from that in the Rāmāyaṇa’s Forest Book. There are, however, some commonalities. presentation of death, in the Forest Book and the
We saw earlier that the Rāmāyaṇa considers death as every being’s fate, an inevitable end that comes with having life, and we find this in the Mahābhārata as well. Parsara states that, necessarily, “…[d]eath follows birth in respect of all men…”[xliv] and even Rāma himself, in the Mahābhārata, is made to say that death is “…the final destination of all creatures.”[xlv] But before we get the impression that the Mahābhārata holds death as unpredictably inevitable, the text also seems to reinforce the Rāmāyaṇa’s consideration of death as set, predetermined, fated. In the Mahābhārata’s Rāma section, “King Daśaratha succumbed to the body’s Law of the passing of time.”[xlvi] This seems to resemble the internally-driven fate of the individual, but Mārkaṇḍeya proclaims this verse: “Behold, O King, all the various creatures, [h]ow all according to kind with force, [a]ct out what the Ordainer ordained for them”[xlvii] Although we have here an ‘Ordainer’ which we do not find in the Rāmāyaṇa, we nevertheless can see the parallel with there being an objective, external force that brings about the various circumstances of beings, including death. In the Rāmāyaṇa we have shown this to be Death and Doom personified, interchangeably āntaka, mrtyu, mukta,Yama and Kāla. Not the omnipotent ‘Ordainer’ of the Mahābhārata, but functioning in the same way in both epics as an objective bestower of death.
Lastly, a major point of departure from the Rāmāyaṇa is the Mahābhārata’s venturing beyond mere fate as the cause of circumstances, death included, and adding the cause and effect of actions into the formula. Actually, Mārkaṇḍeya gives three contributing causal factors to the circumstances that beings find themselves in: “Some comes from fate, some from chance, some from their acts.”[xlviii] With regard to death specifically, Mārkaṇḍeya seems to outright reject death by fate when he states that “[t]hose who lack the eye of insight believe that this creature is governed by the rule of death and is unaffected by either good or bad markings; but this has been declared to be the course of the stupid.”[xlix] As this particular dialogue is prompted by a question put to the ascetic concerning the way in which actions follow beings, the ‘good and bad markings’ which affect the type of death one has can confidently be said to be from previous actions. Thus, the text here shows tension between different positions on what influences death: that of predetermination by an objective supernal being, and self-determination by way of actions. We see this tension even within the confines of the discourses of one individual ascetic, Mārkaṇḍeya, without even addressing the third contributing causal factor he presents, that of events being undetermined and randomized, or by ‘chance.’ This sort of tension appears absent from the Rāmāyaṇa, since the death fate of the individual and the objective implementation of that fate by Death personified seem to harmonize quite well. The external Death is merely the means by which the death fated to the individual is brought about.
Given the various themes that occur around Death and death, and in light of our upcoming sections of religious voluntary death, I will suggest that it is these very things that such a unique mode of dying is utilized to counteract. In other words, does religious voluntary death aim and/or succeed in counteracting: fate; causality; the attacks of Death and Doom or the Lord of Death; the fear of Death and death; and the loss of senses and breath? What about embodiment and the inevitability of death? Does voluntary death lead to an end to embodiment and death itself, bringing about an entirely new status for the soul? Let us see.
Voluntary Death(s) in the Epics
Religious voluntary death is a known phenomenon to the cast of the Rāmāyaṇa. While approaching the abode of the sage Agāstya, Rāma notes that this is a particularly auspicious location where “great beings cast off their bodies (tyaktvā dehān) and in new bodies ascended to heaven as supreme seers.”[l] In the Mahābhārata too, religious voluntary death is presented as a particular way of dying that does not require much explanation. Mārkaṇḍeya states during his cosmological discourse that “in the beginning…men died when they wanted…”[li] Precisely how are these death practices performed?
A book by Śreyas on Jain Voluntary Death[lii] gives a fairly thorough survey of voluntary death as found in traditions other than Jainsim, including those found in Hindu texts. I will use this, in part and with qualifications, in order to establish which types of voluntary death are uniquely found in one or the other of the epics, and which are found in both texts. There are a few voluntary deaths that Śreyas fails to mention, and one which I feel is misconceived. I will address them each.
Starting with the Rāmāyaṇa Forest Book, the Vedic sacrificial self-immolation of Śarabhaṅga Ṛṣi,[liii] which Śreyas calls Agnipraveśa,[liv] seems to be the only type of voluntary death that occur solely in this epic and not in the Mahābhārata. One might be inclined to include Dhritrashtra’s voluntary death by fire in this category, but I am not so inclined since the fire was not sacrificial. Rather, it was a “fire in the forest, which slowly envelop[ed] the hermitage. Dhritrashtra knew it was time to leave the body and travel further on. He sat down…facing eastwards in yogic posture and calmly gave himself up to the flames. Thus ended the life of the elder son of Vichitravirya and Ambika, born blind.”[lv] This assuredly is a voluntary death by immolation, but not Agnipraveśa. We can give this voluntary death its own category, voluntary death by naturally arising fire, and say that it occurs only in the Mahābhārata. Also in the Rāmāyaṇa Forest Book we find two indeterminate voluntary deaths, those of the ascetic Sutīkshna who, like Śarabhaṅga, also awaited a meeting with Rāma[lvi] and the female ascetic Shābari who “had gone to heaven by her own act….”[lvii] before “leaving my body behind on the earth”,
By the account of Śreyas, there are three types of religious voluntary death that occur only in the Mahābhārata, but I contest one of them as being not exclusive to this epic. The first is the “irrevocable last great journey (Mahā-prasthāna) [f.9: Mahābhārata Vanaparva, 85.85]…[where one is] subsisting on water and air alone and walking on in an auspicious direction until the end of one’s life…”,[lviii] which the Pāṇḍavas engage in, an the second is “fasting to death (Anaśana) [f.12 Mahābhārata (Anuśān-parva) 25.63,64].”[lix] What I contest is Śreyas’s position that voluntary death on the banks of holy rivers only occurs in the Mahābhārata. I consider the voluntary death of Lakśmaṇa to be of this type (but not exclusively of this type) and, therefore, I also disagree with Śreyas including Lakṣamaṇa’s voluntary death among those that are by drowning in rivers and ponds. His death was on “the banks of Saraju”[lx] and had a yogic component that Śreyas does not mention. I will discuss this when I come to the third type of voluntary death that occurs in both epics.
Of the three types of voluntary death that occur in both the Rāmāyaṇa and Mahābhārata, Śreyas only recognizes one: that of “…drowning in rivers and ponds (Jalapraveśa) as in the cases of…Lord Rāma accompanied by Bharat, Śatrughna, his subordinate kings and the citizens of Ayodhya. [f.3: Rāmāyaṇa, Uttara Kāṇḍa, 110.2] By drowning in the confluence of three holy rivers at Prayag [f.4: Mahābhārata Vanaparva, 85.85]”[lxi] As I mentioned, Śreyas includes Lakṣamaṇa’s death here (and I do not), and excludes his death also from the following: “…embracing voluntary death on the banks of holy rivers… [f.6: Mahābhārata, Śalyaparva 39.33].[lxii] Since I include Lakśmaṇa’s voluntary death here (Rāmāyaṇa, Uttara Kāṇḍa, 106.8), it is another type of voluntary death seen in both epics. The third type of voluntary death that I see occurring in both epics we can call a yogic death, which White calls utkrānti.[lxiii] I include the voluntary deaths of both Lakśmaṇa and Bhishma[lxiv] in this category. Allow me to justify this category, and also why I exclude Lakśmaṇa from that of drowning and have him straddling two categories, voluntary death by yogic means and that on the bank of a river.
According to Dutt’s translation, Lakśmana clearly chose to die. “Lakshmana thought within himself: ‘My own destruction is far more desirable then that of all.’”[lxv] He then “reached the banks of Saraju and rinsed his mouth he stood there with folded palms.”[lxvi] There is no indication here that he entered the water, so we cannot call this voluntary death by drowning. As for the yogic component, “having obstructed all passages he did not breathe any more…being thus engaged in penances, having obstructed his breath, Apsaras, Indra and other deities and Rishis showered flowers upon him. Thereupon beyond the sight of men, having taken the highly powerful Lakshmana within his body, the king of celestials enetered his own city. Thereupon beholding Lakshmana, the fourth portion of Vishnu arrived at their city the celestials were greatly delighted and engaged in his worship.”[lxvii]Mahābhārata, Bhishma “held forth his life-breaths successively in those parts of his body which are indicated in Yoga… The life-breaths, restrained and unable to escape through any of the outlets, at last pierced through the crown of the head and proceeded upwards to heaven.”[lxviii] Although the internal processes are explicitly mentioned in the case of Bhishma and not in the description of Lakśmana’s death, the parallel is striking. Similarly, in the White specifically mentions “Bhīmṣa…as one who had died spontaneously, of his own free will”[lxix] and states that when “Abhinavagupta invokes a precedent for the practice of utkrānti [upward advance], he refers to Bhīmṣa.”[lxx]
The Voluntary Death(s) of the Epic Heroes
Lastly, we will look closely (but briefly) at the voluntary deaths of the major heroes of the two epics, Rāma and the Pāṇḍavas, to try and answer our questions about whether voluntary death serves the function of counteracting the various aspects of ordinary death that we outlined earlier. Specifically we aim to see if voluntary deaths contravene: fate; causality; the attacks of an objective, personified Death; the fear of Death and death; the loss of senses and breath; embodiment and, death itself.
First we will look at the voluntary death of Rāma. “Having forsaken Lakshmana and being stricken with sorrow and grief Rāma said to his citizens and ministers: ‘I shall to-day repair to woods… I shall follow the way which has been wended by Lakshmana.’”[lxxi] In following the way of Lakśmana, Rāma proceeds to the same body of water to abandon the body but I do not take this to mean that because Rāma enters the water, that this retroactively reinforces the idea that Lakśmana entered the water since the text does not indicate this. Following Lakśmana also indicates that Rāma knows that he will have the same ultimate destination as his brother as shown by “…Rāma`s determination of going to heaven…”[lxxii] Although Rāma feels grief over his brother, the parade of those accompanying Rāma to either join him or merely witness his departure, it is not an event marked with sorrow. “There was none poorly, aggrieved or miserable – all of them appeared wonderfully happy and delighted.”[lxxiii] The communal mood, Rāma’s determination and confidence in knowing he will ascend could all indicate that there is no fear on his part in following this voluntary death. Next, “the descendent of Raghu espied Saraju of holy waters flowing towards the west. And… Rāma, with his followers arrived at the place where he should give up his person. Thereupon at that moment, Brahmā…arrived there where Kākuthstha had addressed himself to repair to heaven… Thereupon the Patriarch gave vent… ‘Come O Vishnu…do thou enter here with thy brothers, resembling the celestials in brilliance in whatever form thou likest – either in that of the sky or in thy own Vishnu form…’ …Hearing the words of the Patriarch and determining everything the high-minded Rāma entered there bodily with his brothers in his Vishnu form.”[lxxiv] From this description, we also note that there is no presence of Death personified, or fear of such. Even though Rāma and Kāla/Yama engaged in conversation earlier, there is no indication that Death is in any way involved in Rāma’s chosen death. Nor is there any mention of fate or causality, so it is difficult to say whether this voluntary death has counteracted the force of either. Finally, as Rāma’s voluntary death is followed by bodily entrance into the celestial realm, albeit in his supreme form, it would be difficult to say that Rāma sloughed off the gross body in an ordinary way since the transition is a seamless one from human to divine form with no apparent residual, nor the loss of senses or breath. This death is not only extraordinary because of its voluntary nature, but also because there seems to be no gap during which the human body would perish by drowning and shift into a divine form. Even though we include this voluntary death in the category of drowning, we could say that this is indeed a transcendence of death itself since this translation of the text shows none of the typical signs of death, such as dissolution and the end of breath, but rather an instantaneous movement from human to god.
Moving to the Mahābhārata for our last inquiry into voluntary death, the Pāṇḍavas "[h]aving heard the particulars of the great slaughter of the Vrishnis… and having been informed also of Krishna’s ascension to Heaven…the Kaurava king set his heart on leaving the world… His brothers also formed the same resolution. Then Dharma’s son, Yudhishthira, the king of the Kurus, casting off his ornaments, wore barks of trees. Bhima and Arjuna and the twins, and Draupadi also of great fame, similarly clad themselves in bark of trees… The five brothers, with Draupadi forming the sixth, and a dog forming the seventh, set out on their journey. Setting themselves on Yoga, those high-souled ones, resolved to observe the religion of Renunciation, traversed through various countries and reached diverse rivers and seas.”[lxxv] Right off the bat, we see that, like Rāma, the entrance of the Pāṇḍavas into the Great Journey is triggered by grief. Rather than the fear of death, we could say that they fearlessly enter into this voluntary death practice because they cannot bear to be without Kṛṣṇa and, also like Rāma, know that they will be reunited. Then each of the troupe begin to fall down, one by one. “Yajnaseni, falling of from Yoga, dropped down on the Earth… Yudhishthira said: ‘O best of men, though we were all equal unto her she had great partiality for Dhananjaya. She obtains the fruit of that conduct today, O best of men…’ Then Sahadeva of great learning fell down on the Earth… Yudhishthira said, ‘He never thought anybody his equal in wisdom. It is for that fault that this prince has fallen down.’”[lxxvi] As each of the Pāṇḍavas fall, an explanation is given as to why they drop when they do. Here, with the repetitive mention of causality, we see one of the major differences between the voluntary deaths of Rāma and the Pāṇḍavas. Although the Pāṇḍavas all ascend, the exact time of the deaths of all but Yudhishthira is causally determined. It is the function of their voluntary deaths to attain a heavenly state, an end which we see no indication being determined by fate, causality or the reckoning of the Lord of Death. With all but Yudhishthira, also, we can safely assume that there was an actual death process involving the loss of breath and dissolution of the elements and therefore not being an embodied ascension. They died, “[h]aving cast off their human bodies”,[lxxvii] but it is not clear whether there was any accompanying delirium or what we have been calling a loss of senses. Although they attained heavenly status, it cannot be said that the Pāṇḍavas transcended death as we might consider of Rāma. Yudhishthira, however, is told by Indra that “it is ordained that thou shalt go thither in this very body of thine.”[lxxviii] As with Rāma, Yudhishthira’s has a divinely escorted embodied ascension. However, unlike both Rāma and his family members, Yudhishthira’s transition is ‘ordained.’ He may have side-stepped causality, the attacks of personified Death, the fear of Death and death, the loss of senses and breath and even the sloughing off of the body that accompanies a typical death, but Yudhishthira is bound by fate, or the predetermination of the Ordainer, even if the end result is a fortunate one.
In closing, after establishing various themes that come with death in both epics, and the various types of voluntary deaths in each, looking at the religious voluntary deaths of the heroes of both the Rāmāyaṇa and the Mahābhārata has shown some variation in the process of such deaths between and within each of the epics. In each case grief motivated the players, and yet fear did not seem present. Nor did the dreaded Lord of Death make an appearance in either epic with the voluntary death of the heroes. Rāma and Yudhishthira both attained embodied ascension, apparently without the loss of senses, breath or a dissolution process. Yudhishthira’s was fated, Rāma’s not. We can say that they transcended death. The remaining Pāṇḍavas, however, did not have embodied ascension nor transcend death, and so the loss of breath and dissolution most likely came with death but further investigation is needed to know whether they had delirium or not. The time of their moment of death was determined by causality, based on former actions. They were reunited, all.
Endnotes[i] Young 1989
[ii] Ibid.; p.75
[iii] Śreyas 2007 pp.293-303; Young 1989 p.75.
[iv] White 2009; p.114.
[v] Pollock 2006; p. 41.
[vi] Ibid. ; p. 135.
[vii] Ibid.; pp.137, 149, 281.
[viii] Goswami 2002.
[ix] English Pali Dictionary 2010.
[x] Berzin 2006.
[xi] Ibid.
[xii] Ibid.
[xiii] Pollock 2006; p.41.
[xiv] Ibid. ; pp. 47, 191.
[xv] Ibid. ; pp. 173, 179.
[xvi] Ibid. ; p.133.
[xvii] Ibid. ; p. 163.
[xviii] English-Sanskrit Mico-Dictionary.
[xix] Bhaktivedanta VedaBase Network.
[xx] Pollock 2006; p. 153.
[xxi] Ibid. ; p.281.
[xxii] Ibid. ; pp. 273-274.
[xxiii] Ibid. ; p.279.
[xxiv] Dutt 1892; p.1919.
[xxv] Pollock 2006; pp. 87, 221, 389.
[xxvi] Ibid. ; p.145.
[xxvii] Ibid. ; p. 41.
[xxviii] Ibid. ; p.385.
[xxix] Ibid. ; p. 227.
[xxx] Ibid. ; p.179.
[xxxi] Ibid. ; p. 183.
[xxxii] Ibid. ; p.373.
[xxxiii] Ibid. ; p.373.
[xxxiv] Ibid. ; p.375.
[xxxv] Dutt 1892; p.1914.
[xxxvi] van Buitenen 1975; p.574.
[xxxvii] Ganguli; Santi Parva [book 12], Section CCXVII.
[xxxviii] Ibid.
[xxxix] Yogananda 1973; p.22.
[xl] Ganguli; Santi Parva [book 12], Section CCXVII.
[xli] Ibid.
[xlii] van Buitenen 1975; p.575.
[xliii] Ibid. ; p.756.
[xliv] Ganguli; Santi Parva [book 12], Section CCXVII.
[xlv] van Buitenen 1975; p.742.
[xlvi] Ibid. ; p.733.
[xlvii] Ibid. ; p.272.
[xlviii] Ibid. ; p.576.
[xlix] Ibid. ; p.575.
[l] Pollock 2006; p.91.
[li] van Buitenen 1975; p.575.
[lii] Śreyas 2007.
[liii] Pollock 2006; p.55.
[liv] Śreyas 2007; p.296.
[lv] Exotic India 2010.
[lvi] Pollock 2006; p.61.
[lvii] Ibid. ; p.409.
[lviii] Śreyas 2007; p.296.
[lix] Ibid. ; p.295.
[lx] Dutt 1892; p. 1924.
[lxi] Śreyas 2007; p.296.
[lxii] Ibid. ; p.296.
[lxiii] White 2009; p.114.
[lxiv] Ganguli; Anusasana Parva [book 13], Section CLXVIII.
[lxv] Dutt 1892; p.1923.
[lxvi] Ibid. ; p.1923.
[lxvii] Ibid. ; pp. 1924-1925.
[lxviii] Ganguli; Anusasana Parva [book 13], Section CLXVIII.
[lxix] White 2009; p.114.
[lxx] Ibid. ; p.114.
[lxxi] Dutt 1892; p. 1925.
[lxxii] Ibid. ; p. 1927.
[lxxiii] Ibid. ; p.1929.
[lxxiv] Ibid. ; p. 1930.
[lxxv] Ganguli 1883.
[lxxvi] Ibid.
[lxxvii] Ibid.
[lxxviii] Ibid.
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