But after having heard and presented the brahmin with gifts Sutasoma returns to the lion’s son in spite of his parents’ and wives’ supplications. Has not the lion’s son become his benefactor by allowing him to do his duty? On this ground he has a right to his commiseration and to be released from the curse resting on him by birth.
And when the astonished robber asks him what this brahmin did say the prince delivers so eloquent a harangue about law that the lion-man converts himself and puts all his prisoners at liberty to follow them to Sutasoma’s residence.
On 10 we see the prince with the brahmin; on 11 the former is carried away by the robber; 12 refers to the continuation of the preaching, and on 13 has been hewn the reclaiming of the lion-man.
Second corner, 14, 16 and 17 third corner, 2 (W. L. 120, 122, 123 and 127).
Once upon a day the Lord was born as the son of a king whose elder sons had died young. In order to withdraw him from the influence of the demons the newborn son was educated in an iron house (ayogriha).
Once driving through the residence the young man saw much that set him thinking; he saw how old age, sickness and death threatened everyone while storms, inundations and fire destructed their properties. Returned at home he resolves to part from the world and to live in the wilderness as a hermit and penitent, and to ask his father’s consent. All that lives, is from the moment of being in mother’s womb, doomed to death, is not it? And all that lives kills to save life, but nobody can kill death. Even the angels and devas can’t.
His father asks him whether this death will not catch him in the wilderness as sure as anywhere, but agreeing he says that death can’t find him unfit to the preparation for the transition in a future life.
The father agrees at last, and the prince devotes his further life to the dhyâna, the holy meditation which will lead him to the brahmâloka.
The prince’s birth has been hewn on 14; 16 shows us the brahmin’s homage to the new-born; 17 represents the drive outside the palace, and 2 after the following corner describes the prince’s life in the wilderness.
Besides, I suppose the corner-sculpture and the first behind the corner (W. L., 124 and 126) to refer to the prince’s leave-taking from his father and wives, just as it afterwards happens with Siddhârta.[52]. Striking is the conformity of this life with that of the king’s son of Kapilasvastu.