1923.] Ldentification of Four Jatakas at Bharaut. 355 
used both as a ‘cremation ground,’ ! where dead bodies were 
burnt and as a ‘ charnel-field,’ 2? where dead bodies were thrown 
away unburnt. If these conjectures are sound, I am sure that 
the scene can be rendered intelligible and the remaining figures 
explained by the aid of the Pali Uraga-Jataka (No. 354). The 
story as narrated in Fausb6ll’s edition of the second Jataka- 
commentary—the Jatakatthavannana—may be summarised 
The Bodhisat was once born as a Brahmin. He lived 
liappily in a village near Benares with his wife, son, daughter- 
in-law and two daughters. One day he went with his son io 
work in his plough-land. While his son was burning the weeds 
heaped up in one place, he was bitten by a poisonous snake 
and died then and there. e Bodhisat did neither cry nor 
lament, although this mishap oceurred before his eyes, knowing 
such was an inevitable end of the body. When the news reached 
the female members of his family, none of them wept. The 
dead bedy was duly carried to the cremation-ground and 
consigned to fire. It was a great wonder that while the body 
was being cremated, none of the Bodhisat’s family including 
himself was seen to shed any tear. This wonderful power of 
self-restraint made the throne of Sakka glow. Forthwith 
" Sakka, king of the gods, came down to the cremation ground, 
and after uttering the lion’s roar stood on one side. He 
interrogated the Bodhisat and the four female members of his 
family, asking each of them to tell him why it was they 
had not wept. It is said that the replies received from them 
satisfied Sakka, who was so pleased with their attitude that 
he filled their house with riches beyond measure an i departed. 
Here the story ends. 
We can well understand that the five human figures to 
0 



\ Dagdha-cita, ala@hana or adahana. : 
* Anagnidagdha cité, sivathika, Gmaka-susina, _ : ak 
: * The canonical or poetic version of the story is contained in the 
‘etavatthu. See Uraga-Peta-vatthu. : : 
* The only serious objection that can be raised is that all the human 
hi eral Bharaut conven- 
< on , 
tion, is the characteristic of males. But this may be due to the sculptor’s 
c ma. . 
'ng even the female figures with a headgear in the s o . 
conspicuous instance of a female figure wearing a turban is offered by 
Cunningham’s Plate XLVIII, 11. 
