English
Just so, the body has what is clung to as its inclination, tangible objects derived from earth as its object. For example, beings, not finding anything else to cling to, lie down with their heads on the palms of their own hands. And both internal and external earth are the condition for its grasping of objects. For one cannot know the state of being stiff or soft of even a well-laid bed, or of fruits placed in the hand, without sitting down or pressing on them. Internal and external earth are the condition for this body's sense organ knowing tangible objects. Thus, their non-mixture should be understood from the determination of characteristics and so on. For the characteristics, taste, manifestation, basis, object, inclination, and support of the eye sense organ are different from those of the ear sense organ and the others. They are unmixed, such as the eye-sphere, etc. And this simile should be understood for their unmixed nature: Just as when five-colored flags are raised, although the shadows appear as one, each is unmixed with the others. And just as when a wick is made of five-colored cotton and a lamp is lit, although the flame appears as one, each individual ray is an unmixed flame. Even so, although these five spheres are gathered together in one existence, they are unmixed with each other. And not only these five, but the remaining forms are also unmixed. In this body, there are three sections: the lower body, the middle body, and the upper body. There, from the navel downwards is called the lower body. In that, there are forty-four forms: the decade of the body, the decade of gender, eight arising from nutriment, eight arising from temperature, and eight arising from mind. From the navel upwards to the throat is called the middle body. There, there are fifty-four forms: the decade of the body, the decade of gender, the decade of the base, and three octads arising from nutriment, etc. From the throat upwards is called the upper body. There, there are eighty-four forms: the decade of the eye, the decade of the ear, the decade of the nose, the decade of the tongue, the decade of the body, the decade of gender, and three octads arising from nutriment, etc. There, the four great elements, color, odor, taste, nutriment, the life faculty, and the eye-sensitivity are the conditions for the eye-decade, named as such due to the ten produced forms that are entirely inseparable. The remaining ones should be understood in this way. Among them, the form in the lower body is unmixed with the forms in the middle and upper bodies. The form in each of the remaining two bodies is also unmixed with the others. Just as at evening time, the shadow of a mountain and the shadow of a tree, although they appear as one, are unmixed with each other, so too are these four in these bodies. Though these forty-four, fifty-four, eighty-four forms appear as one, they are truly unmixed. 616. In the explanation of the visual sense base, color is like the appearance of color; it shines, hence appearance. Meaning, it is evident to visual consciousness. Appearance is like color, the appearance of color. With indication, having indication, meaning, seen by visual consciousness. With impact, having impact, meaning, generating striking and rubbing. Among blue, etc., blue is like an umā flower, yellow is like a kanikāra flower, red is like a bandhujīvaka flower, white is like an osadhitāraka star. Black is like a burnt ember, crimson is like a mandaratta, sinduvāra, or karavīra bud. "Green, golden-colored, lovely, bright-faced, ripe" (Ja. 1.15.133) though here 'green' is said to be gold, because it is taken later by the term gold, here it is simply called green. These seven are shown by their own nature, without touching an object. Green color means the color of green grass. Mango sprout color means a color like a mango sprout. These two are shown touching an object. Long, etc., the twelve are shown from usage. And their usage is established by comparison and by arrangement. For long, etc., are established by comparison with each other, round, etc., by a special arrangement. There, comparing short, longer is long, comparing that, shorter is short. Comparing thick, smaller is thin, comparing that, larger is thick. A wheel shape is round, an egg shape is oval. Having four sides is square. The same method applies to six sides, etc. Low-lying means sunken, raised means elevated. There, since long, etc., can be known by touching, but blue, etc., cannot be known in this way, therefore, long is not a visual sense base in the absolute sense; likewise, short, etc. But long stands as long, dependent on that. because they call it that, one should understand that only the eye-object is spoken of here. Shadow and sunlight are mutually delimited; so too are light and darkness. Clouds, mist, and so on, the four are shown by their substance. Therein, 'clouds' means cloud masses. 'Mist' means frost. By these four, beginning with clouds, the colors are shown. By the color of the moon's orb and so on, the colors of their respective radiance are shown. Therein, the distinction of the moon's orb and other objects should be understood thus: The moon's orb is a mansion of the moon's divine son, made of jewels, covered with silver, forty-nine yojanas in length and breadth. The sun's orb is a mansion of the sun's divine son, made of gold, covered with crystal, fifty yojanas in length and breadth. The star shapes are mansions of their respective divine sons, made of seven jewels, seven, eight, ten, or twelve yojanas in length and breadth. Therein, the moon is below, the sun above, the distance between the two is one yojana. From the lower edge of the moon to the upper edge of the sun is one hundred yojanas. On both sides go the constellations and stars. Among these three, the moon is slow-moving, the sun is fast-moving, the constellations and stars are the fastest-moving. At times they are in front of the moon and sun, at times behind. A mirror-orb is made of bronze. Jewels, except for beryl, are of various kinds, such as radiance and essence. A conch is from the sea; pearls are also from the sea, and others too. Beryl is a jewel the color of bamboo. Gold is called the color of a knife. For a knife is the color of gold, and gold is the color of a knife. Silver is called a kahāpaṇa – a metal māsaka, a wooden māsaka, a lac māsaka, all of which "go into circulation," as stated (Pārā. 584), all of that is included here. Or whatever else, by this, except for what comes in the Pāli, the remaining forms of various kinds, such as matting, cloth scraps, and ear-ornament colors, are included. For all of that is included in the market goods. Thus, this form, though different by distinctions such as blue and so on, All that, with its characteristics and so on, is exactly the same. All this is form, characterized by striking against the eye, having the function of being the object of eye-consciousness, having the manifestation of being its range, having the four great elements as its basis. Just as this is, so are all the derived forms. But where there is a difference, I will speak. The rest here should be understood in the same way as stated in the explanation of the eye-sphere. Only there the explanation begins with the eye, here it begins with form. There, there are fourteen names beginning with 'the eye itself', here there are three beginning with 'form itself'. The rest is just the same. Just as the eye was defined in thirteen turns, adorned with four methods each, so here too they are stated in the same way. 620. In the explanation of the sound-sphere, the sound of a drum is the sound of a large drum or a beaten drum. The sounds of a mudiṅga, conch, and paṇava are sounds caused by a mudiṅga, etc. The sound reckoned as a song is the sound of a song. The sound of stringed instruments such as the remaining vīṇā, etc., is the sound of instruments. The sound of sammas is the sound of cymbals or wooden clappers. The sound of the hand is the sound of a hand clap. The sound of the roar of beings is the sound of the roar of many gathered together, where the words and syllables are not distinguished. The sound of the striking of elements is the sound of trees rubbing against each other, the sound of striking bells, etc. The sound of the wind blowing is the sound of the wind. The sound of water flowing or being obstructed is the sound of water. The sound of people conversing, etc., is the sound of people. Except for that, all the rest is the sound of non-humans. By these two terms, all sound is completely included. Even so, the sound occurring in the splitting of bamboo or the splitting of reeds, etc., which is not mentioned in the Pāli, should be understood as included in the sound of things that can be split. Thus, this sound, though different by the difference of the sound of a drum, etc., is exactly the same with its characteristics and so on. All this is sound, characterized by striking against the ear, having the function of being the object of ear-consciousness, having the manifestation of being its range. The rest should be understood in the same way as stated in the explanation of the eye-sphere. Here too, with four These are adorned with four methods, and thirteen rounds are stated. Their meaning can be known by the method already stated, so it is not elaborated. 624. In the explanation of the olfactory sense-sphere, "root-odor" means any odor arising dependent on a root. The same method applies to heartwood-odor and so on. The odor of raw or poorly prepared *ḍāka* and other such things is a raw odor. The odor of fish scales, putrid meat, or rancid ghee is a foul odor. "Pleasant odor" means a desirable odor. "Unpleasant odor" means an undesirable odor. With these two terms, all odors are encompassed. Even so, odors not mentioned in the Pāli, such as ear-odor and rag-odor, are all to be understood as included in the category of "whatever is odor."