English
Just as indeed the forepart of a lion's body is perfect, not so is his (body alone). But the meaning is that the Tathāgata's body is entirely perfect. But the forepart of a lion's body is perfect, the hind part of the body is imperfect. But the Tathāgata's entire body is perfect, just like the forepart of a lion's body. He too, like a lion, is not ill-formed or misshapen here and there by being bent or raised, etc. But where it is appropriate to be long, it is long. In places appropriate to be short, thin, thick, or round, it is just so. This has been said: "And indeed, monks, when a pleasing result of kamma is present, by which limbs it shines long, those limbs become thick. By which limbs it shines thin, those limbs become thin. By which limbs it shines round, those limbs become round." Thus, the Tathāgata's existence, adorned with the ten perfections, by various thoughts, by meritorious thoughts, by mind, in this world, all artisans or those with psychic power are not able to make even a likeness. Therefore, he is praised as 'lion-forepart-bodied'. The commentary on the twenty-fourth homage verse is concluded. 25. In the third verse, 'Sugata' means the Buddha, the agent. But that word ('Sugata') has a connection with words like 'sattappīna' (seven-well-fleshed), etc., by way of having the same gender. 'Sattappīna' means 'well-fleshed in seven places' by way of two hands, two feet, two shoulders, and one neck. But the teachers say the meaning is 'seven places, namely, two hands, two feet, two shoulders, and the trunk, which are perfect'. He is 'pīna' because he is well-fleshed and complete with flesh. Or, he is 'pīna' because he is well-fleshed or complete. The root 'pīṇa' is in the sense of being well-fleshed or filling, with 'ṇa'. 'ṇa' becomes 'na'. Two backs of hands, two backs of feet, two shoulders, and one neck – whose flesh is well-fleshed and complete in these seven places, therefore 'sattapīna', the Sugata is understood. For others, indeed On the backs of hands and feet, networks of sinews are visible, and on the shoulders and neck, the tips of bones. Those people appear like ghosts. Not so the Tathāgata. But the Tathāgata, because of having full fleshy protuberances in seven places, with sinew-networks concealed, appears with a neck like a golden-colored phallus, smoothed and rounded, like a statue of virtue, or like a painted figure. Therefore, he is praised as "seven-pleasing." However, in the Brahmāyu Sutta, the reading is "seven-protuberanced." Its meaning should be understood as: having full fleshy protuberances in seven places. "Dīghaṅgulī" is parsed as "dīgha aṅgulī." The meaning is: having equally long fingers and toes. "Aṅguli" means that which goes up, that which moves. Or "aṅguli" is that by which one touches this or that limb of the body, a branch of the hand. The root "ag" is in the sense of motion, with the suffix "uli." Or "aṅguli" is that by which one touches, goes to, or reaches a limb, a body part; a branch of the hand. The root "ul" with the prefix "aṅga" is in the sense of motion, with "i." He whose fingers and toes are equally long is "dīghaṅguli," the Sugata. The meaning is: he has equally long fingers and toes. Just as for others, some fingers are long, some short, it is not so for the Tathāgata. But the Tathāgata's fingers and toes, like those of a monkey, are long, thick at the base, gradually becoming slender towards the tip, like a stick of haritala rolled after being softened with resin oil. Therefore, he is praised as "dīghaṅguli." "Mathāti" is parsed as "ma athāti." The letter "ma" is a conjunction of words. "Athāti" is an indeclinable in another sense. The meaning is "other than that." "Lomakūpekalomo" is parsed as "lomakūpa ekalomo." The meaning is: one hair grown in each hair-pore. "Lomo" is that which cuts or severs the skin and flesh, or "lomo" is that which, when growing, should be cut; the root "lū" is in the sense of cutting, with the suffix "mani." "Ku" is said to be water; "kūpo" is that which protects it, that which drinks it. The root "pā" with the prefix "ku" is in the sense of protecting, with "kvi." The "u" is long. "Kūpo" is like a well. Or "ku" is said to be hair; "kūpo" is that which protects it. In the Abhidhānaṭīkā, however, "the letter 'po' in the word 'ku'. Long etc. Kūp" By what is it raised, or a pit? "Bhassa po" is said. A pit of hair is a hair-pit. He who has a single hair born in each of those is 'single-haired-in-each-hair-pit', the Fortunate One. For just as for others, many hairs are born in each hair-pit, it is not so for the Tathāgata. But for the Tathāgata, a single hair is born in each hair-pit. For it is said in the Brahmāyu Sutta: "Indeed, Master Gotama has a single hair. Single hairs are born in the hair-pits." Therefore, he is praised as 'single-haired-in-each-hair-pit'. "Sampannodātadāṭho" is parsed as "sampanna-odāta-dāṭho". The meaning is 'having perfectly white tusks'. 'Sampanno' means 'perfected'. 'Saṃ' is a prefix, 'pad' is the root for 'going', 'ta' is the suffix. Its 'anno'. 'Odāto' means 'pure white', as it shines, it is broken from other colors. 'Ava' is a prefix, 'dā' is the root for 'breaking', 'ta' is the suffix. 'Dāṭho' is a canine tooth, a special kind of tooth, because it bites rice and so on. 'Daṃs' is the root for 'biting', 'ṭho' is the suffix. 'Daṃs' becomes 'dā'. He who has perfect and white tusks is 'sampannodātadāṭho', the Fortunate One. For others, decayed teeth emerge. Because of this, some tusks are black or discolored. But the Tathāgata has white tusks, endowed with a radiance that surpasses even the morning star. In the Pāli, however, the reading is "susukkadāṭho" (very white tusks). This is the same meaning. Therefore, he is praised as 'having perfectly white tusks'. "Kanakasamataco" means 'skin like gold'. 'Kanaka' is gold, because it shines, it gleams with radiance. Or 'kanaka' is gold, because it is desired by humans. The root 'kan' is for shining, moving, desiring, with the suffix 'aka'. 'Samaṃ' means 'equal', because it goes, it proceeds, it is similar to. 'Saṃ' is a prefix, 'am' is the root for 'going', 'a' is the suffix. 'Taco' is skin, because it covers and conceals the flesh. Or 'taco' is skin, because it shines with the radiance of gold. The root 'tac' is for covering and shining, with the suffix 'a'. He whose skin is equal, similar to gold, is 'kanakasamataco', the Fortunate One. For just as for others, some skin is blue, some white, some yellow, it is not so for the Tathāgata. But the Tathāgata's skin, having been rubbed with natural vermilion, with a whetstone... Like a solid gold image, polished with red ochre, and then set up, his skin is like gold. But in Pāli, it is said: "golden-colored, skin like refined gold." Here, "golden-colored" means: whose color is like gold. And "skin like refined gold" means: whose skin is similar, like refined gold. This is the meaning to be understood. Here, by "golden-colored," the Tathāgata's dense, smooth, and fine body is shown. By "skin like refined gold," the color of his skin is shown. Or, these two words are synonyms. Therefore, he is praised as "having skin like gold." "With blue, upward-pointing hairs" is the word division: "blue, upward, pointed hairs." Whose hairs are blue, with tips pointing upwards, as if looking at the beauty of his face, he is "with blue, upward-pointing hairs," the Fortunate One. Just as the hairs of others stand with tips pointing downwards, it is not so for the Tathāgata. But the Tathāgata's hairs, at the end of their curl, stand with tips pointing upwards, as if looking at the beauty of his face. This is stated in the Brahmāyu Sutta: "Venerable Gotama has upward-pointing hairs. His hairs are born upward-pointing, blue, collyrium-colored, curled in spirals, and turned to the right." Therefore, he is praised as "with blue, upward-pointing hairs." "The Perfectly Enlightened One" is the Tathāgata. For he, without being taught by another, himself understands the Four Noble Truths; therefore, he is called "the Perfectly Enlightened One." But this word is connected in gender with the three words "with a large tongue," and so on. "With a large tongue" means endowed with a soft, long, and broad tongue. Indeed, due to the poetic meter, the words "soft" and "long" have been omitted, and it is stated thus. Therefore, it is said in the commentary: "a soft tongue, long, large, and endowed with beauty." "Thūla" (large) means "it grows" (brūhati), it is "large," the tongue. The root "thūla" in the sense of "to grow." "Jivhā" (tongue) means "it lives, it sustains life," the organ of taste. The root "jīv" in the sense of "sustaining life," with the suffix "ha." "Jīvita" (life) means "beings live by this taste," The essence of taste. That which calls (or tastes) is the tongue, the sensitive part of the tongue. The tongue as an organ is obtained through the proximity of its base. The root 'avha' (to call) with the prefix 'jīvita' (life) in the sense of calling. When it should be 'jīvitaavha', by the rule of etymology, the 'vita' sound is dropped, and it is called 'jivhā'. He whose tongue is thick, great, long, soft is 'thūlajivho' (one with a thick tongue), the Buddha. For others, the tongue is sometimes thick, sometimes thin, sometimes short, sometimes stiff, sometimes uneven. But the Tathāgata's soft tongue is long, broad, and endowed with good color. He, for the purpose of dispelling the doubts of Brahmāyu Brāhmaṇa and others who came to seek that characteristic, due to the softness of his tongue, rolls that tongue like a hard needle and touches both nostrils, due to its length, he touches both ear canals, due to its breadth, he covers even the entire forehead up to the hairline, thus, revealing its softness, length, and breadth, he dispels doubts, thus, referring to the tongue endowed with these three characteristics, he is praised as 'thūlajivho'. In the Pāli, however, the reading is "pahūtajivho" (abundant tongue).