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The feet of the Teacher of the three worlds, exceedingly lovely. Taking with a firm hand, Always kissing with great respect. 337. Thus, following the power of ancient teachers, This is briefly stated for the adorned; The differences, further, imagined by poets, Who is able to see the essence of that? Thus in the Subodhālaṅkāra composed by Saṅgharakkhitamahāsāmi, The fourth chapter, Understanding of the Figures of Meaning, is concluded. 5. Understanding of Emotions - Fifth Chapter 338. By one with insight, following worldly usage, Then, by a poet knowing the blossoming of wonder. 339. Emotions related to the permanent, stimuli and consequents, Are well connected and bound, for the taste of emotion. Meaning of Emotion 340. Indeed, particular states of mind, cause emotion in taste, Therefore, feelings like love are described by the word "emotion." Meaning of Permanent Emotion 341. That emotion which is not hidden by a contrary emotion, Which stands by nature, is called "permanent emotion." Enumeration of Types of Permanent Emotion 342. Love, laughter, and sorrow, Anger, energy, and fear too; Disgust, wonder, and equanimity, these are the nine permanent ones. Meaning of Transitory Emotion 343. Due to the prominence of stimuli and other specifications, Those which move by nature, are called transitory. Types of Transitory Emotion 344. Disgust, reasoning, doubt, composure, Resolution, dullness, wretchedness, impatience, laziness, Sleep, fear, sickness, eagerness, joy, Memory, envy, sadness, outwardness; Thought, pride, fainting, impatience, intoxication, Madness, excitement, delusion, awakening, Slumber, agitation, concealment, death, Fickleness, disease, these are thirty-three. Meaning of Sattvika Emotion 345. Born from a composed self, from essence, thus produced, Those consequents are also Sattvika, these emotions are distinct. Types of Sattvika Emotion 346. Stiffness, fainting, horripilation, Thus sweat, tears, trembling; Pallor, spreading, these are the emotional states. 347. When love and other emotions, are not constant; Then all those emotions, become transient. 348. The cause of these is the determinant, and the stimulant; That which is the indicator of them, Is called the consequent. 349. To explain the various causes, and the specific mental activity; Emotions, determinants, and consequents, should be clearly described in the composition. 350. With determinants and consequents, those emotions appropriately; Should be described according to propriety, following the ways of the world. 351. Due to the specific mental activity, and the emotional states of the mind; External expressions like sweat, etc., should be described with consequents. Intention of Rasa 352. The joy of the audience, which follows the meaning of the composition; Is savored, thus it is called, rasa by the wise. Types of Rasa 353. With determinants, consequents, emotional states, and transient states; When brought to a state of savoring, that rasa is like a permanent state of mind. 354. Erotic, comic, pathetic, furious, heroic, terrible; Disgusting, wondrous, and peaceful, are the rasas in order of their permanent states. 355. How can there be joy in a painful form, such as in the pathetic? There can be joy for the listener, Like the sorrow of Vessantara. Description of Permanent Emotional States: The Permanent State of Love 356. Pleasant places, arts, times, attire, and other things; The delight of young people mutually attracted, is called love. 357. When these are connected with determinants and consequents, they nourish it; That love is threefold, due to union, separation, and enjoyment. The Permanent State of Comic 358. From distortions of form and other things, of oneself or another; Laughter, sleep, laziness, fainting, and other transient states; When fully developed, it becomes comic, especially in the case of exaggeration. Types of Comic 359. Here, *sita* is when the eyes widen, *Hasita* is when the teeth are slightly visible; *Vihasita* is with sweet sounds, *upahasita* is with shaking head and shoulders. 360. *Apahasita* is with tearful eyes, *atihasita* is with scattered limbs; These two are described. And the best, The middling, and the worst, in order. The Sentiment of Compassion 361. Compassion is sorrowful, from the loss of a desired thing; Its consequents are weeping, lamenting, paralysis, and so on; Despair, laziness, death, worry, and so on are its concomitants. The Sentiment of Fury 362. Fury arises from anger, envy, and so on, fostered by threats, intoxication, and so on; With redness of the eyes and so on, the sentiment is called fury. The Sentiment of Heroism 363. Energy, with prowess and so on, is known as the sentiment of heroism; Heroism is threefold, associated with battle, generosity, and compassion; Its consequents are courage, pride, liberality, and so on are its concomitants. The Sentiment of Fear 364. Exaggerated fear, from calamities, beings, and so on, is the sentiment of terror; Sweating and so on are its consequents, fright and so on are its concomitants. The Sentiment of Disgust 365. Disgust arises from blood and so on, from aversion to foulness and so on; The sentiment of revulsion is agitating, disturbing, and gradually compassionate; Its fostering is by wrinkling of the nose and so on, by doubt and so on. The Sentiment of Wonder 366. Wonder is the sentiment of amazement, from things beyond the world; Its consequents are sweating, tears, words of praise, and so on; Fright, agitation, courage, wisdom, occur here as concomitants. The Sentiment of Serenity 367. The underlying sentiment is serenity, arising from loving-kindness, compassion, joy, and so on; Its exaggeration is by feelings and so on, serenity is cultivated by the tranquil. Thus, in the Subodhālaṅkāra composed by the great Sāmi Saṅgharakkhita, The fifth chapter, called Understanding of Sentiments and Emotions, is concluded. The Subodhālaṅkāra is completed.