English
Here, in "cāmīkaravaṇṇa," because the yati stands after passing two syllables, "cāmī," and because it is not deficient by two syllables, "kara," at the end, the word division is the multiplicity of preceding and following letters. It is an example of "tamatiṭṭha". In the word "siñcati", even though the two syllables "siñcā" are visibly skipped by the caesura, because there is only one syllable "ti" in the following part, there is no absence of multiple syllables, so it is a counter-example. Here, the multiplicity of syllables should be understood only by the word itself. Its color is like the color of gold; such is the analysis. 50. In sandhi, a vowel is like the end of the first word, In elision, like a vibhatti; Otherwise, it is different; there, The yādeśa and others are like the beginning of the next word. 50. "Saro," etc. When a vibhatti is elided, and sandhi, i.e., combination, is made, a vowel that is the beginning of the next word is like the end of the first word. Even if there is no absence of multiple syllables, there is no break in the caesura made after it; this is the intention. Otherwise, if the vibhatti is not elided, and combination is made, the vowel at the end of the first word is different, i.e., it is like the initial vowel of the next word; this is the meaning. There is no break in the caesura made leaving it together with the vibhatti; this is the intention. There, in that caesura, the yādeśa and others, i.e., the yakāra-ādeśa to be made for i-vowel and others, are like the beginning of the next word. There is no break in the caesura made leaving out the consonant together with the made ādeśa; this is the intention. 50. Now, showing that even if there is contradiction to what was said below, there is no break in the caesura, he says, "saro," etc. When a vibhatti is elided and sandhi is made, a vowel, the sandhi-vowel, is like the end of the first word. Otherwise, if the vibhatti is not elided, and combination is made, it is different; the vowel at the end of the first word is like the initial vowel of the next word. There, in the caesura, the yādeśa and others, i.e., the yakāra-ādeśa to be made for i-vowel and others, are like the beginning of the next word. Even having skipped a vowel similar to the end of the first word, and having come to a syllable similar to the initial vowel of the next word, and even without skipping it, and having skipped a yādeśa and others similar to the initial vowel of the next word, when a caesura is used, even if there is no absence of multiple syllables, there is no break in the caesura; this is the intention. The end of the first word, and that which is the ādeśa, and that which is the beginning, And the sentence, "beginning with 'ssa ma,'" and "beginning of the next." 51. 'Ca' and others are always at the end of the preceding word, always dependent on the preceding word; 'Pā' and others are always connected, like the beginning of the following word. 51. Always, constantly dependent on the preceding word, 'ca' and other particles are like parts at the end of the preceding word; the intention is that a pause should be made, considering them as the end. Constantly connected with the following word, always joined; the word 'tu' is used without purpose; 'pā' and others, however, are like the beginning of the following word, like parts at the beginning of the following word; the intention is that a pause should be made at the end of the preceding word, leaving that out. 51. "Cādi" etc. Always, constantly dependent on the preceding word, 'ca' and other particles beginning with 'ca,' dependent on the preceding word, are like parts at the end of the preceding word; 'pā' and other prefixes beginning with 'pā,' constantly connected with the following word, are like parts at the beginning of the following word. The intention is that a break or pause is a fault, whether 'ca' and others are included, considering them as external, or 'pā' and others are included, considering them as internal. The explanation is "co ādi yesaṃ te" and "pubbapadaṃ sitā" and "po ādi yesaṃ te" and "niccaṃ sambandhā." Here, due to the quality of being specific to those, the inclusion of 'ca,' 'pa,' etc., is also understood. Examples everywhere, as follows: 52. I bow my head to that Tathāgata beyond all measure; Whose attainment of the world's summit cannot be measured. 53. I always venerate that Sage, infinite in wisdom, supreme; Whose wisdom and loving-kindness are boundless, so it is proclaimed. 52-53. Everywhere, that is, in similar beginnings and ends. In the two verses beginning with "Nameta," the meaning of the words is clear, but the intention is that because he has attained the summit of the world, he is beyond all measure, and because wisdom and loving-kindness flow continuously in the world, he is of infinite wisdom and supreme. Here, having made the compound "sabbā upamā" and having omitted the case ending and made the sandhi, the 'u' at the beginning of the following word is like the 'a' in the 'bba' at the end of the preceding word, so there is a pause at the end of the line in "sabbo." "Pattassopamā" etc. Like the substitution of "ya" resembling the preceding word, when the vowel is not elided and the sandhi is made, the "a" of the inflected word resembles the preceding "u," so at "pattaicca," the foot ends, disregarding the well-known inflection. Similarly, at "vandāmyanantaicca," the substitution of "ya" resembling the preceding word is prescribed, so at "vandāicca," the foot ends, omitting the word "mya." It is said that "ca" and other particles belonging to the preceding word resemble the end of the preceding word, so the caesura occurs at "mettā ca," due to the particle "ca," and the feet related to the following word resemble the beginning of the following word, so at "nissīmāti," the caesura occurs at the beginning after omitting the word "ni." 52-53. Examples of the five instances where vowels and other sounds resemble the preceding word as stated above are as follows: "Name ta," etc. There is no comparison for that Buddha who has attained the highest state, because he stands beyond all objects, there is no comparison. I bow with my head to that Tathāgata who is beyond all comparisons. At "Sabbo," the caesura occurs after the "o," because it resembles the final vowel of the preceding word, and the caesura stands without transgressing the sound resembling the beginning of the following word at "ssopamāti." "Muninde," etc. The wisdom and compassion of that Buddha are boundless, because they make endless beings and endless objects their scope, they are without limit and exceedingly flourish. Because the object of knowledge is endless even in the arising and passing away, he is endowed with endless wisdom, using the term of the object in the subject, he is supreme and therefore excellent, I always venerate that lord of sages, because the caesura occurs without approaching "ta," since the substitution of "ya" resembles the following word. At "mettācanissīmāti," the caesura occurs even at "cā" and "nī," because "ca" and other particles resemble the end of the preceding word, and the feet resemble the beginning of the following word. Examples of counter-instances in "ca" and other feet are as follows: 54. Great compassion, great wisdom, And where supreme growth is, I salute that Jina, Excellent abode of virtues. 54. "Mahā," etc. "Yattha" means in which Jina. "Paramodayāti" means great compassion and other supreme growths. Therefore, "varaguṇālayaṃ" means abode of excellent virtues, therefore excellent. That excellent one, they conquer. This is the connection. Here, having made the 'ca' relying on the first word as the beginning of the next word, and the pause made before that, and having made the 'pa' related to the beginning of the next word as the end of the first word, and the pause made after the 'pa', are contradictory. Thus, in both cases, it is a counter-example. 54. A counter-example where 'ca' etc. are the subject matter, as in "Mahāmetti" etc. Where, in which Jina, great loving-kindness and great wisdom, these supreme growths, excellent developments, exist. The abode of excellent qualities, the source of supreme virtues, the best, and therefore the highest, that Jina I salute. Here, having made the 'ca' the beginning of the next word, and the 'pa' the end of the first word, and the pause occurring, both "ca yattha, taṃ pā" are counter-examples. 55. Deviating from the order of meaning of the words, this is a slip in sequence, as in: "A field or give a village or, a country or, my beautiful." 55. "Pada" etc. Deviating from the order of meaning of the words, slipped, this is called a slip in sequence. By "Khettaṃ vā" etc., this order of begging, reveals the speaker's ignorance. For how can one who is unwilling to give even a field, give a village etc.? 55. "Padatthi" etc. Deviating from the order of meaning of the words, slipped, this sentence is called a slip in sequence. He exemplifies, "yathi" etc. Give me a beautiful field or village or country or district. Here, the order of begging, "Khettaṃ" etc., without revealing the speaker's ignorance, does not express the proper order of meaning of the words. For how can one unwilling to give even a field, give a village, town, or district? Thus, there is a loss of sequence. 56. Transgressing the worldly meaning, it is considered excessive, as in: "Overcrowded is the sky, so much so are the breasts." 56. "Loki" etc. Known in the world, worldly, that which transgresses that worldly meaning, that which is not followed, is considered excessive. He exemplifies with "Yathetyādinā." The spreading of the breasts of this woman, Space, the sky, is too crowded, extremely small. 56. "Lokiyatthi," etc. A statement that exceeds the worldly meaning, the well-known subject in the world, is considered an overstatement. He gives an example, "yathi," etc.