English
The wise, the discerning, should destroy the power, the influence consisting of the ability to give results, of even small, very weak evils, unwholesome deeds, by making them ineffective; there is no need to speak of many evils. He supports that meaning with the figure of speech of instance, beginning with "even." The sun, even when accompanied by fireflies brought to insignificance, is still the sun. The meaning is that he does not become one of inferior light, abandoning his own light by making fireflies prominent. Here, by the elegance of the phrase "even fireflies brought to insignificance," since the sun's generosity is emphasized even while taking the inferior side, the specific word "fireflies brought to insignificance" does not rely on the fault of inferior meaning. And the explanation is: "Those who have no light," and "The state of those," and "By whom fireflies are brought to that state." As for the meaningless: 85. One should not join a word anywhere, For the sake of filling the foot; As I venerate the lotus-like feet of the lord sage. 85. "Na pāde" etc. Here, as below in "vande", there is no uselessness due to the absence of anyone to fill the line. 85. "Na pādi" etc. A wise person should not insert a word, such as a noun, anywhere to fill a line of verse, for the purpose of completing the line, which is considered a benefit, just as in the example of inserting a useless word, "munindassa varaṃ pādapaṅkeruhaṃ vande." As in the bad example below, the fault of uselessness is removed by not inserting any word for the purpose of filling the line, with meaningful words. Because of the common qualities of softness, purity, and beauty, it is similar to a lotus, and is metaphorically called a lotus. The analysis is "pādameva paṅkeruhaṃ." This avoids the fault of adjective and noun. 86. If a particular Emphasis like fear, anger, praise, Is desired to be expressed, There is no fault of singleness there. 86. "Bhaye" etc. Fear, which is mental agitation, and anger, which is aversion, and praise, which is eulogy, and so on, if such a particular emphasis is desired to be expressed, there is no fault of singleness in that subject of fear and so on. 86. Now, he begins to explain the avoidance of sentence faults, "bhayakodhe" etc. If a particular emphasis, endowed with fear, anger, praise, etc., such as mental agitation, aversion, and eulogy, is desired to be expressed by the wise, then in that emphasis of fear, anger, etc., there is no sentence fault created by singleness. The meaning is that if one wishes to speak about an emphasis of fear, etc., there is no fault of singleness in repeating a word previously uttered. And fear, and anger, and praise, etc., are the various meanings of swiftness, curiosity, tears, laughter, sorrow, and joy. Because of the non-difference of the meaning known by its qualities, it is not contradictory to speak again and again, even after speaking of fear, etc. Those words, etc., whose meaning is one are single, their state is singleness, created by that is the analysis. For example – 87. A snake, a snake, look! Turn back from there, sir; If you wish to live, why do you approach it? 87. "As," he exclaims, "a snake," and so on. "This is a snake, a snake," repeated in fear, alas! in sorrow, from that place, or from the snake, may you, sir, turn back, turn around facing the way you came. That place, or the snake. There is no fault of redundancy here, due to the use of repetition in fear. 87. "A snake," and so on. Alas, he is lost! This is a snake, a snake, may you, sir, turn back, turn around from that place, or from the snake, if you wish to live, why do you approach that place, or the snake? There is no fault of redundancy because of the utterance repeated in fear; in "if you wish to live," there is elision of the nasal. The explanation of avoiding faults of words is concluded. The explanation of avoiding faults of sentences. As in the style of Bhaggarīti: 88. Whatever surpassing beauty, Whatever captivating loveliness; Whatever surpassing charm, Ah, the Buddha's great arising! 88. "Whatever," and so on. The surpassing excellence of form, adorned with the thirty-two marks of a great man embellished with minor characteristics, resplendent with a fathom-wide aura and a garland of rays, is indeed whatever, because it exceeds the scope of speech, being indescribable. Loveliness, captivating the minds of many beings, is indeed whatever, beyond the path of words. The surpassing excellence of charm, such as gait, is indeed whatever; therefore, the Buddha's great arising, growth, is ah, wonderful! Here, the style begun with the word "what" is not broken anywhere. 88. "Whatever," and so on. The excellence of form, adorned with the thirty-two marks of a great man, such as well-placed feet, embellished with eighty minor characteristics such as mind-pleasing fingers, radiant with a fathom-wide aura and a garland of rays, the abundance of the form body is indeed whatever, without being an object of the mind, because it transcends the realm of speech, it is indeed whatever. Loveliness, captivating the minds of the world, the beauty is indeed whatever, because it transcends the realm of speech, it is indeed whatever. The excellence of charm, the going And the abundance of the beginning is also only anger, because of the stated reason, only anger. Then, the great rise of the Buddha, the rise known as the great increase of the Buddha, oh, it is wonderful! Here, by the pronoun "kiṃ," the order of beginning to speak is nowhere broken, so there is no fault of broken rhythm. 89. A composition free from confusion, Uncluttered, delightful, With word placement not far apart, The best of poets praise. 89. "Abyāmoha," etc. Not far away are "adūrāni," those very words, their placement, the proper arrangement of which it has. Therefore, it is also uncluttered, unmixed. Being uncluttered, it is also delightful, so "abyākiṇṇaṃ manoharaṃ." Therefore, it does not cause confusion, saying, "This is the meaning here, or that," so it is "abyāmohakaro," that. A composition adorned with the ornament of clarity. The best of poets, the chief ones. Those who are unwilling to count on their little fingers, they praise, extolling the excessiveness of such a composition's qualities, being worthy of praise. 89. "Abyāmohe," etc. "Adūrapadavinyāsaṃ" means that the relationship of nouns and other words should be close during usage, and it is endowed with the orderly placement of words in that way. "Abyākiṇṇaṃ" means unmixed with words related to other things, and therefore delightful, and therefore "abyāmohakaraṃ," not causing confusion to the wise, not producing doubt, saying, "This is its meaning, this is its meaning, this or that." "Bandhaṃ" means a composition joined with the ornament of clarity, and "kavissarā" means the chief of poets, the wise ones, meaning the foremost poets who can be counted on the little finger. They praise, extol. "Byāmohaṃ na karotīti abyāmohakaro." "Vi ākiṇṇo byākiṇṇo, na byākiṇṇo abyākiṇṇo." "Natthi dūraṃ yesaṃ, tāniyeva padāni, tesaṃ vinyāso ṭhapanaṃ yassa bandhassāti" is the analysis. As, for example – 90. Eyes like blue lotuses, Lips with the beauty of Bandhuka flowers; A nose like a golden goad, This Buddha, pleasing to behold. 90. "Yathe," he exemplifies, "nīluppalābha," etc. Whose, of that Buddha, the eyes, the two eyes, have the likeness of blue lotuses, like two indīvara flowers. His jaw, his lower lip, Is as lovely as a Bandhuka flower, His nose, Is like a golden goad, Therefore, this Victor, Is beloved, sweet to see, He is called Piyadassana. Such a one is free from pervasive faults, He is pervaded only by serenity. 90. Now, he avoids the pervasive faults, With "Nīluppali," etc. He whose eyes, A pair of eyes, Have the luster of a blue lotus, His lower lip, Is as delightful as a Bandhuka flower, His nose, Is like a golden goad, Therefore, this Victor, Is Piyadassana, Delightful to see. Here, because he is endowed with the grace of beauty, He is free from pervasive faults. The word "ābha" (luster), like the word "nibhā" (resemblance), Has the meaning of "like." Otherwise, it is a synonym for "splendor." "As lovely as a Bandhuka flower," and, "He whose sight is beloved," are the explanations. Here, although the connection of the sight, Is with virtuous people as the agent, The connection with the Victor is only as the object, Therefore, the Tathāgata is taken as another meaning. 91. Surpassing vulgarity, Composed with lovely speech, The composition, because it is the cause of delight, Transcends vulgarity. 91. "Samatikkanti," etc. Well surpassed, gone beyond. The state of being vulgar is vulgarity. By those lovely, sweet words, Composed, The composition, because it is the cause of delight, By way of being the cause, Transcends, goes beyond, The vulgarity as stated. 91. "Samati," etc. Samatikkantagāmmattakantavācābhisaṅkhataṃ, Especially surpassing vulgarity, Composed with lovely speech, The composition, such as a necklace, Because it is the cause of delight, Of the delight of the wise, Transgresses, goes beyond, The vulgar fault as stated. "Well surpassed is the vulgarity, by which," and, "Composed by those lovely words," and, "The cause of delight, its state," are the explanations. For example – 92. He torments me, the lustful rogue, He is both kind and merciless; Such as I, fallen into misfortune, What does the happy one You neglect me. 92. "As" is cited. A certain woman, tormented by desire, laments to her beloved husband, "He torments," and so on. "With compassion it proceeds," thus "sadaya" is an address to the beloved with entreaty, for an address with entreaty is most fitting when hoping for favor thereafter, that desire, that Cupid, is a very cruel outcast, or without a wound, because it brings unbearable torment.