English
In your naturally beautiful compassion and wisdom, Those of inferior inclination are not pleased. What is the nature of the minds, The inclination of the thoughts of those people, Towards qualities that are harsh, Qualities that are not sweet, How do they take root? It is driven and flows by wisdom, And how does it appear? And the analysis is: those whose qualities are harsh. Here, samādhi is the two qualities, Sweet and harsh, That are the nature of the Dhamma, Devoid of flavor, But with flavor superimposed. In the non-fluid, the fluid-possessing, 156. Everywhere-accomplished, Small-bowl drink, great qualities; On all sides they run, With jasmine-flower-beauty characteristics. 156. Because of "sabbatthasiddhi". For the Everywhere-Accomplished Great Sage, A drink to be drunk from a small bowl, With jasmine-flower-beauty characteristics, Possessing the beauty of jasmine flowers, With radiant splendor, Great qualities run on all sides, Around the directions, to the ends of the directions. 156. Now, he indicates an example of samādhi possessing fluidity, because of "sabbatthi". O Tathāgata, Everywhere-Accomplished, Perfected in all duties, Or endowed with all perfected aims, Your small-bowl drink, To be drunk from a small bowl, With jasmine-flower-beauty characteristics, Having characteristics similar to jasmine beauty, Or like jasmine beauty, Great qualities, Great because of the immensity of number, Or great because of the immensity of power, Or great, such as the qualities of arahantship, Run on all sides, From all sides, In the ten directions. Here, samādhi is said to be the state of the small-bowl drink, Which is a quality possessing fluidity, Superimposed on a quality devoid of fluidity. And the analysis is: all those aims, and he accomplishes, and those are accomplished by whom, and the small bowl itself, and by that, a drink, and those qualities are great, and the beauty of jasmines, and those whose characteristics are similar to those. In the non-agent, agency, 157. By the enemy of Māra's power discharged, Blunt, various kinds of weapons; Feeling ashamed, in different guise, To your feet, O Victor, they bow. 157. Because of "Mārā". Māra himself is the enemy, Enemies, By the enemy of Māra, By power, By his own strength, Or by the power of his army, Discharged, Attacked, thrown away, various, of many kinds, weapons, such as swords and spears, blunted, having lost their sharpness, ashamed by that very bluntness, "Even we, who have a reputation in the world, have become like this," ashamed, in another guise, "How will others not recognize us?" having changed their weapon guise into a flower guise, Jina, is an address, your feet are bowed down, bent at your feet. 157. Now, he indicates an example of the samādhi of the agent's quality with "mārāri," etc. O Jina, scattered by the strength of the enemy of Māra, scattered by the enemy Māra with his power, or scattered by the army of the enemy of Māra, thrown in front, various weapons, many kinds of swords, spears, arrows, javelins, and darts, blunted, unsharp, ashamed, "Why has such a misfortune befallen even us, who have a well-known reputation in the world?" ashamed, in another guise, "How will others not recognize us?" having abandoned the weapon guise, with a flower guise different from that, bowed down at your feet, bent near your feet, they were. Here, the shame that is the quality of the agent, and the change into another guise, and the bowing down, these samādhis are attributed to the non-agent subjects of shame, etc. Māra is indeed the enemy, and scattered by strength, and scattered by the strength of the enemy of Māra, and the strength of the enemy of Māra is the army, and scattered by that, and various are the kinds, and the guise of another, and another is that guise, and bowed down at the feet, is the explanation. Of the hard, without a body, 158. The time, the sun-like Sage, Risen on the mountain of Enlightenment; Shines with the rays of the Good Dhamma, Destroying the deepest darkness. 158. "Muninda," etc. Enlightenment, like the knowledge of omniscience, or that very mountain of dawn, at that time, at the end of the night, at the time of emergence, risen, appeared, the Sage, like the Sage, or that very sun, the darkness, the darkness, or delusion, utterly, with the rays of the Good Dhamma, like the Good Dhamma. Breaking through and splitting apart with a ray like the true Dhamma, it shines and gleams. 158. Now, he indicates an example of concentration on the Kathina Dhamma with "munindi," etc. The sun, like the lord of sages, or the lord of sages himself, having risen on the mountain of awakening, like the knowledge of the All-Knowing One, or called the mountain of the rising of the knowledge of the All-Knowing One, having risen at the time of the end of night, when Mara was defeated, breaking through and splitting apart the dense darkness of nature, the thick darkness of delusion, with a ray of the true Dhamma, like the true Dhamma, or being the true Dhamma, exceedingly shines and gleams. Here, the breaking, being a solid Dhamma, is attributed to the darkness, which is without body, by the intellect, and is called concentration. The analysis is: "the lord of sages," and "he is the sun," and "awakening is the mountain of rising," and "the true Dhamma is the ray." 159. This vomiting and ejecting, Unaltered by qualities and usage, Is exceedingly beautiful, But certainly finds vulgarity. 159. Showing that some Dhamma shines in a connection with a non-principal subject, but not in a principal subject, he says "vomiting," etc. Vomiting and ejecting, and the word "ādi" includes purging, etc. This, as stated, being unaltered by qualities, which are principal and non-principal, well-known subjects, having the characteristic of including other subjects, being a form of usage, being exceedingly beautiful, extremely delightful, because it is a form of ornament, but the other, the principal, is said. Certainly, entirely, it finds vulgarity, a state of being unrefined, in a connection, because it is unsuitable for it, it produces it, is the meaning. 159. Now, showing that among these very Pāṇi Dhammas, etc., some Dhamma is praised when applied to a non-principal subject, but is not praised when applied to a principal subject, he says "vamanuggi," etc. This vomiting, ejecting, etc., vomiting, ejecting, purging, etc., being unaltered by qualities and usage, not flowing from a non-principal application, being non-principal, is exceedingly beautiful, extremely pleasing to all, but the other, distinct from that, the principal. That which is applied to an unsuitable object, such as vomiting or spitting, is entirely vulgar, possessing the characteristic of vulgarity, and experiencing vulgar faults. "Vomiting" and "spitting" are examples, and "beginning with those," and "the qualities are not primary," and "therefore, not flowing out" is the explanation. 160. The splendor's vomiting guise, the row of the Sage's toenails; As if drinking the moon's rays, making it without brilliance. 160. He gives an example, "of the splendor," etc. The row of the toenails of the Sage, the Perfectly Enlightened One, by the guise of vomiting, by the stream of spitting out, of the splendors, of their own constantly emanating special beauties, as if drinking the moon's rays, the moon's light, because they are spread everywhere, I think they are drinking. What kind of "as if" is it? He states the seed of the imagination, "without brilliance," etc. Making that moon without brilliance, devoid of light. Indeed, this is the seed of the imagination, because having seen the moon's lack of brilliance due to the embrace of the toenail's splendor, and the greatness of that row of toenails, he imagines that they are drinking the moon's rays, and the guise of vomiting the splendor. 160. He indicates an example of vomiting, spitting, etc., applied to an unsuitable object, "of the splendor," etc. The row of the Sage's toenails, the row of the Sage's toenails, by the guise of vomiting, by the stream of spitting out, of the splendors, of their own splendors resembling moonbeams, making that pure moon without brilliance, because they are spread everywhere, making it without brilliance, I think they are drinking the moon's rays. Having seen the moon's lack of brilliance, even though it is radiant, due to the toenail rays being spread everywhere, and the superiority of the toenail rays, the drinking of the moon's rays by the row of toenails and the vomiting of one's own splendor is not natural, but is imagined by the poet. Here, it should be understood that the vomiting applied to an unsuitable object consisting of splendor, other than the primary object such as leftover food, is a quality expression. And "vomiting itself is a guise," and "of the Sage's foot," and "in those, toenails," and "of those, a row," and "of the moon," and "Anti" and "niggato pabhāhī" are the terms of the analysis. 161. That which has an unconscious agent, is indeed rough, such is the quality-work; That which has a conscious agent, is pleasing, the quality-work is excellent. 161. He concludes what was said with "acitta," etc. Thus, that of which the agent is unconscious is "acittakattuka." That of which the quality is the work is "guṇakamma." And that, such as vomiting, is rough, very unpleasant, because of the appropriateness of the bond. For nail-rows are unconscious agents, and the cutting is quality-work, so the vomiting is very beautiful there. He says, "Not only is this rough," with "sacitta," etc. This vomiting, etc., which has a conscious agent, is pleasing, excellent quality-work, because of the appropriateness of the bond. 161. Showing that the subsequent example is praiseworthy and that vomiting, etc., with a conscious agent is desirable when there is quality in the work, he says "acittakattuka," etc.