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Thus, in this way, "acittakattuka," having an unconscious agent, named nail-rows, having a non-cognitive agent, "guṇakamma," having a secondary work, named nail-cutting, vomiting, etc., is "rujha," generating liking because of the appropriateness of the composition, this vomiting, etc., even having a conscious agent, if it is "guṇakamma," a non-principal work, is "uttama," indeed excellent, even with the sixth case in the sense of the relation of the feeling, it does not exceed the object of the vomiting action. And the sentence is: those who have no mind, and those whose agents are unconscious, and that of which the quality is the work, and existing with mind. Thus, in the example, "evaṃ" is a particle of this kind, or a collection of particles at the beginning of the conclusion of what is said and what is to be said. 162. As if pouring forth the juice of affection, the Jina-best of men to the people; Speaking the sweet Dhamma, what person would he not delight? 162. He exemplifies that with "uggirantova," etc. That Jina-best of men, as if pouring forth the juice of affection, his own love, named affection, to the whole assembly of beings, speaking the sweet, very excellent Dhamma, what person would he not delight? Just as rain pleases. Here, the excellent Buddha is the agent, conscious; affection is the essence, the action is a quality. 162. Now, regarding the example in the case of a conscious agent, he indicates with "uttering," etc. That excellent Buddha, uttering, as if vomiting, the essence of affection, his own love, to the people, to the entire assembly of beings, speaking, teaching, declaring the sweet, excellent Dhamma, which is good in the beginning, etc., according to their inclinations, would he not please which person, what kind of individual? He would indeed please! Here, the act of uttering, being possessed of a conscious agent, namely the excellent Buddha, is praiseworthy because it is connected with the non-principal object, namely the essence of affection. Affection is indeed the essence, love, is the explanation. 163. He who is skilled in grammar, Skilled in vocabulary, With constant application to metrics And rhetoric; Though deficient in poetic skill, He attains fame of great measure, Being counted among poets. Thus ends the third chapter, Named "Understanding Qualities," In the Subodhālaṅkāra Composed by the Venerable Saṅgharakkhita. 163. Even when the inclination derived from other texts and the intuitive understanding associated with it are absent, poetry and the fame that follows it can be obtained through the power of application to learning, as he instructs with "he who," etc. Skilled in grammar, without any restriction such as "this alone," and skilled in vocabulary, in the science of metrics that reveals the variety of meters and rhythms, and in rhetoric, not only in grammar, but also constantly, day and night, applying effort in the matter of composition, though deficient in poetic skill, lacking in the quality of composing verses, he attains, by gaining a place in the count among poets endowed with poetic qualities, fame of great measure, the characteristic of pure verse composition, the renown arising from it. Thus ends the third chapter, The chapter on Understanding Qualities, In the Subodhālaṅkāra commentary Named Mahāsāmināmikā. 163. Now, the order of topics... Having thus indicated with word-embellishments, Instructing the students that constant effort In grammar, lexicon, metrics, and appendices Is the cause of great fame in this world and beyond, He said, "One skilled in word-lore," and so forth. Whoever, among elders, novices, or middling ones, Is skilled in word-lore, Clever in the discipline of grammar, In the divisions of roots and suffixes, Skilled also in lexicon, metrics, and figures of speech, Clever in expounding the distinctions, And constantly diligent, Ever zealous in retention and reflection, Even if lacking natural poetic talent, Devoid of the qualities of innate verse composition, That unremitting one, Entering the count of poets, Gaining that reckoning By composing verses and commentaries, Attains abundant, Uncommon, Great fame, Faultless, The characteristics of scripture composition, And the accumulation of merit, Or the renown arising therefrom. Effort in the aforementioned disciplines Is indeed the sole cause of composition. For it has been said: "Natural wit, And much pure learning, And unremitting effort, Are the cause of composition here." Therein, natural wit and wisdom, Much pure, untangled learning, And unremitting effort, Uncommon practice, All this is the cause, The reason for composition here, For this verse composition. "That by which one instructs in words," In this sense, The suffix "ta" and the replacement of "tha" are made, Thus "saddasattha" should be understood, And "skilled in word-lore," And "lexicon, metrics, and figures of speech," The word "alaṅkati" here is neuter In relation to the discipline, And "constant effort," And "the state of a poet," And "devoid of that," And "whose form or nature is abundant," are the phrases. Thus, in the Subodhālaṅkāra treatise, The Third Chapter. 4. Chapter on Understanding Figures of Speech of Meaning. Adorned with meaning's grace, With virtues, a structured verse; Exceedingly lovely, like a beloved, Therefore, they are now declared. Thus, having distinguished sound's adornment, Now, to reveal meaning's grace, he says, "Adorned with meaning," and so on. With virtues, along with the mentioned qualities, Such as clarity, a structured verse, A composition of poetry. Adornments, bringing beauty, Like necklaces to a body, With these meaning's graces, Combined with qualities like birth, Being virtuous, endowed with qualities, Like a woman with wealth and ornaments, Being exceedingly lovely, Therefore, those meaning's graces, Having arrived at the opportunity, Are now declared. Having shown the division of sound's adornment, Now, beginning the structure of meaning's adornment, Dependent on that, he says, "Adorned with meaning," and so on. With virtues, endowed with the mentioned qualities, Such as clarity, a structured verse, A composition of various kinds, like prose and poetry, Adorned with meaning's grace, Combined with meaning's adornment, Known as natural expression and figurative expression, Endowed with virtues, adorned with meaning's grace, Like a lovely woman, endowed with qualities, Such as chastity, and adorned with wealth, Like gold, silver, gems, and pearls, And with ornaments like necklaces, bracelets, and anklets, Being exceedingly lovely, Therefore, those meaning's graces, Are now declared. "They adorn the verse or the body," and also, "The adornment of meaning," and also, "Combined with them," and also, "Existing with virtues," and also, "The structure of the verse," and also, "Exceedingly lovely," is the explanation. Of natural and figurative expression, The kinds, adornment is twofold; The first, there, of things, Revealing various states. How many kinds are they? He says, "Natural," and so on. Of natural expression and figurative expression, The kinds, adornment, meaning's grace, Is twofold, of two types. Among them, natural expression... What is it like? He says, "The first," etc. There, the first, the natural expression, is the diverse and varied state, the occasion, the manifestation, the revelation, of things, of the meanings of words, of the natures of genus, quality, action, and substance; not just one or two. Revealing the nature of the meanings of words, such as genus, etc., in many ways according to their nature, it is called natural expression because it speaks of the diverse nature of the meanings of words. It is also called genus because it expresses the nature of the meaning of the word genus in that way. 165. Showing that the praised figures of speech are so many in kind, he says, "Natural," etc. Figures of speech, embellishments of meaning, are twofold in kind, being divisions of natural and crooked expressions. There, of those two, the first, the natural expression, is the revealer of the various states of things, of the meanings of words, of the characteristics of genus, quality, action, and substance, the manifester of many kinds. Here, the natural expression is named as the revealer of the many kinds of nature of the meanings of words such as genus, etc. This itself is called genus by way of treatment, because it expresses the genus, which is the nature of the four kinds of meanings of words, such as genus, quality, etc., in those ways. The crooked expression is named as such because it reveals the crooked nature, which is the nature of exaggeration, simile, metaphor, etc., imagined about things, having abandoned the natural state of the meanings of words such as genus, etc. And the sentence is: "What is nature and what is crooked," and "Their expressions," and "They embellish with these," and "Diverse and varied is that state." For example: 166. Graceful, with charming gait, With steadfast gaze in all directions; The Bodhisattva sprout, shining, Spoke a fearless word. 166. "For example," he cites that. The Bodhisattva sprout, the great Bodhisattva born that day, beautiful with grace, with charming gait, with steadfast gaze in the ten directions, shone, speaking a fearless word, the supreme word "I am the foremost," etc., a word of great beauty. This is the nature of expression. Thus, expressions of nature of birth and so on should be understood. 166. Now, he gives an example of the expression of nature, "As, with graceful gait," and so on. Beautiful with a charming gait, Lovely with the stride of seven paces, Looking steadfastly in the ten directions, With unwavering gaze in all quarters, The sprout of the Bodhisatta, The great Bodhisatta's scion, Shining forth, speaking a fearless word, Uttering a bull-like voice, "I am the chief!" and so on. Here, because the states of the substance Known as the Bodhisatta are revealed,