English
The excessive lovableness of the luster is a surpassing quality, but its expression, having made the supramundane meaning its object, is set in motion. But it reveals the desired excessive lovableness of the luster by saying that it is unable to destroy thirst, which is called indirect expression. The indirectness of expression of the similes, metaphors, etc., that are being spoken of, is precisely because of the revelation of the desired meaning in a different way. Just as ornaments such as bracelets, necklaces, and garlands, which stand in the manner of stimulation, are called decorations, so too, the exceedingly beloved that exists in the object to be decorated, which is called the body of the composition, First kindling and adorning, "You are thirst-removing, but those drinking beauty, you are not able to destroy their thirst," is called word-breaking adornment. Adornment is so called because of the abundance of adorning beauty. Furthermore, the distinction between adornment and the adorned, and the order of application according to suitability, should be understood in the same way. "Beauty in the body," "The cupped hands themselves are an offering," "The eyes themselves are cupped hands," and "Removes thirst" are the analyses. 176. Similarity of standard and subject, is simile, Implied by word and meaning, and with sentence-meaning as object, it is threefold. 176. He indicates simile, beginning with "upamāne." Upamāna is that by which something is compared, like a lotus. The word "lotus" is the expression of the standard. Upameyya is that which is compared, like a face. The word "face" is the expression of the subject. Of those, the standard and subject, the lotus and the face. Sadhammatta means having a similar quality, like loveliness; its state is sadhammatta, the connection with a similar quality that is the cause of the word "sadhamma"; sadhammatta is the simile established in the standard and subject, because the connection is compared as stated. That, however, is a way of expressing the excellence of the quality of the adorned. How many kinds is it? He says, beginning with "sadda." Implied by word and meaning, saddatthagammā. A sentence is a collection of words. Its meaning is the object, the sphere; vākyatthavisayā, and that simile is threefold, implied by word, implied by meaning, and having sentence-meaning as object, thus it is threefold. 176. Now he indicates the simile adornment, beginning with "upamāno." The similarity of standard and subject, such as sandalwood, blue lotus petals, radiance, etc., and face, eyes, etc., which are the meanings of the words, the connection of similar qualities such as loveliness, plumpness, etc., is called simile; that simile is a way of expressing the excellence of the thing to be adorned; simile is implied by word and meaning, implied by word and implied by meaning, and having sentence-meaning as object, thus it is threefold. Here, those that are standard and subject, Because of the similarity of qualities such as beautiful face like the moon, the connection to the true Dhamma, mutual and equal loveliness, fullness, and so on, the qualities of the objects are established as the standard, and because of being the standard, it is called simile. However, the moon and other things that depend on it are called simile by way of dependent usage. The word "moon" and other words that express the meaning of the moon as the object of comparison are also called simile in terms of their meaning. The state of being the compared of those that express the compared and the standard should be understood in the same way. Because it is compared by this, it is called the standard, such as the moon. That which is compared is called the compared, such as the face. And the standard and the compared, and the quality that is common, and its state, and the word and the meaning, and that which is understood by them, and the meaning of the sentence, and that subject in which the simile exists, is the sentence. 177. Compound, suffix, and "iva" and others, these words, according to their power, are threefold; Simile understood by words, by compound, the Sage, moon-faced. 177. To show that simile understood by words is also threefold, he says, "compound," etc. Compound, suffix, and "iva" and others, these are called words; the meaning is that the word "word" is intended to include compound and so on. According to the power of these compounds and so on, simile understood by words is threefold: simile understood by compound words, simile understood by suffix words, simile understood by "iva" and other words; the remainder is that simile is expressed by the compound word. He gives an example, "the Sage, moon-faced"; he whose face is lovely like the moon is moon-faced. Here, the moon is the standard, the face is the compared, loveliness is the quality, the word "like" indicates the connection of the common quality of the moon and the face; because the expression of the word "like," which indicates the simile of the common quality, is expressed by the compound itself, here, however, the word "like," having attained connection with the word "moon," which expresses the standard, speaks only of the similarity belonging to the moon, but the similarity belonging to the face is understood by implication; thus it should be seen. 177. To show the threefold nature of simile understood by words in the ways already stated, he says, "compound," etc. Compound, suffix, Vādī compound, āyādi suffixes, and words like iva are nouns; due to the influence of these compounds, etc., the understanding of words is threefold: understanding through compound words, understanding through suffix words, and understanding through words like iva. An analogy understood through a compound, a compound word, is called "munindo candimānano." The Buddha is the "munindo," and "candimānano" means endowed with a face as lovely as the moon. "Samāso ca paccayo ca ivāti idaṃ ādi yesaṃ vādīnanti ca, saddena gammāti ca, munīnaṃ indoti ca, candimā viya ruciraṃ ānanaṃ mukhaṃ yasseti ca" is the explanation. Here, "candimā" is the standard of comparison, "ānana" is what is being compared, loveliness is the common quality of the standard and what is being compared, and the word "viya" indicates the connection of the common quality, that the loveliness of the face exists in the moon, and the loveliness of the moon exists in the face. Here, there is no use of the word "rucirassa," which expresses the common quality, nor of the word "viya," which indicates the analogy, because their meanings are expressed by the compound. Here, the word "viya" together with the word "candimā," which expresses the standard of comparison, indicates the likeness to the moon, but the likeness to the face is understood through implication. For indeed, a face coming to be like the moon cannot be without the moon being like the face; this is the implication of impossibility otherwise. 178. With āyādi suffixes, the face is like a lotus; The Buddha's pair of eyes resemble blue lotus petals. 178. Now he shows the understanding through suffix words with "āyādi," etc. "Āyādīti āyaīyakapaccayādayo paccayā paccayasaddā nāma, tehi paccayasaddehi gammā upamā vuccati." He gives an example with "vadana," etc. "Paṅkajamiva ruciramācarati paṅkajāyate." Here also, the lotus is the standard of comparison, the face, being the subject of the action of behaving, is what is being compared, loveliness is the common quality, and the word iva indicates the connection of the common quality of the lotus and the face. There, the previous non-use of the words rucira and iva is because it is expressed by the suffix. It should be understood everywhere. The same applies above. 178. Now, he shows an example understood by the suffix word with "āyādi" etc. "Āya, īya, ka," etc., these suffixes are called suffix words. By these suffix words, an example is understood, namely, "vadanaṃ…pe… dalīyatī." Vadanaṃ, the face, acts beautifully like a lotus, paṅkajāyate. Munindanayanadvandaṃ, the pair of eyes of the Sage-king, sabbaññuno nettayugaḷaṃ, acts beautifully like a petal of a blue lotus, nīluppaladalīyati. "Āyo," of which "īya" etc. are the beginning, and "it acts beautifully like a lotus," and "it proceeds," and "the pair of eyes of the Sage-king," and "a petal of a blue lotus," and "it acts beautifully like that," are the sentences. Here, "paṅkaja" and "nīluppala" are the standard of comparison, the face and the pair of eyes, which are the subjects of the action of acting, are the compared, beauty is the common quality of the standard of comparison and the compared, the word "iva" indicates the common quality of the standard of comparison and the compared, the non-application of these is because their meanings are expressed by the suffix. In other such cases, it should be understood in the same way. 179. Ivādī, iva, vā, tulya, samāna, nibha, sannibhā; Yathāsaṅkāsa, tulita-ppakāsa, patirūpakā. 180. Sarīsarikkha, saṃvādī, virodhī, sadisā, viya; Paṭipakkha-paccanīka-sapakkho’pamito’pamā. 181. Paṭibimba, paṭicchanna-sarūpa, sama, sammitā; Savaṇṇā’bhā, paṭinidhi, sadhammādi, salakkhaṇā. 182. Jayatya’kkosati, hasati, patigajjati, dūbhati; Usūyatya’vajānāti, nindati’ssati, rundhati. 183. Tassa coreti sobhaggaṃ, tassa kantiṃ vilumpati; Tena saddhiṃ vivadati, tulyaṃ tenādhirohati. 184. Kacchaṃvigāhate tassa, tamanvetya’nubandhati; Taṃsīlaṃ, taṃ nisedheti, tassa cānukaroti’me. 179-184. Ivādī, iva and others, namely, this is the connection with these. Iva, and vā, and tulya, and samāna, and nibha, and sannibha, in pairs, iva…pe… sannibhā. The masculine gender is in relation to the word. The same applies above, as appropriate. "Sadhammādī" means, The inclusion of sādhāraṇasacchāya, etc., is by the word "ādi." The action is in jayati, ticca, etc. 179-184. In the section on simile conveyed by words like "iva," first, he shows "these are called 'ivādi'" with "ivādi," etc.