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the difference even of the distinct similarity that arises based on them is hidden. Thus, the comparison with hidden distinctness, that comparison itself reveals the non-difference of the objects, and is called a metaphor, that is the intention. And the phrase "with the difference hidden," and "it shapes, it reveals the non-difference." 213. Concerning all objects, and developed in one part; That, twofold, then individually, in terms of compound, etc., threefold. 213. He indicates its division, beginning with "asesa." Concerning all objects, and developed in one part, that metaphor is twofold, then individually, separately, in terms of compound, etc., due to the compounding of the object of comparison and the standard of comparison, it may be threefold: compound metaphor, non-compound metaphor, compound-non-compound metaphor. 213. Beginning with "asesi." That metaphor is twofold: concerning all objects, and developed in one part. Then individually, that pair is also, in terms of compound, etc., compound metaphor, non-compound metaphor, compound-non-compound. It becomes threefold by division of these. Its meaning is: "embracing all objects," "existing in part," and "one by one." Its explanation is: "a compound whose beginning is a compound-simile," and "whose division is by three modes." Compound-Simile with All-Embracing Object 214. Who does not adorn their head With the lotus-foot of the Sage-King, Adorned with finger-petal radiance, And nail-ray filaments? 214. He cites "aṅguli," etc. Because it is understood by comparison with fingers, "adorned with petals, shining exceedingly, with smooth, reddish fingers; where the rays of the nails are filaments," what people do not adorn the lotus-foot of the Sage-King with their heads, do not wear it as an ornament? This is a compound-simile with an all-embracing object, because of the form of all the parts of the subject, such as fingers. Similarly, above, as appropriate. 214. Now he cites "aṅguli," etc. "Adorned with finger-petals," adorned with petals like fingers; "nail-ray filaments," filaments like nail-rays; who does not adorn the lotus-foot of the Sage-King with their heads? Because the qualifying foot and the qualifying fingers and nail-rays are taken as one by imagining their non-difference from the lotus-petal filaments that are the similes, it is called a compound-simile with an all-embracing object. The sentence is: "Fingers are petals," and "adorned by them," and "in the nails are rays," and "they are filaments." Non-Compound-Simile with All-Embracing Object 215. Gems are virtues abundant, Compassion is cooling water; Profoundness is unfathomable depth, This Buddha is an ocean manifest. 215. "Gems," etc. This Buddha, the Perfectly Enlightened One, is a manifest, not hidden, ocean to us. How? Because his abundant virtues, such as loving-kindness, are gems, by virtue of their incomparable and rare sight. His compassion is cooling water, by virtue of removing the suffering of all people. His profoundness Unwavering in gain and loss, that unfathomable, unperturbed one, like the ocean, possessing the true Dhamma—this is a complete object-related, non-compound simile. 215. "Ratanāni," etc. This Jina is our visible ocean; for his abundant qualities, such as virtue, concentration, etc., are treasures, and because of his compassion, like the true Dhamma that is adorned with jewels, his compassion, unique and incomparable, is cool water, like cool water itself, because of its quality of dispelling heat. His depth, his equanimity in gain and loss, is unfathomable, it is depth itself. This is a complete object-related, non-compound simile. "Bhūrī" is an indeclinable. Complete Object-Related Mixed Simile 216. The moonlight, the gentle smile of you, O Sage, moon of faces, Awakens well The minds of the good, a forest of lotuses. 216. "Candikā," etc. "Muninda" is a vocative; your face is the moon, "vadaninduno" is a compound simile; this gentle smile is moonlight, moonbeams, a non-compound simile. The minds of the good are lotuses, water lilies, a compound simile. Their forest, a grove, awakens, develops, this is a compound and non-compound simile. 216. "Candi," etc. O Sage, the gentle smile, the soft laughter of your moon-like face, "candikā," is the moonlight, the moonbeams. "Ayaṃ" indicates the gentle smile-moonlight with a generic singular. Or, this is the moon-like face. It awakens, develops, the forest of water lilies, the minds of the good, the grove of thoughts of the virtuous. "Candikā mandahāsā" is a non-compound simile. "Vadaninduno" and "manokumudakānana" are compound similes. Therefore, this is a complete object-related compound and non-compound simile. "Mandā ca te hāsā ca," "vadanameva indūti ca," "sādhūnaṃ manānīti ca," "tāniyeva kumudānīti ca," "tesaṃ kānanamiti ca" are the analyses. 217. In complete object-related similes, This is the distinction; Now the distinction In partial expression will be explained. 217. He concludes with "asesi," etc. To explain the second distinction, Called "so and so" by "some". 217. "Without exception" and so on. In the metaphor concerning all objects, the three examples beginning with "shining with finger-like petals" are distinctions. Now, in the metaphor where only a part is transformed, the difference is explained. Metaphor with Partial Transformation and Compounding 218. The flower of a smiling grace, The lovely lip, a tender leaf; What joy do they not find, Gazing on the Buddha's face? 218. "Grace" and so on. Whose smile, endowed with grace, is like a flower. Whose lovely lip is like a tender leaf. What people, indeed, do not find joy when gazing on the Buddha's face? All do. This is a metaphor with partial transformation and compounding, because the features like smile are transformed, but the face, the subject, is not. Thus, the same applies above, as appropriate. 218. "Graceful" and so on. The flower of a smiling grace, the flower consisting of a smile endowed with charm; the lovely lip, the sprout consisting of a charming lip; what people, indeed, do not find joy, pleasure, when gazing on the Buddha's face? They certainly experience it. Because the smile and lip, which are adjectives, are shown to be non-different from the flower and sprout, which are similes, and because the face, which is the subject, is not stated to be non-different from any other object of comparison, the imposition of non-difference is transformed only in part; therefore, this is a metaphor with partial transformation and compounding. The sentence is: "The smile is endowed with grace," and "that itself is a flower," and "the lip is lovely," and "that itself is a sprout." Metaphor with Partial Transformation and No Compounding 219. May the pair of feet of the Lord of Sages Grant you victory; Whose nail-rays are exceedingly beautiful, A banner raised for the conquest of evil. 219. "Feet" and so on. May the pair of feet of the victorious Lord of Sages grant you victory, the defeat of the opponent. What kind of feet? Whose nail-rays are exceedingly beautiful, a banner raised for the conquest of evils such as greed. This is a metaphor with partial transformation and no compounding. 219. "Feet" and so on. Whose nail-rays, the radiance of the toenails, are exceedingly beautiful, a conquest of evil. Like flags hoisted in the victory over evil, may the pair of feet, the twin feet of that Sage, grant you victory, defeat of the adversaries. Having imposed identity on the nail-rays with the flags that are similes, and because "pair of feet" is not specified, it is called "ekadesavivattiasamāsarūpaka". "Victory over evils" is the analysis, and "a flag in that" is also the analysis. Ekadesavivattimissaka 220. The heart of the virtuous, awakened, became a kerava forest, of the Sage's face, with spotless cheeks, moon-like. 220. "Sunimmala" etc. The heart, the mind of the virtuous, awakened, blossomed through the understanding of the Dhamma, of the Sage's face with spotless cheeks, became a kerava forest; it is an ekadesavivattisamāsāsamāsarūpaka. 220. "Sunimmali" etc. The heart of the virtuous, with spotless cheeks, of the Sage's face, moon-like, the mind of the good, pleased with the understanding of the four truths, became a kerava forest, a lotus grove. Having imposed identity on the face and heart with the moon and kerava that are similes, and because the cheek is not specified with the circle and other simile-specifics, it is an ekadesavivattisamāsāsamāsarūpaka. Here, the compound is "vadanindūna" itself. The non-compound is "haddayakeravāna" itself. Thus, in the realm of simile, the compound and non-compound are only two of the simile-subject and simile-object terms. "Very spotless" is the analysis, and "that is the cheek" is also the analysis, and "the Sage's face is the moon" is also the analysis, and "awakened is that heart" is also the analysis, and "the awakened heart of the virtuous" is also the analysis, and "a forest of kerava" is also the sentence. 221. Similes are indeed many, due to the distinction of fitting and unfitting etc.; they are not stated separately, but are included here itself. 221. Is this the only kind of simile? He says, "Rūpakāni" etc.; Easy to understand; There – "Your face, with white flowers shining, and restless bee-like eyes, whose mind, O wise one, does not attract, O delightful one?" It is a fitting simile because the flowers and bees are fitting, and accordingly, unfitting similes etc. should be understood. 221. Rūpa To show what else there is, he says, "rūpakāni" and so on. Rūpakas are many, due to differences such as yutta and ayutta, yuttarūpaka and ayuttarūpaka, and so on. Those rūpakas are included here, within this very rūpaka. Therefore, they are not mentioned separately. The explanation is, "anto majjhe gadhāni pavattāni." "Your face, with its radiant smile like white flowers, and eyes like restless bees, whose mind, O wise one,