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His form, a balm to the eyes, The Sage's words, like honey, Whom do they not delight? 333. "Attire," etc., is easily understood. But this is a mixture of Samādhi, Rūpaka, and Upamā, with equal strength. 333. "Attire," etc. The Sage's attire, naturally sweet, naturally pleasing, the attire unique to the Jina, the Buddha's attire; and his form, a balm to the eyes, a form endowed with marks and minor marks; and his words, like honey, sweet like honey, his speech, whom do they not delight? "Naturally sweet" is the figure of speech Samādhi, and "a balm to the eyes" is the figure of speech Rūpaka, and "like honey" is the figure of speech Upamā; these three, because they do not depend on each other for delight, are of equal strength, thus there is a mixture of them. Naturally sweet, and it is savored, it is tasted, a rasa, a thing of taste, a path, a course, it has taste, thus a balm; a form like a balm, a balm, a balm to the eyes, is the sentence. 334. May there be a blessing for the purpose, As a wish for the desired; The Lord, the sole refuge of the three worlds, Protect the world from misfortune. 334. He shows the blessing with "may there be," etc. A wish for the desired. Wishing for that thing, desiring, is called blessing. "As" means may it be. He gives an example, "As." May the lord, the refuge of the three worlds, the one without companion, the protector, protect the world, the world of beings, from the states of woe. Here, the excellent protection is wished for. 334. Now he shows the figure of speech of blessing, beginning with "blessing." Wishing for a desired thing, desiring, is called blessing. As, for example, there. May the lord, the owner of the world, the refuge of the three existences, the one without companion, protect the world, the world of beings, from the states of woe. Blessing is desire, and the utterance that reveals it is also called by that name. In this example, "refuge of the three worlds," protection is wished for. "A collection of the three worlds," and "the only refuge," and "the refuge of the three worlds" are phrases. 335. That embellishment which, Generates delight in flavor, Is known as "flavored," From the arrangement of flavor. 335. He gives an example of "flavored," beginning with "flavor." That embellishment, the figure of speech, which generates delight, understanding, from the semblance of flavor, that embellishment, from the arrangement, the accomplishment of flavor, is to be known as "flavored," just as a sound that generates understanding of meaning is "meaningful." 335. In the summary, he shows the figure of speech of flavor that was summarized, beginning with "flavor." That embellishment, any figure of speech among the mentioned figures of speech, which generates delight in flavor, producing the understanding of one of the nine flavors, such as the erotic, or of the semblance of that flavor, that embellishment, from the arrangement of its being with flavor, is to be known as "flavored," "possessing flavor." Just as a sound that generates understanding of meaning is called "meaningful," so an embellishment that generates delight in flavor is called "flavored," "possessing flavor." And the delight in flavor, and that which generates it, and that which possesses flavor, and the state of possessing flavor, and the arrangement, the accomplishment of that, are phrases. Her face, a lotus of wonder, bowed with passion to the earth, The feet of the Teacher of three worlds, deeply dyed with love, Taking them firmly with a hand ever-fresh, She kisses them again and again, with constant, eager reverence. Words are like a semblance of feeling. For example, "taking it firmly with a hand always full of affection," by describing the hand as full of affection and taking it firmly, joy and other emotions are implied. "With constant, well-intentioned respect," by this, eagerness and other emotions are dispelled, thus, it is called a semblance of connection. The semblance of joy that arises in the mind from the semblance of connection through emotions and so on, that semblance of feeling is said to be a semblance of enjoyment. 336. Now, while showing an example, to be shown further is the suitability of the designation of love, laughter, compassion, and other feelings, he shows only what is connected with the feeling of love, beginning with "rāgā." The face of the earth goddess, a lotus of wonder, turned towards her with love, inclined with affection, a lotus-like face possessing wondrous qualities, or rather, red in color, bent down, a face considered a wondrous lotus, the feet of the Teacher of the Three Worlds, the instructor of the triple universe, the Perfectly Enlightened One, with feet possessing excessive, firm affection, or rather, made excessively red in color by past actions, with a hand always full of affection, constantly filled with love, or rather, with a ray that is complete and always accompanied by prosperity, taking it firmly, grasping it tightly, or rather, touching it, with constant, well-intentioned respect, always showing care, or rather, with uninterrupted, well-intentioned attention, they kiss, they kiss, or rather, touching it with the means of maintaining its position. Turned with love, made to face, and what is wondrous and that lotus, and because of its similarity to that, a wondrous lotus, and that face, and turned with love, and that wondrous lotus face, and love, red in color, turned downwards, and that and that wondrous lotus, and that same face, because of its similarity to such a face, the Teacher of the Three Worlds, having made it excessive, firmly attached, or made by one's own past actions, love, affection, or red color, of whom, existing with affection, love, or prosperity, well-intentioned, well-done, and that respect, care, or that attention, thus is the analysis. Here, "rāgān With the Silesa ornament beginning with "atā," and the rūpaka ornament "abbhutasarojamukha," an appearance of the sambhoga-śṛṅgāra rasa is produced. Because it is imagined as the appearance of enjoyment by such men and women, it should be understood as an appearance of rasa. Although śṛṅgāra is threefold, depending on union, separation, and enjoyment, the two, union and separation, are only deception, so there are two kinds: deception and enjoyment. Among these, deception is delightful, being a ground for unblemished description. But enjoyment is not like that. Even the appearance of enjoyment is inferior. Thus, by making an effort and composing a description with due propriety, in the example of the rasa-like ornament with the appearance of sambhoga-śṛṅgāra rasa attained here, the appearance of rasa should be understood thus. Although the amorous nature of the feet and the lover-like nature of the earth are not expressed by the words themselves, except for "the feet on the earth of the Teacher of the Three Worlds," it is known from the remaining words that reveal the nature of the hand. The appearance of mutual affection between two is expressed by "excessively bound by passion, bent with passion." Here, this appearance of affection, the abiding state, because the man's affection for the woman and the woman's affection for the man are the objects, the amorous feet and the lover-like earth are two mutual appearances of objective determinants. Without the special features of delightful places, etc., because there is no arising of a wondrous lotus, the delightful places, etc., implied by the utterance of the word "abbhutasarojasadda," arouse affection, so they are called appearances of stimulating determinants. Because the tenderness of the hand and the firm grasping are expressed by "having firmly taken with a constantly tender hand," joy, etc., are known. By "with constant, attentive eagerness," enthusiasm, etc., are known. There, joy, enthusiasm, etc., are called appearances of transient states. The aforementioned poetic expressions that reveal those appearances of transient states are called appearances of consequents. Thus, the satisfaction that arises in the wise who, by the abiding state, transient state, determinant, and consequent visible in the composition, cause understanding of the meaning. There is a semblance of taste called semblance of light, which here is said to be a semblance of enjoyment taste. The permanent states, etc., will become manifest later. 337. Thus, following the influence of former teachers, This distinction of ornaments has been briefly stated; Of those that are variously imagined by poets, Who indeed is able to see the end of them? Thus, in the Subodhālaṅkāra composed by the great lord Saṅgharakkhita, The fourth chapter, called Understanding of the Figures of Speech, is concluded. 337. Having thus completed the subject matter according to the order of topics as promised, he now says, with a concluding statement, to indicate the abundance of these topics, "Thus," etc. Thus, in this manner, following the influence of former teachers such as Daṇḍī, the characteristics of composition, this distinction of ornaments has been briefly stated. Briefly stated, why? He says, "Again and again," etc. Again and again, over a long period, until now, by poets who have been variously imagining, dividing, who indeed is able to see the end, the limit, of those ornaments? Thus, in the Subodhālaṅkāra commentary named Mahāsāminā, The fourth chapter is concluded. 337. Thus, having completed the figures of speech as promised in the order of topics, he now shows the abundance of these figures of speech with a concluding statement, "Thus, following," etc. Thus, in the manner stated, following the influence of former teachers, the influence of the earlier ones, such as Daṇḍī and Bhaddapāṇa, which is the collection of treatises on figures of speech, this distinction of ornaments has been briefly stated, said, summarized by me. Why?