English
Because again and again, from a long time onwards until today, by poets, the creators of compositions, of those ornaments that are being variously imagined, being conceived in various ways, being distinguished, who indeed is able to see the end, the limit? The meaning is that without summarizing, no one is able to reach the end. Existing before. and also, "and their former teachers," and also, "and by their power," and also, "especially, being unmixed, it is allowable," is the sentence. Thus, in the Subodhālaṅkāranissaya, The Fourth Chapter. 5. Chapter on Understanding Emotions 338. By one endowed with wit, following worldly usage; Then by a poet knowing the rise of propriety. 338. Having explained the divisions of figures of speech as promised, now, in connection with figures of speech possessing sentiment, to impart something, though not fully, concerning the rasa attained, which is the essence of the liberation rasa, the sole cause of escape from all the suffering of existence, to those whose minds are inclined to delight in the pure Dhamma, the essence of liberation, and who are exceedingly faithful, even though they have not fully grasped it, for the sake of comprehending worldly usage through mere characteristics, he says, beginning with "by one endowed with wit." Wit is the wisdom that arises appropriately in various situations. For it is exceedingly helpful in composing elegant works, hence the poem is called "wit." Therefore, he says, "by one endowed with wit." A poet should follow worldly usage. For one who does not follow all worldly usage is not a poet at all. Therefore, he says, "following worldly usage." Since propriety is the supreme secret of poets, and even in worldly usage, one who knows what is appropriate is praised, and a composition arranged in the order to be explained, following appropriate worldly usage, leads to the enjoyment of rasa by sentient beings, therefore it is fitting to make the composition clear, bright, and evident, with propriety shining forth. Therefore, one should be a poet knowing the rise of propriety exceedingly well. Therefore, he says, "then by a poet knowing the rise of propriety." All this is a qualification of "by a poet," and "by a poet" is the unexpressed agent in "should compose." 338. Thus, on the occasion of showing the figures of speech as promised, in the nine kinds of sentiments beginning with love, which are attained in connection with figures of speech possessing sentiment, even to those who are averse to the pure restraint of abundant faith, who are greedy for the essence of the excellent Dhamma, which is of one essence with the liberation rasa, which is the cause of non-assistance in escaping from all the suffering of existence, Now, intending to briefly show, for non-confusion in worldly usages, by the measure of characteristic understanding, he says, "By one with ready wit," etc. By one with ready wit, with special wisdom appropriate to the place of utmost benefit in elegant composition, following worldly usage, conforming to usage in all the world, for from that, propriety, as if a secret, should not be put outside the heart, should not be separated from the bond. Therefore, by a poet, a composer, knowing the flourishing of propriety exceedingly, the illumination of the desired meaning in a manner appropriate to the very arousal of what is desired to be said, the composition is bound, is connected. "Ready wit, ready wit," this is a name for wisdom; therefore, even for a born poet, because this special wisdom is said to be "ready," it should be understood as extremely beneficial for composition. And the resolution is: "He has ready wit," and "It is the usage of the world," and "He follows that by nature," and "Flourishing with propriety," and "He knows that by nature." 339. Emotions and determinants, related to the abiding, with consequents, become compositions, for the taste of flavor for the good. 339. "Abiding," etc. Those abiding, such as love, which will be spoken of, related to them, because of the bringing of love, etc., to a state of being tasted by association with determinants, etc., are those who have these, related to the abiding. With consequents, with characteristics that will be spoken of, emotion and determinant, and even the semblance of emotion by emotion that will be spoken of, is included by this very thing, the connection is that they become for the taste of flavor. 339. "Abiding," etc. Emotions and determinants related to the abiding, connected with the meaning of love, etc., expressed by the word "abiding," with consequents, arising together with the consequents that will be spoken of, the emotions and determinants that will be spoken of, compositions bound by a poet endowed with the qualities mentioned, brought together and shown in one place, become for the taste of flavor for the good, for the tasting of the flavor that will be spoken of, such as love, for good people free from envy and faults. By this verse, the abiding emotion, the transient emotion, what Valabhāvo, vibhāvo, anubhāvo, and raso, these are enumerated. How so? The specification "related to the ṭhāyī" applies to bhāva and vibhāva. Therefore, the ṭhāyī and that bhāva, due to the connection with the term ṭhāyī, is ṭhāyībhāva. Again, when byabhicārībhāva is present, since it proves "ṭhāyībhāva," the byabhicārībhāva is understood through the effective use of the term ṭhāyībhāva itself. Furthermore, due to the distinct appearance of the term bhāva, not compounded with ṭhāyī, there is a bhāva different from ṭhāyībhāva and byabhicārībhāva. Similarly, by making manifest and preparing the two aspects of origination and stimulation of meanings such as rati, hāsa, etc., through the term ṭhāyī, there are vividha vibhāvas, known as ālambaṇa and uddīpana, related to those meanings of rati, hāsa, etc. In the same way, anubhāva is shown through combination with the term sānubhāvaka. And raso, indicated by "for the taste of rasa," thus, these ṭhāyībhāvas, etc., are enumerated in this way. A relationship with the ṭhāyī, and it exists for them, and bhāva and vibhāva, and existing with anubhāvas, and the taste of rasa, are the sentences. Meaning of Bhāva 340. Since states of mind, Develop the rasas; Therefore, ratyādi Are described as bhāva. 340. Now, to distinguish bhāva first among the bhāvas, vibhāvas, anubhāvas, and rasas, as enumerated, he explains the term bhāva with "citta," etc. States of mind, activities in the form of delight, laughter, etc., those are special, having a distinct nature, thus, cittavuttivisesā. Ratyādi are ṭhāyī, byabhicārī, and sāttika. The word "tu" is for distinction. Since they develop the rasas, such as siṅgāra, etc. Therefore, they are described as bhāva by Bharata, etc. Here, the verb bhū with the suffix ṇya means "to do." Since this does not only mean "to do," but also "to pervade" and "to explain," therefore, they pervade and expand the mind's reflection. Or, the poet's knowledge of the world's state is a characteristic. Thus the meaning here should be understood as: they cultivate and establish an intention, therefore they are called "bhāva." 340. Now, showing that among the mentioned ṭhāyībhāva etc., "bhāva" is the common characteristic of the three, ṭhāyī etc., he shows it by way of its inherent meaning, beginning with "citta." The specific modes of the mind, however, are the ways of its functioning, such as laughing, grieving, etc., which will be explained later, and also disgust, etc., and rigidity, etc., which are distinct and unmixed. Because they cultivate and bring about rasa, such as the erotic, etc., or because they cultivate and pervade the minds of the learned in the matter of rasa, such as the erotic, etc., or because in that very matter of rasa, the poet, having made the nature of the world his subject, cultivates and establishes an intention characterized by knowledge, therefore, by the word "bhāva," the resulting emotions, such as love, laughter, etc., are described and spoken of by Bharata and others. In "ratyādayo," the word "ādi" includes emotions such as laughter, etc., the ṭhāyībhāvas, and the byabhicārībhāvas such as disgust, and the sāttikabhāvas such as rigidity and paralysis, and this should be understood. And the phrase "cittassa vuttiyo" and "tā eva visesā" and "bhāvo iti saddo" are sentences. The Meaning of Ṭhāyībhāva 341. That emotion which, By a contrary emotion, Is not concealed, Stands by its own nature, Is called a Ṭhāyībhāva. 341. He speaks of the three kinds of bhāva, beginning with ṭhāyī, in order, starting with "virodhinā." That emotion, such as love, which is not concealed or covered by a contrary emotion, such as disgust, stands by its own nature, precisely because it is uninterrupted, and is therefore called a ṭhāyībhāva. That which is brought to the taste of the enlightened by the bhāvas, is called rasa because it is tasted by the audience. For he will say "savibhāva" etc. 341. Now, he indicates the three kinds of bhāva, beginning with ṭhāyī, in order, starting with "virodhi." By a contrary emotion, such as love, laughter, etc. That state, which is not hidden, not obstructed by an opposing state such as disgust or otherness, such as delight or laughter, that state which is unobstructed by an opposing state, stands firm by virtue of morality, and thus is called "enduring." Therefore, it is spoken of as an "enduring state." That which, having been brought to a state of enjoyability by determinants, consequents, etc., is called "flavor" because of its enjoyability by all, that is called "enduring." And that is a state, and it is to be hidden, and that is an enduring state, and that is the analysis. Enumeration of the Varieties of Enduring States 342. Delight and laughter, And sorrow, Anger, energy, and fear, Disgust and wonder, And equanimity, the nine enduring states. 342. He says that only these nine, beginning with "delight," are possible as enduring states.