1 နမော တဿ ဘဂဝတော အရဟတော သမ္မာသမ္ဗုဒ္ဓဿ
Homage to the Blessed One, the Arahant, the Perfectly Self-Enlightened One.
သုဗောဓာလင်္ကာရော
The Ornament of Elucidation
၁. ဒေါသာဝဗောဓ-ပဌမပရိစ္ဆေဒ
1. The First Chapter: On the Understanding of Faults
ရတနတ္တယပ္ပဏာမ
Homage to the Triple Gem
၁.
1.
မုနိန္ဒဝဒနမ္ဘောဇ, ဂဗ္ဘသမ္ဘဝသုန္ဒရီ;
သရဏံ ပါဏိနံ ဝါဏီ, မယှံ ပီဏယတံ မနံ.
The beautiful speech, born from the lotus-mouth of the Lord of Sages, a refuge for living beings—may it delight my mind.
နိမိတ္တ
Introduction
၂.
2.
ရာမ, သမ္မာ’ဒျ’လင်္ကာရာ, သန္တိ သန္တော ပုရာတနာ;
တထာပိ တု ဝဠဉ္ဇေန္တိ, သုဒ္ဓမာဂဓိကာ န တေ.
O Rāma, though good and ancient ornaments exist today, yet those who are pure Māgadhī speakers do not employ them.
အဘိဓာနာဒိကံ
Lexicons and so forth.
၃.
3.
တေနာ’ပိ နာမ တောသေယျ, မေတေ လင်္ကာရဝဇ္ဇိတေ;
အနုရူပေနာ’လင်္ကာရေ, နေ’သ မေသော ပရိဿမော.
Therefore, even if those [works] devoid of adornment might please me, this my effort is not without a suitable adornment.
၄.
4.
ယေသံ န သဉ္စိတာ ပညာ, နေကသတ္ထန္တရော’စိတာ;
သမ္မောဟ’ဗ္ဘာဟတာ ဝေ’တေ, နာဝဗုဇ္ဈန္တိ ကိဉ္စိပိ.
Those for whom wisdom is not amassed, nor learning from various sciences accumulated—they, truly overwhelmed by delusion, understand nothing at all.
၅.
5.
ကိံ တေဟိ ပါဒသုဿူသာ, ယေသံ နတ္ထိ ဂရူနိ’ဟ;
ယေ တပ္ပာဒရဇောကိဏ္ဏာ, တေ’ဝ သာဓူ ဝိဝေကိနော.
What is the use of attending to the feet of those who have no teachers here? Those who are covered with the dust of their [teachers'] feet, they alone are the good, the discerning.
၆.
6.
ကဗ္ဗ, နာဋကနိက္ခိတ္တ, နေတ္တစိတ္တာ ကဝိဇ္ဇနာ;
ယံကိဉ္စိ ရစယန္တေ’တံ, န ဝိမှယကရံ ပရံ.
Poets, whose eyes and minds are fixed on poetry and drama—whatever they compose is not exceedingly wonderful.
၇.
7.
တေယေ’ဝ ပဋိဘာဝေန္တော, သော’ဝ ဗန္ဓော သဝိမှယော;
ယေန တောသေန္တိ ဝိညူ ယေ, တတ္ထ ပျ’ဝိဟိတာ’ဒရာ.
That composition alone is marvelous whereby those [poets], manifesting their genius, satisfy the wise, who in turn hold it in high regard.
၈.
8.
ဗန္ဓော [Pg.156] စ နာမ သဒ္ဒ,တ္ထာ, သဟိတာ ဒေါသဝဇ္ဇိတာ;
ပဇ္ဇ ဂဇ္ဇ ဝိမိဿာနံ, ဘေဒေနာ’ယံ တိဓာ ဘဝေ.
Composition, by name, is sound and meaning, combined and faultless; by the division of verse, prose, and mixed, it is threefold.
၉.
9.
နိဗန္ဓော စာ’နိဗန္ဓော စ, ပုန ဒွိဓာ နိရုပ္ပတေ;
တံ တု ပါပေန္တျ’လင်္ကာရာ, ဝိန္ဒနီယတရတ္တနံ.
Again, it is defined twofold as structured and unstructured; but ornaments cause that [composition] to attain a state of greater enjoyability.
၁၀.
10.
အနဝဇ္ဇံ မုခမ္ဘောဇ, မနဝဇ္ဇာ စ ဘာရတီ;
အလင်္ကတာ’ဝ သောဘန္တေ, ကိံ နု တေ နိရ’လင်္ကတာ?
A faultless lotus-mouth and faultless speech shine only when adorned; what indeed are they, if unadorned?
၁၁.
11.
ဝိနာ ဂရူပဒေသံ တံ, ဗာလော’လင်္ကတ္တု မိစ္ဆတိ;
သမ္ပာပုဏေ န ဝိညူဟိ, ဟဿဘာဝံ ကထံ နု သော?
Without a teacher's instruction, a fool wishes to create adornment; how could he not attain a state of ridicule from the wise?
၁၂.
12.
ဂန္ထောပိ ကဝိဝါစာန, မလင်္ကာရ’ပ္ပကာသကော;
ယာတိ တဗ္ဗစနီယတ္တံ, တ’ဗ္ဗောဟာရူ’ပစာရတော.
A text, too, which illuminates the ornaments of a poet's speech, comes to be called by that name through usage and metaphorical application.
၁၃.
13.
ဒွိပ္ပကာရာ အလင်္ကာရာ, တတ္ထ သဒ္ဒ, တ္ထဘေဒတော;
သဒ္ဒတ္ထာ ဗန္ဓနာမာ’ဝ, တံသဇ္ဇိတ တဒါဝလိ.
Ornaments are of two kinds, distinguished by sound and meaning. Sound and meaning are the very components of composition, and the series [of ornaments] is arranged accordingly.
၁၄.
14.
ဂုဏာလင်္ကာရသံယုတ္တာ, အပိ ဒေါသလဝ’င်္ကိတာ;
ပသံသိယာ န ဝိညူဟိ, သာ ကညာ ဝိယ တာဒိသီ.
[A composition], though endowed with virtues and ornaments, if marked by a speck of a fault, is not praised by the wise, just like such a maiden.
၁၅.
15.
တေန ဒေါသနိရာသော’ဝ, မဟုဿာဟေန သာဓိယော;
နိဒ္ဒေါသာ သဗ္ဗထာ သာ’ယံ, သဂုဏာ န ဘဝေယျ ကိံ?
Therefore, the removal of faults must be accomplished with great effort. If this [composition] were entirely faultless, why would it not also be virtuous?
၁၆.
16.
သာ’လင်္ကာရဝိယုတ္တာ’ပိ, ဂုဏယုတ္တာ မနောဟရာ;
နိဒ္ဒေါသာ ဒေါသရဟိတာ, ဂုဏယုတ္တာ ဝဓူ ဝိယ.
Though destitute of ornaments, [a composition] endowed with virtues is charming; faultless and free from flaws, like a virtuous bride.
၁၇.
17.
ပဒေ ဝါကျေ တဒတ္ထေ စ, ဒေါသာ ယေ ဝိဝိဓာ မတာ;
သော’ဒါဟရဏ မေတေသံ, လက္ခဏံ ကထယာမျ’ဟံ.
The various faults that are recognized in a word, a sentence, and in their meaning—I shall now state the characteristics of these with examples.
ပဒဒေါသ ဥဒ္ဒေသ
Faults of a Word: Enumeration
၁၈.
18.
ဝိရုဒ္ဓတ္ထန္တရာ, ဈတ္ထ, ကိလိဋ္ဌာနိ, ဝိရောဓိ စ;
နေယျံ, ဝိသေသနာပေက္ခံ, ဟီနတ္ထက မနတ္ထကံ.
Having a contradictory secondary meaning, the coarse, the obscure, and the contradictory; the far-fetched, that which requires a qualifier, the inferior in meaning, and the meaningless.
ဝါကျဒေါသ ဥဒ္ဒေသ
Faults of a Sentence: Enumeration
၁၉.
19.
ဒေါသာ ပဒါန ဝါကျာန, မေကတ္ထံ ဘဂ္ဂရီတိကံ;
တထာ ဗျာကိဏ္ဏ ဂါမ္မာနိ, ယတိဟီနံ ကမစ္စုတံ;
အတိဝုတ္တ မပေတတ္ထံ, သဗန္ဓဖရုသံ တထာ.
The faults of words and sentences are: tautology, broken style, confusion, vulgarity, defective caesura, faulty sequence, redundancy, meaninglessness, and harshness of composition.
ဝါကျတ္ထဒေါသဥဒ္ဒေသ
Faults of Sentence-Meaning: Enumeration
၂၀.
20.
အပက္ကမော’[Pg.157], စိတျဟီနံ, ဘဂ္ဂရီတိ, သသံသယံ;
ဂါမ္မံ ဒုဋ္ဌာလင်္ကတီတိ, ဒေါသာ ဝါကျတ္ထနိဿိတာ.
Lack of sequence, lack of propriety, broken style, ambiguity, vulgarity, and faulty adornment—these are the faults related to the meaning of a sentence.
ပဒဒေါသနိဒ္ဒေသ
Explanation of the Faults of a Word
၂၁.
21.
ဝိရုဒ္ဓတ္ထန္တရံ တဉှိ, ယဿ’ညတ္ထော ဝိရုဇ္ဈတိ;
အဓိပ္ပေတေ ယထာ မေဃော, ဝိသဒေါ သုခယေ ဇနံ.
That indeed is 'contradictory in its other meaning,' wherein another meaning conflicts with the intended one; as for example: 'A clear cloud gladdens the people.'
၂၂.
22.
ဝိသေသျ မဓိကံ ယေနာ, ဈတ္ထ မေတံ ဘဝေ ယထာ;
ဩဘာသိတာ’သေသဒိသော, ခဇ္ဇောတော’ယံ ဝိရာဇတေ.
That by which the subject is made excessive is 'abrupt,' as for example: 'Having illuminated all directions, this firefly shines forth.'
၂၃.
23.
ယဿ’တ္ထာ’ဝဂမော ဒုက္ခော, ပကတျာ’ဒိဝိဘာဂတော;
ကိလိဋ္ဌံ တံ ယထာ တာယ, သော’ယ မာလိင်္ဂျတေ ပိယာ.
That whose meaning is difficult to grasp, due to the analysis of its natural form and so forth, is 'obscure,' as for example: 'By her, O dear one, he is embraced.'
၂၄.
24.
ယံ ကိလိဋ္ဌပဒံ မန္ဒာ, ဘိဓေယျံ ယမကာဒိကံ;
ကိလိဋ္ဌပဒဒေါသေ’ဝ, တမ္ပိ အန္တော ကရီယတိ.
Whatever is an obscure phrase, difficult for the dull-witted to analyze, such as yamaka and so forth, that too is included within the fault of obscure words.
၂၅.
25.
ပတီတသဒ္ဒရစိတံ, သိလိဋ္ဌပဒသန္ဓိကံ;
ပသာဒဂုဏသံယုတ္တံ, ယမကံ မတ မေဒိသံ.
Composed with pleasing words, with smoothly joined phrases, and endowed with the quality of clarity—such a yamaka is considered to be.
၂၆.
26.
အဗျပေတံ ဗျပေတ’ည, မာဝုတ္တာ’နေကဝဏ္ဏဇံ;
ယမကံ တဉ္စ ပါဒါန, မာဒိ, မဇ္ဈ, န္တ, ဂေါစရံ.
Yamaka is contiguous or non-contiguous, arising from the repetition of various syllables; and it pertains to the beginning, middle, and end of the verse-lines.
အဗျပေတ ပဌမပါဒါဒိ ယမကံ
Contiguous yamaka at the beginning of the first verse-line.
၂၇.
27.
သုဇနာ’သုဇနာ သဗ္ဗေ, ဂုဏေနာပိ ဝိဝေကိနော;
ဝိဝေကံ န သမာယန္တိ, အဝိဝေကိဇနန္တိကေ.
Good people and bad people, all, even those discerning by their virtue, do not attain discernment when in the presence of undiscerning people.
အဗျပေတ ပဌမ ဒုတိယ ပါဒါဒိ ယမကံ
Contiguous yamaka at the beginning of the first and second verse-lines.
၂၈.
28.
ကုသလာ’ကုသလာ သဗ္ဗေ, ပဗလာ’ပဗလာ ထဝါ;
နော ယာတာ ယာဝ’ဟောသိတ္တံ, သုခဒုက္ခပ္ပဒါ သိယုံ;
အဗျပေတ ပဌမ ဒုတိယ တတိယပါဒါဒိ ယမကံ.
All skillful and unskillful, strong or weak, so long as they have not passed into non-existence, may be givers of happiness and suffering. This is a contiguous yamaka at the beginning of the first, second, and third verse-lines.
၂၉.
29.
သာဒရံ သာ ဒရံ ဟန္တု, ဝိဟိတာ ဝိဟိတာ မယာ;
ဝန္ဒနာ ဝန္ဒနာမာန, ဘာဇနေ ရတနတ္တယေ.
Respectfully, may she—this salutation—destroy fear; performed, indeed performed by me, is this homage of veneration to the Triple Gem, the receptacle.
အဗျပေတ စတုက္ကပါဒါဒိ ယမကံ
Contiguous yamaka at the beginning of all four verse-lines.
၃၀.
30.
ကမလံ က’မလံ ကတ္တုံ, ဝနဒေါ ဝနဒေါ’မ္ဗရံ;
သုဂတော သုဂတော လောကံ, သဟိတံ သ ဟိတံ ကရံ.
To make the lotus pure in the water; the cloud, giver of water, to the sky; the Well-Gone One, having gone well, to the world; He, with them, acting for their welfare.
၃၁.
31.
အဗျပေတာဒိယမက[Pg.158], ဿေသော လေသော နိဒဿိတော;
ဉေယျာနိ’မာယေဝ ဒိသာ, ယ’ညာနိ ယမကာနိပိ.
Of the yamakas beginning with the contiguous type, this is a brief demonstration. In this same manner, other yamakas are also to be understood.
၃၂.
32.
အစ္စန္တဗဟဝေါ တေသံ, ဘေဒါ သမ္ဘေဒယောနိယော;
တထာပိ ကေစိ သုကရာ, ကေစိ အစ္စန္တဒုက္ကရာ.
Exceedingly many are their varieties and sources of combination; even so, some are easy, while others are extremely difficult.
၃၃.
33.
ယမကံ တံ ပဟေလီ စ, နေကန္တမဓုရာနိ’တိ;
ဥပေက္ခိယန္တိ သဗ္ဗာနိ, သိဿခေဒဘယာ မယာ.
That yamaka and the riddle are not entirely pleasant; thus, all of them are overlooked by me from fear of the students' weariness.
၃၄.
34.
ဒေသကာလကလာလောက, ဉာယာဂမဝိရောဓိ ယံ;
တံ ဝိရောဓိပဒံ စေ’တ, မုဒါဟရဏတော ဖုဋံ.
Whatever contradicts place, time, art, worldly convention, logic, or scripture, that is a 'contradictory phrase'; and this is clear from the examples.
၃၅.
35.
ယ ဒပ္ပတီတ မာနီယ, ဝတ္တဗ္ဗံ နေယျ မာဟု တံ;
ယထာ သဗ္ဗာပိ ဓဝလာ, ဒိသာ ရောစန္တိ ရတ္တိယံ.
That which is not evident and must be stated by means of inference, they call 'to be inferred' (neyya); as for example: 'All the white directions shine at night.'
၃၆.
36.
နေဒိသံ ဗဟု မညန္တိ, သဗ္ဗေ သဗ္ဗတ္ထ ဝိညုနော;
ဒုလ္လဘာ’ဝဂတီ သဒ္ဒ, သာမတ္ထိယဝိလင်္ဃိနီ.
Wise people everywhere do not hold such a thing in high esteem, for understanding that transgresses the capacity of the words is difficult to attain.
၃၇.
37.
သိယာ ဝိသေသနာပေက္ခံ, ယံ တံ ပတွာ ဝိသေသနံ;
သာတ္ထကံ တံ ယထာ တံ သော, ဘိယျော ပဿတိ စက္ခုနာ.
That which requires a qualifier, and becomes meaningful only after obtaining that qualifier, is 'dependent'; as for example: 'He sees it more with the eye.'
၃၈.
38.
ဟီနံ ကရေ ဝိသေသျံ ယံ, တံ ဟီနတ္ထံ ဘဝေ ယထာ;
နိပ္ပဘီ ကတ ခဇ္ဇောတော, သမုဒေတိ ဒိဝါကရော.
Whatever renders the subject inferior is 'of inferior meaning,' as for example: 'The sun, having rendered the firefly lustreless, arises.'
၃၉.
39.
ပါဒပူရဏမတ္တံ ယံ, အနတ္ထမိတိ တံ မတံ;
ယထာ ဟိ ဝန္ဒေ ဗုဒ္ဓဿ, ပါဒပင်္ကေရုဟံ ပိ စ.
Whatever is merely for filling a verse-line is considered meaningless; as for example: 'For (hi) I revere the lotus-feet of the Buddha, and (ca) also (pi).'
ဝါကျဒေါသ နိဒ္ဒေသ
Exposition of Faults in the Sentence
၄၀.
40.
သဒ္ဒတော အတ္ထတော ဝုတ္တံ, ယတ္ထ ဘိယျောပိ ဝုစ္စတိ;
တ မေကတ္ထံ ယထာ’ဘာတိ, ဝါရိဒေါ ဝါရိဒေါ အယံ.
Where that which has been stated by word and by meaning is stated yet again, that is 'tautological'; as for example: 'This cloud, this water-giver, shines.'
ယထာ စ
And as another example:
၄၁.
41.
တိတ္ထိယင်္ကုရဗီဇာနိ, ဇဟံ ဒိဋ္ဌိဂတာနိ’ဟ;
ပသာဒေတိ ပသန္နေ’သော, မဟာမုနိ မဟာဇနေ.
Abandoning here wrong views, the seeds of heretical sprouts, this Great Sage inspires faith in the faithful among the great multitude.
၄၂.
42.
အာရဒ္ဓက္ကမဝိစ္ဆေဒါ, ဘဂ္ဂရီတိ ဘဝေ ယထာ;
ကာပိ ပညာ, ကောပိ ပဂုဏော, ပကတီပိ အဟော တဝ.
From the interruption of the established sequence comes 'broken rhythm,' as for example: 'Some wisdom, some skill, and oh, your nature too!'
၄၃.
43.
ပဒါနံ [Pg.159] ဒုဗ္ဗိနိက္ခေပါ, ဗျာမောဟော ယတ္ထ ဇာယတိ;
တံ ဗျာကိဏ္ဏန္တိ ဝိညေယျံ, တဒုဒါဟရဏံ ယထာ.
Where confusion arises from the poor arrangement of words, that should be understood as 'disordered'; its example is as follows.
၄၄.
44.
ဗဟုဂုဏေ ပဏမတိ, ဒုဇ္ဇနာနံ ပျယံ ဇနော;
ဟိတံ ပမုဒိတော နိစ္စံ, သုဂတံ သမနုဿရံ.
This person bows to him of many virtues, and also to the wicked; always delighting in what is beneficial, while recollecting the Well-Gone One.
၄၅.
45.
ဝိသိဋ္ဌဝစနာ’ပေတံ, ဂါမ္မံ’တျ’ဘိမတံ ယထာ;
ကညေ ကာမယမာနံ မံ, န ကာမယသိ ကိံနွိ’ဒံ?
That which is devoid of refined speech is considered 'rustic,' as for example: 'O maiden, why do you not desire me, who am desiring you? What indeed is this?'
၄၆.
46.
ပဒသန္ဓာနတော ကိဉ္စိ, ဒုပ္ပတီတိကရံ ဘဝေ;
တမ္ပိ ဂါမ္မံ တျ’ဘိမတံ, ယထာ ယာဘဝတော ပိယာ.
Something difficult to understand due to word-connection; that too is considered rustic, as in the example: 'whatever is beloved to you.'
၄၇.
47.
ဝုတ္တေသု သူစိတေ ဋ္ဌာနေ, ပဒစ္ဆေဒေါ ဘဝေ ယတိ;
ယံ တာယ ဟီနံ တံ ဝုတ္တံ, ယတိဟီနန္တိ သာ ပန.
In stated or indicated places, a word-break, which is a pause, may occur; that which is deficient in this is said to be 'lacking a pause.'
၄၈.
48.
ယတိ သဗ္ဗတ္ထပါဒန္တေ, ဝုတ္တဍ္ဎေ စ ဝိသေသတော;
ပုဗ္ဗာပရာနေကဝဏ္ဏ, ပဒမဇ္ဈေပိ ကတ္ထစိ.
A pause occurs at the end of every line, and especially in a half-verse; and sometimes also in the middle of a word that has many syllables preceding and following.
တတ္ထောဒါဟရဏပစ္စုဒါဟရဏာနိ ယထာ
In this regard, the examples and counter-examples are as follows:
၄၉.
49.
တံ နမေ သိရသာ စာမိ, ကရဝဏ္ဏံ တထာဂတံ;
သကလာပိ ဒိသာ သိဉ္စ, တိဝ သောဏ္ဏရသေဟိ ယော.
I bow my head to him, the Tathāgata of golden hue, who, as it were, sprinkles all directions with golden nectar.
၅၀.
50.
သရော သန္ဓိမှိ ပုဗ္ဗန္တော, ဝိယ လောပေ ဝိဘတ္တိယာ;
အညထာ တွ’ညထာ တတ္ထ, ယာ’ဒေသာဒိ ပရာ’ဒိ’ဝ.
A vowel at the end of a preceding word in sandhi is like the elision of a case-ending; otherwise, it is different, as in the case of substitution and so forth, which are like suffixes and so forth.
၅၁.
51.
စာဒီ ပုဗ္ဗပဒန္တာ’ဝ, နိစ္စံ ပုဗ္ဗပဒဿိတာ;
ပါဒယော နိစ္စသမ္ဗန္ဓာ, ပရာဒီဝ ပရေန တု.
Particles such as 'ca' are always at the end of the preceding word and always dependent on it; whereas particles such as 'pa' are always connected with the word that follows, like suffixes.
သဗ္ဗတ္ထောဒါဟရဏာနိ ယထာ
Examples for all cases are as follows:
၅၂.
52.
နမေ တံ သိရသာ သဗ္ဗော, ပမာ’တီတံ တထာဂတံ;
ယဿ လောကဂ္ဂတံ ပတ္တ, ဿော’ပမာ န ဟိ ယုဇ္ဇတိ.
All bow their heads to that Tathāgata, who is beyond measure; for him who has attained the summit of the world, no comparison is fitting.
၅၃.
53.
မုနိန္ဒံ တံ သဒါ ဝန္ဒာ, မျ’နန္တမတိ မုတ္တမံ;
ယဿ ပညာ စ မေတ္တာ စ, နိဿီမာတိ ဝိဇမ္ဘတိ.
I always venerate that Sage-Lord, the supreme one of boundless intellect, whose wisdom and loving-kindness shine forth as being without limit.
စာဒိပါဒီသု ပစ္စုဒါဟရဏာနိ ယထာ
Counter-examples concerning particles such as 'ca' and 'pa' are as follows:
၅၄.
54.
မဟာမေတ္တာ မဟာပညာ, စ ယတ္ထ ပရမောဒယာ;
ပဏမာမိ ဇိနံ တံ ပ, ဝရံ ဝရဂုဏာ’လယံ.
Great loving-kindness, great wisdom, and where there is ultimate prosperity; I bow to that Victor, pa, the excellent one, the abode of excellent qualities.
၅၅.
55.
ပဒတ္ထက္ကမတော မုတ္တံ, ကမစ္စုတ မိဒံ ယထာ;
ခေတ္တံ ဝါ ဒေဟိ ဂါမံ ဝါ, ဒေသံ ဝါ မမ သောဘနံ.
That which is devoid of the proper sequence of words is 'fallen from order,' as for example: 'Give me a field, or a village, or a country, my lovely one.'
၅၆.
56.
လောကိယတ္ထ [Pg.160] မတိက္ကန္တံ, အတိဝုတ္တံ မတံ ယထာ;
အတိသမ္ဗာဓ မာကာသ, မေတိဿာ ထနဇမ္ဘနေ.
That which transcends worldly sense is considered 'overstated,' as for example: 'The sky is too constricted by the swelling of her breasts.'
၅၇.
57.
သမုဒါယတ္ထတော’ပေတံ, တံ အပေတတ္ထကံ ယထာ;
ဂါဝိပုတ္တော ဗလိဗဒ္ဓေါ, တိဏံ ခါဒီ ပိဝီ ဇလံ.
That which is devoid of collective meaning is 'devoid of meaning,' as for example: 'A cow's son, a bull, ate grass and drank water.'
၅၈.
58.
ဗန္ဓေ ဖရုသတာ ယတ္ထ, တံ ဗန္ဓဖရုသံ ယထာ;
ခရာ ခိလာ ပရိက္ခီဏာ, ခေတ္တေ ခိတ္တံ ဖလတျ’လံ.
Where there is harshness in the composition, that is 'harsh composition,' as for example: 'Harsh, barren, and exhausted, the seed sown in the field yet yields abundant fruit.'
ဝါကျတ္ထဒေါသ နိဒ္ဒေသ
Exposition of Faults in the Meaning of a Sentence
၅၉.
59.
ဉေယျံ လက္ခဏ မနွတ္ထ, ဝသေနာ’ပက္ကမာဒိနံ;
ဥဒါဟရဏ မေတေသံ, ဒါနိ သန္ဒဿယာမျ’ဟံ.
The characteristics of 'deviation' and so forth are to be known according to the literal meaning of the terms; now I shall present examples of these.
တတ္ထာ’ပက္ကမံ ယထာ
In this regard, 'deviation' is as follows:
၆၀.
60.
ဘာဝနာ, ဒါန, သီလာနိ, သမ္မာ သမ္ပာဒိတာနိ’ဟ;
ဘောဂ, သဂ္ဂါဒိ, နိဗ္ဗာန, သာဓနာနိ န သံသယော.
Meditation, generosity, and virtue, when rightly perfected here, are without a doubt the means for accomplishing wealth, heaven and so forth, and Nibbāna.
ဩစိတျဟီနံ ယထာ
'Lacking propriety' is as follows:
၆၁.
61.
ပူဇနီယတရော လောကေ, အဟ မေကော နိရန္တရံ;
မယေကသ္မိံ ဂုဏာ သဗ္ဗေ, ယတော သမုဒိတာ အဟုံ.
I alone in the world am ever more worthy of veneration, for in me alone have all virtues arisen.
ယထာ စ
And as another example:
၆၂.
62.
ယာစိတော’ဟံ ကထံ နာမ, န ဒဇ္ဇာမျ’ပိ ဇီဝိတံ;
တထာပိ ပုတ္တဒါနေန, ဝေဓတေ ဟဒယံ မမ.
Being asked, how could I not give even my own life? Nevertheless, at the giving of my son, my heart trembles.
ဘဂ္ဂရီတိ ယထာ
'Broken style' is as follows:
၆၃.
63.
ဣတ္ထီနံ ဒုဇ္ဇနာနဉ္စ, ဝိဿာသော နောပပဇ္ဇတေ;
ဝိသေ သိင်္ဂိမှိ နဒိယံ, ရောဂေ ရာဇကုလမှိ စ.
Trust should not be placed in women and wicked people; nor in poison, a horned animal, a river, sickness, or a royal family.
သသံသယံ ယထာ
'Doubtful' is as follows:
၆၄.
64.
မုနိန္ဒစန္ဒိမာ လောက, သရလောလဝိလောစနော;
ဇနော’ ဝက္ကန္တပန္ထော’ဝ, ဂေါပဒဿနပီဏိတော.
The Sage-Lord is the moon, the eye of the world, with clear and moving glances; the people, like travelers on a deserted path, are gladdened by the sight of a cow's footprint.
၆၅.
65.
ဝါကျတ္ထတော ဒုပ္ပတီတိ, ကရံ ဂါမ္မံ မတံ ယထာ;
ပေါသော ဝီရိယဝါ သော’ယံ, ပရံ ဟန္တွာ န ဝိဿမီ.
That which is difficult to understand from the meaning of the sentence is considered 'rustic,' as for example: 'This vigorous man, having slain the enemy, I do not rest.'
၆၆.
66.
ဒုဋ္ဌာလင်္ကရဏံ တေတံ, ယတ္ထာ’လင်္ကာရဒူသနံ;
တဿာ’လင်္ကာရနိဒ္ဒေသေ, ရူပ မာဝိ ဘဝိဿတိ.
That is a 'flawed adornment' where there is a corruption of the figure of speech itself. Its nature will become manifest in the exposition on figures of speech.
၆၇.
67.
ကတော’တြ [Pg.161] သင်္ခေပနယာ မယာ’ယံ,ဒေါသာန မေသံ ပဝရော ဝိဘာဂေါ;
ဧသော’ဝ’လံ ဗောဓယိတုံ ကဝီနံ,တမတ္ထိ စေ ခေဒကရံ ပရမ္ပိ.
Here, by me, this supreme classification of these faults has been made in brief; this alone is enough to instruct poets, if there is something further that causes weariness.
ဣတိ သံဃရက္ခိတမဟာသာမိဝိရစိတေ သုဗောဓာလင်္ကာရေ
Thus, in the Subodhālaṅkāra composed by the great elder Saṅgharakkhita,
ဒေါသာဝဗောဓော နာမ
the Understanding of Faults,
ပဌမော ပရိစ္ဆေဒေါ.
the First Chapter.
၂. ဒေါသပရိဟာရာဝဗောဓ-ဒုတိယပရိစ္ဆေဒ
2. The Second Chapter: Understanding the Remedying of Faults
၆၈.
68.
ကဒါစိ ကဝိကောသလ္လာ, ဝိရောဓော သကလော ပျ’ယံ;
ဒေါသသင်္ချ မတိက္ကမ္မ, ဂုဏဝီထိံ ဝိဂါဟတေ.
Sometimes, by the skill of a poet, this entire contradiction, transcending the category of faults, enters the path of virtues.
၆၉.
69.
တေန ဝုတ္တဝိရောဓာန, မဝိရောဓော ယထာ သိယာ;
တထာ ဒေါသပရိဟာရာ, ဝဗောဓော ဒါနိ နီယတေ.
Therefore, so that there may be non-contradiction regarding the stated contradictions, the understanding of the remedying of faults is now set forth.
တတ္ထ ဝိရုဒ္ဓတ္ထန္တရဿ ပရိဟာရော ယထာ
Therein, the remedying of contradiction with another meaning is as follows:
၇၀.
70.
ဝိန္ဒန္တံ ပါကသာလီနံ, သာလီနံ ဒဿနာ သုခံ;
တံ ကထံ နာမ မေဃော’ယံ, ဝိသဒေါ သုခယေ ဇနံ?
For one who obtains ripe rice, the sight of the rice fields is a pleasure; how then indeed could this clear cloud make people happy?
ယထာ ဝါ
Or, for example:
၇၁.
71.
ဝိနာယကောပိ နာဂေါ သိ, ဂေါတမောပိ မဟာမတိ;
ပဏီတောပိ ရသာ’ပေတော, စိတ္တာ မေ သာမိ တေ ဂတိ.
You are a Leader (Vināyaka), yet also a great being (nāga); though a Gotama, you are of great wisdom; though sublime (paṇīta), you are devoid of passion (rasa); O Lord, wondrous to me is your way.
အဈ’တ္ထဿ ယထာ
As for internal contradiction:
၇၂.
72.
ကထံ တာဒိဂုဏာဘာဝေ, လောကံ တောသေတိ ဒုဇ္ဇနော?ဩဘာသိတာသေသဒိသော, ခဇ္ဇောတော နာမ ကိံ ဘဝေ?
In the absence of such qualities, how can a wicked person please the world? What indeed would a firefly be, having illuminated all directions?
၇၃.
73.
ပဟေလိကာယ မာရုဠှာ, န ဟိ ဒုဋ္ဌာ ကိလိဋ္ဌတာ;
ပိယာ သုခါ’လိင်္ဂိတံ က, မာလိင်္ဂတိ နု နော ဣတိ.
When employed in a riddle, the fault of obscurity is indeed not a fault; as in: 'By my beloved, the one happily embraced—whom does she not embrace? Or does she not?' thus.
၇၄.
74.
ယမကေ နော ပယောဇေယျ, ကိလိဋ္ဌပဒ မိစ္ဆိတေ;
တတော ယမက မညံ တု, သဗ္ဗ မေတံမယံ ဝိယ.
One should not use an obscure word in a yamaka when the meaning is intended to be clear; but another kind of yamaka may be used, as if it were entirely composed of such.
ဒေသဝိရောဓိနော ယထာ
As for contradiction of place:
၇၅.
75.
ဗောဓိသတ္တပ္ပဘာဝေန[Pg.162], ထလေပိ ဇလဇာနျ’ဟုံ;
နုဒန္တာနိ’ဝ သုစိရာ, ဝါသက္လေသံ တဟိံ ဇလေ.
By the Bodhisattva’s power, even on dry land aquatic beings arose, as if dispelling the long-standing affliction of dwelling in that water.
ကာလဝိရောဓိနော ယထာ
As for contradiction of time:
၇၆.
76.
မဟာနုဘာဝ ပိသုနော, မုနိနော မန္ဒ မာရုတော;
သဗ္ဗောတုကမယံ ဝါယိ, ဓုနန္တော ကုသုမံ သမံ.
Indicating the Sage's great power, a gentle breeze blew, comprising all seasons, shaking the flowers equally.
ကလာဝိရောဓိနော ယထာ
As for contradiction of the arts:
၇၇.
77.
နိမုဂ္ဂမာနသော ဗုဒ္ဓ, ဂုဏေ ပဉ္စသိခဿပိ;
တန္တိဿရ ဝိရောဓော သော, န သမ္ပီဏေတိ ကံ ဇနံ?
Even of Pañcasikha, whose mind is immersed in the qualities of the Buddha, that discord of his string-music—what person does it not delight?
လောကဝိရောဓိနော ယထာ
As for contradiction of worldly convention:
၇၈.
78.
ဂဏယေ စက္ကဝါဠံ သော, စန္ဒနာယပိ သီတလံ;
သမ္ဗောဓိ သတ္တ ဟဒယော, ပဒိတ္တ’င်္ဂါရပူရိတံ.
The Bodhisattva, his heart filled with blazing embers, would consider the universe to be cooler than even sandalwood.
ဉာယဝိရောဓိနော ယထာ
As for contradiction of logic:
၇၉.
79.
ပရိစ္စတ္တဘဝေါပိ တွ, မုပနီတဘဝေါ အသိ;
အစိန္တျဂုဏသာရာယ, နမော တေ မုနိပုင်္ဂဝ.
Though you have abandoned existence, you are one who brings about well-being; homage to you, O bull among sages, whose essence is inconceivable qualities.
အာဂမဝိရောဓိနော ယထာ
As for contradiction of scripture:
၈၀.
80.
နေဝါ’လပတိ ကေနာ’ပိ, ဝစီဝိညတ္တိတော ယတိ;
သမ္ပဇာနမုသာဝါဒါ, ဖုသေယျာ’ပတ္တိဒုက္ကဋံ.
The ascetic speaks with no one by way of verbal expression; yet for a deliberate falsehood, he would incur an offense of wrong-doing.
နေယျဿ ယထာ
As for the inferable meaning:
၈၁.
81.
မရီစိစန္ဒနာ’လေပ, လာဘာ သီတမရီစိနော;
ဣမာ သဗ္ဗာပိ ဓဝလာ, ဒိသာ ရောစန္တိ နိဗ္ဘရံ.
The gains from the cool-rayed moon are an ointment of mirage-sandalwood; all these white directions shine intensely.
ယထာ ဝါ
Or, for example:
၈၂.
82.
မနောနုရဉ္ဇနော မာရ, င်္ဂနာသိင်္ဂါရဝိဗ္ဘမော;
ဇိနေနာ’သမနုညာတော, မာရဿ ဟဒယာ’နလော.
Māra, delighting the mind with the alluring gestures of women, being disapproved by the Victor, was a fire in his own heart.
ဝိသေသနာပေက္ခဿ ယထာ
As for 'requiring a qualifier,' for example:
၈၃.
83.
အပယာတာ’ပရာဓမ္ပိ, အယံ ဝေရီ ဇနံ ဇနော;
ကောဓပါဋလဘူတေန, ဘိယျော ပဿတိ စက္ခုနာ.
Even though the offense has passed away, this hostile person sees that person again with an eye that has become red with anger.
ဟီနတ္ထဿ ယထာ
As for 'deficient in meaning,' for example:
၈၄.
84.
အပ္ပကာနမ္ပိ ပါပါနံ, ပဘာဝံ နာသယေ ဗုဓော;
အပိ နိပ္ပဘာတာ’နီတ, ခဇ္ဇောတော ဟောတိ ဘာဏုမာ.
A wise person should destroy the power even of small evils; a firefly, even when brought into darkness, is luminous.
အနတ္ထဿ ယထာ
As for 'meaningless,' for example:
၈၅.
85.
န [Pg.163] ပါဒပူရဏတ္ထာယ, ပဒံ ယောဇေယျ ကတ္ထစိ,ယထာ ဝန္ဒေ မုနိန္ဒဿ, ပါဒပင်္ကေရုဟံ ဝရံ.
One should not place a word anywhere for the purpose of filling the meter, as in: 'I revere the Sage-Lord's supreme lotus-feet.'
၈၆.
86.
ဘယကောဓပသံသာဒိ, ဝိသေသော တာဒိသော ယဒိ;
ဝတ္တုံ ကာမီယတေ ဒေါသော, န တတ္ထေ’ကတ္ထတာကတော.
If such a distinction as fear, anger, praise, and so forth is desired to be expressed, there is no fault of redundancy in that case.
ယထာ
For example:
၈၇.
87.
သပ္ပော သပ္ပော! အယံ ဟန္ဒ, နိဝတ္တတု ဘဝံ တတော,ယဒိ ဇီဝိတုကာမော’သိ, ကထံ တ မုပသပ္ပသိ?
Snake! Snake! Come now, sir, turn back from there! If you wish to live, why do you approach it?
ဘဂ္ဂရီတိနော ယထာ
As for 'broken style,' for example:
၈၈.
88.
ယောကောစိ ရူပါ’တိသယော, ကန္တိ ကာပိ မနောဟရာ;
ဝိလာသာ’တိသယော ကောပိ,အဟော! ဗုဒ္ဓမဟော’ဒယော.
Whatever surpassing beauty, whatever captivating loveliness, whatever surpassing grace—ah, the great arising of the Buddha!
၈၉.
89.
အဗျာမောဟကရံ ဗန္ဓံ, အဗျာကိဏ္ဏံ မနောဟရံ;
အဒူရပဒ ဝိနျာသံ, ပသံသန္တိ ကဝိဿရာ.
A composition that causes no confusion, is unscattered, captivating, with words not placed too far apart—this the masters of verse praise.
ယထာ
For example:
၉၀.
90.
နီလုပ္ပလာ’ဘံ နယနံ, ဗန္ဓုကရုစိရော’ဓရော;
နာသာ ဟေမ’င်္ကုသော တေန, ဇိနော’ယံ ပိယဒဿနော.
His eyes have the lustre of blue lotuses, his lips are radiant like the bandhuka flower, his nose is like a golden goad; for these reasons, this Victor is lovely to behold.
၉၁.
91.
သမတိက္ကန္တ ဂါမ္မတ္တံ, ကန္တ ဝါစာ’ဘိသင်္ခတံ;
ဗန္ဓနံ ရသဟေတုတ္တာ, ဂါမ္မတ္တံ အတိဝတ္တတိ.
A composition composed with pleasing words, because it is a source of aesthetic flavor, transcends and overcomes rusticity.
ယထာ
For example:
၉၂.
92.
ဒုနောတိ ကာမစဏ္ဍာလော, သော မံ သဒယ နိဒ္ဒယော;
ဤဒိသံ ဗျသနာ’ပန္နံ, သုခီပိ ကိ မုပေက္ခသေ?
That outcast, desire, torments me—compassionate yet pitiless. Though you are happy, why do you neglect one fallen into such misery?
၉၃.
93.
ယတိဟီနပရိဟာရော, န ပုနေ’ဒါနိ နီယတေ;
ယတော န သဝနု’ဗ္ဗေဂံ, ဟေဋ္ဌာ ယေသံ ဝိစာရိတံ.
The avoidance of 'lacking a caesura' is not presented again now, because there is no agitation in hearing those things which were considered below.
ကမစ္စုတဿ ယထာ
As for 'out of sequence,' for example:
၉၄.
94.
ဥဒါရစရိတော’သိ တွံ, တေနေ’ဝါ’ရာဓနာ တွယိ;
ဒေသံ ဝါ ဒေဟိ ဂါမံ ဝါ, ခေတ္တံ ဝါ မမ သောဘနံ.
You are of noble conduct; therefore, this supplication is made to you: 'Give me a country, or a village, or a splendid field.'
အတိဝုတ္တဿ ယထာ
As for 'overstated,' for example:
၉၅.
95.
မုနိန္ဒစန္ဒသမ္ဘူတ, ယသောရာသိမရီစိနံ;
သကလောပျ’ယ မာကာသော, နာ’ဝကာသော ဝိဇမ္ဘနေ.
For the rays of the heap of glory born from the moon-like Sage-Lord, even this entire sky provides no space for their expansion.
၉၆.
96.
ဝါကျံ [Pg.164] ဗျာပန္နစိတ္တာနံ, အပေတတ္ထံ အနိန္ဒိတံ;
တေနု’မ္မတ္တာဒိကာနံ တံ, ဝစနာ’ညတြ ဒုဿတိ.
The speech of those with deranged minds, though devoid of meaning, is blameless; therefore, such speech is a fault in cases other than those of the insane and the like.
ယထာ
For example:
၉၇.
97.
သမုဒ္ဒေါ ပီယတေ သော’ယ, မဟ’မဇ္ဇ ဇရာတုရော;
ဣမေ ဂဇ္ဇန္တိ ဇီမူတာ, သက္ကဿေ’ရာဝဏော ပိယော.
This ocean is being drunk; great, today, afflicted by old age; these clouds thunder; Airāvaṇa is dear to Sakka.
၉၈.
98.
သုခုမာလာ’ဝိရောဓိတ္တ, ဒိတ္တဘာဝပ္ပဘာဝိတံ;
ဗန္ဓနံ ဗန္ဓဖရုသ, ဒေါသံ သံဒူသယေယျ တံ.
A delicate and harmonious composition, imbued with brilliance, would indeed overcome that fault of 'harsh composition'.
ယထာ
For example:
၉၉.
99.
ပဿန္တာ ရူပဝိဘဝံ, သုဏန္တာ မဓုရံ ဂိရံ;
စရန္တိ သာဓူ သမ္ဗုဒ္ဓ, ကာလေ ကေဠိပရမ္မုခါ.
Seeing the splendor of form and hearing sweet speech, the virtuous, averse to frivolous sport, conduct themselves well in the time of the Sambuddha.
အပက္ကမဿ ယထာ
As for 'digression,' for example:
၁၀၀.
100.
ဘာဝနာ, ဒါန, သီလာနိ, သမ္မာ သမ္ပာဒိတာနိ’ဟ;
နိဗ္ဗာန, ဘောဂ, သဂ္ဂါဒိ, သာဓနာနိ န သံသယော.
Meditation, generosity, and virtue, rightly perfected here, are without doubt the means to Nibbāna, wealth, heaven, and so forth.
၁၀၁.
101.
ဥဒ္ဒိဋ္ဌဝိသယော ကောစိ, ဝိသေသော တာဒိသော ယဒိ;
အနု’ဒ္ဒိဋ္ဌေသု နေဝ’တ္ထိ, ဒေါသော ကမဝိလင်္ဃနေ.
If a particular subject is declared, and such a distinction exists, there is no fault in transgressing the order among the undeclared.
ယထာ
As:
၁၀၂.
102.
ကုသလာ’ကုသလံ အဗျာ, ကတ’မိစ္စေသု ပစ္ဆိမံ;
အဗျာကတံ ပါကဒံ န, ပါကဒံ ပဌမဒွယံ.
Among the skillful, unskillful, and indeterminate, the last is indeterminate. The indeterminate is not productive of result; the first two are productive of result.
၁၀၃.
103.
သဂုဏာနာ’ဝိကရဏေ, ကာရဏေ သတိ တာဒိသေ;
ဩစိတျဟီနတာ’ပတ္တိ, နတ္ထိ ဘူတတ္ထသံသိနော.
When there is such a cause for the non-manifestation of good qualities, there is no falling into impropriety for one who indicates the true meaning.
၁၀၄.
104.
ဩစိတျံ နာမ ဝိညေယျံ, လောကေ ဝိချာတ မာဒရာ;
တတ္ထော’ပဒေသပဘဝါ, သုဇနာ ကဝိပုင်္ဂဝါ.
What is called 'propriety' should be understood, renowned in the world with respect; from instruction in this arise good people and excellent poets.
၁၀၅.
105.
ဝိညာတောစိတျဝိဘဝေါ, စိတျဟီနံ ပရိဟရေ;
တတော’စိတျဿ သမ္ပောသေ,ရသပေါသော သိယာ ကတေ.
One who knows the power of propriety should avoid that which is lacking in propriety. Then, through the fostering of propriety, there will be the nourishment of aesthetic pleasure in the composition.
ယထာ
As:
၁၀၆.
106.
ယော မာရသေန မာသန္န, မာသန္နဝိဇယု’ဿဝေါ;
တိဏာယပိ န မညိတ္ထ, သော ဝေါ ဒေတု ဇယံ ဇိနော.
May that Conqueror—who approached Māra's army, whose festival of victory was near, and who regarded it not even as much as a blade of grass—grant you victory.
၁၀၇.
107.
အာရဒ္ဓကတ္တုကမ္မာဒိ, ကမာ’တိက္ကမလင်္ဃနေ;
ဘဂ္ဂရီတိဝိရောဓော’ယံ, ဂတိံ န ကွာ’ပိ ဝိန္ဒတိ.
In the transgression and violation of the proper order, beginning with the agent, the action, and so forth, this opposition to a broken style finds no recourse anywhere.
ယထာ
As:
၁၀၈.
108.
သုဇန’ညာန မိတ္ထီနံ, [Pg.165] ဝိဿာသော နော’ပပဇ္ဇတေ;
ဝိသဿ သိင်္ဂိနော ရောဂ, နဒီရာဇကုလဿ စ.
Trust is not placed in good people, the ignorant, or women; nor in poison, horned animals, disease, rivers, and royal families.
ယထာ
As:
၁၀၉.
109.
ဘေသဇ္ဇေ ဝိဟိတေ သုဒ္ဓ, ဗုဒ္ဓါဒိရတနတ္တယေ;
ပသာဒ မာစရေ နိစ္စံ, သဇ္ဇနေ သဂုဏေပိ စ.
In the pure medicine that has been prescribed, in the Triple Gem beginning with the Buddha, and also in good people endowed with virtue, one should always cultivate faith.
သသံသယဿ ယထာ
As an example of ambiguity:
၁၁၀.
110.
မုနိန္ဒစန္ဒိမာ’လောက, ရသ လောလ ဝိလောစနော;
ဇနော’ဝက္ကန္တပန္ထော’ဝ, ရံသိဒဿနပီဏိတော.
A person, with eyes eager for the aesthetic pleasure of the light of the moon that is the Lord of Sages, is gratified by the sight of its rays, like one who has strayed from the path.
၁၁၁.
111.
သံသယာယေ’ဝ ယံကိဉ္စိ, ယဒိ ကီဠာဒိဟေတုနာ;
ပယုဇ္ဇတေ န ဒေါသော’ဝ, သသံသယသမပ္ပိတော.
If anything whatsoever is employed for the very sake of ambiguity, for reasons of play and so forth, it is not a fault, as it is presented with doubt.
ယထာ
As:
၁၁၂.
112.
ယာတေ ဒုတိယံ နိလယံ, ဂရုမှိ သကဂေဟတော;
ပါပုဏေယျာမ နိယတံ, သုခ’မဇ္ဈယနာ’ဒိနာ.
When the teacher has gone from his own house to another abode, we shall certainly attain happiness through study and so forth.
၁၁၃.
113.
သုဘဂါ ဘဂိနီ သာ’ယံ, ဧတဿိ’စ္စေဝမာဒိကံ;
န ‘ဂါမ္မ’မိတိ နိဒ္ဒိဋ္ဌံ, ကဝီဟိ သကလေဟိပိ.
'This sister is fortunate,' and other such expressions, are not designated as 'vulgar' by any of the poets.
၁၁၄.
114.
ဒုဋ္ဌာ’လင်္ကာရဝိဂမေ, သောဘနာ’လင်္ကတိက္ကမော;
အလင်္ကာရပရိစ္ဆေဒေ, အာဝိဘာဝံ ဂမိဿတိ.
Upon the removal of faulty adornments, the transgression of beautiful adornments will become manifest in the chapter on adornments.
၁၁၅.
115.
ဒေါသေ ပရီဟရိတု မေသ ဝရော’ပဒေသော,သတ္ထန္တရာနုသရဏေန ကတော မယေဝံ;
ဝိညာယိ’မံ ဂရုဝရာန’ဓိက’ပ္ပသာဒါ,ဒေါသေ ပရံ ပရိဟရေယျ ယသောဘိလာသီ.
This excellent instruction for removing faults has been thus composed by me by following other treatises. Having understood this, may one who desires fame, through great faith in noble teachers, remove the faults of others.
ဣတိ သံဃရက္ခိတမဟာသာမိဝိရစိတေ သုဗောဓာလင်္ကာရေ
Thus in the Subodhālaṅkāra composed by the great master Saṅgharakkhita,
ဒေါသပရိဟာရာဝဗောဓော နာမ
the chapter named 'The Understanding of the Removal of Faults',
ဒုတိယော ပရိစ္ဆေဒေါ.
the second chapter.
၃. ဂုဏာဝဗောဓ-တတိယပရိစ္ဆေဒ
3. The Third Chapter: The Understanding of Virtues
အနုသန္ဓိ
Connection
၁၁၆.
116.
သမ္ဘဝန္တိ [Pg.166] ဂုဏာ ယသ္မာ, ဒေါသာနေ’ဝ’မတိက္ကမေ;
ဒဿေဿံ တေ တတော ဒါနိ, သဒ္ဒေ သမ္ဘူသယန္တိ ယေ.
Since virtues arise when faults are overcome, therefore I shall now show you those which adorn words.
သဒ္ဒါလင်္ကာရ ဥဒ္ဒေသ
An Exposition of the Ornaments of Sound
၁၁၇.
117.
ပသာဒေါ’ဇော, မဓုရတာ, သမတာ, သုခုမာလတာ;
သိလေသော’ဒရတာ, ကန္တိ, အတ္ထဗျတ္တိ, သမာဓယော.
Clarity, vigor, sweetness, evenness, delicacy, cohesion, exaltedness, charm, clarity of meaning, and concentration.
သဒ္ဒါလင်္ကာရ ပယောဇန
The purpose of the Ornament of Sound.
၁၁၈.
118.
ဂုဏေဟေ’တေဟိ သမ္ပန္နော, ဗန္ဓော ကဝိမနောဟရော;
သမ္ပာဒိယတိ ကတ္တူနံ, ကိတ္တိ မစ္စန္တနိမ္မလံ.
Endowed with these qualities, a composition charming to the poet's mind brings about exceedingly pure fame for its creators.
သဒ္ဒါလင်္ကာရ နိဒ္ဒေသ
The detailed exposition of the Ornament of Sound.
၁၁၉.
119.
အဒူရာဟိတသမ္ဗန္ဓ, သုဘဂါ ယာ ပဒါ’ဝလိ;
သုပသိဒ္ဓါ’ဘိဓေယျာ’ယံ, ပသာဒံ ဇနယေ ယထာ.
May this beautiful string of words, whose connection is not far-fetched and whose meaning is well-known, generate clarity as intended.
၁၂၀.
120.
အလင်္ကရောန္တာ ဝဒနံ, မုနိနော’ဓရရံသိယော;
သောဘန္တေ’ရုဏရံသီ’ဝ, သမ္ပတန္တာ’မ္ဗုဇော’ဒရေ.
The rays from the Sage's lower lip, adorning his face, shine like the rays of dawn falling upon the heart of a lotus.
၁၂၁.
121.
ဩဇော သမာသဗာဟုလျ, မေသော ဂဇ္ဇဿ ဇီဝိတံ;
ပဇ္ဇေပျ’နာ’ကုလော သော’ယံ,ကန္တော ကာမီယတေ ယထာ.
Vigor is an abundance of compounds; it is the life of prose. This is undisturbed even in verse, just as a beloved is desired.
၁၂၂.
122.
မုနိန္ဒ မန္ဒ သဉ္ဇာတ, ဟာသ စန္ဒန လိမ္ပိတာ;
ပလ္လဝါ ဓဝလာ တဿေ, ဝေကော နာ’ဓရပလ္လဝေါ.
The gently arisen smile of the Lord of Sages, anointed with sandalwood, is like his white shoots; not a single tender lip is its equal.
၁၂၃.
123.
ပဒါ’ဘိဓေယျဝိသယံ, သမာသ ဗျာသ သမ္ဘဝံ;
ယံ ပါရိဏတျံ ဟောတီ’ဟ, သောပိ ဩဇော’ဝ တံ ယထာ.
Whatever maturity exists here in the domain of words and their meanings, arising from compounding and elaboration, that too is indeed vigor.
၁၂၄.
124.
ဇောတယိတွာန သဒ္ဓမ္မံ, သန္တာရေတွာ သဒေဝကေ;
ဇလိတွာ အဂ္ဂိခန္ဓော’ဝ, နိဗ္ဗုတော သော သသာဝကော.
Having illumined the True Dhamma, having led gods and men across, having blazed like a mass of fire, he with his disciples was extinguished.
၁၂၅.
125.
မတ္ထကဋ္ဌီ မတဿာ’ပိ, ရဇောဘာဝံ ဝဇန္တု မေ;
ယတော ပုညေန တေ သေန္တု, ဇိန ပါဒ’မ္ဗုဇဒွယေ.
May the bones of my head, even after death, be reduced to dust; by that merit, may they rest at the pair of lotus feet of the Conqueror.
၁၂၆.
126.
ဣစ္စတြ [Pg.167] နိစ္စပ္ပဏတိ, ဂေဓော သာဓု ပဒိဿတိ;
ဇာယတေ’ယံ ဂုဏော တိက္ခ, ပညာနမဘိယောဂတော.
Thus here, through constant reverence, longing appears virtuous; this quality arises from the practice of the keenly wise.
၁၂၇.
127.
မဓုရတ္တံ ပဒါသတ္တိ, ရ’နုပ္ပာသဝသာ ဒွိဓာ;
သိယာ သမသုတိ ပုဗ္ဗာ, ဝဏ္ဏာ’ဝုတ္တိ ပရော ယထာ.
Sweetness is the close arrangement of words, and by means of alliteration, it is twofold: the first is similarity of sound, the second is repetition of letters.
၁၂၈.
128.
ယဒါ ဧသော’ဘိသမ္ဗောဓိံ, သမ္ပတ္တော မုနိပုင်္ဂဝေါ;
တဒါ ပဘုတိ ဓမ္မဿ, လောကေ ဇာတော မဟု’ဿဝေါ.
When that foremost of sages attained supreme enlightenment, from that time onward, a great festival of the Dhamma arose in the world.
၁၂၉.
129.
မုနိန္ဒမန္ဒဟာသာ တေ, ကုန္ဒ သန္ဒောဟဝိဗ္ဘမာ;
ဒိသန္တ မနုဓာဝန္တိ, ဟသန္တာ စန္ဒကန္တိယော.
Those gentle smiles of the Lord of Sages, with the charm of a cluster of jasmine, pursue the directions, laughing like moonbeams.
၁၃၀.
130.
သဗ္ဗကောမလဝဏ္ဏေဟိ, နာ’နုပ္ပာသော ပသံသိယော;
ယထာ’ယံ မာလတီမာလာ, လိန လောလာ’လိမာလိနီ.
Alliteration with only soft letters is not praised, just as this jasmine garland is beset with clinging, restless bees.
၁၃၁.
131.
မုဒူဟိ ဝါ ကေဝလေဟိ, ကေဝလေဟိ ဖုဋေဟိ ဝါ,မိဿေဟိ ဝါ တိဓာ ဟောတိ, ဝဏ္ဏေဟိ သမတာ ယထာ.
Evenness of letters is threefold: with soft letters alone, with hard letters alone, or with mixed letters, as follows.
ကေဝလမုဒုသမတာ
Evenness of Only Soft Letters
၁၃၂.
132.
ကောကိလာ’လာပသံဝါဒီ, မုနိန္ဒာ’လာပဝိဗ္ဘမော;
ဟဒယင်္ဂမတံ ယာတိ, သတံ ဒေတိ စ နိဗ္ဗုတိံ.
The charming speech of the Lord of Sages, harmonizing with the cuckoo's call, goes to the heart and gives peace to the virtuous.
ကေဝလဖုဋသမတာ
Evenness of Only Hard Letters
၁၃၃.
133.
သမ္ဘာဝနီယသမ္ဘာဝံ, ဘဂဝန္တံ ဘဝန္တဂုံ;
ဘဝန္တသာဓနာ’ကင်္ခီ, ကော န သမ္ဘာဝယေ ဝိဘုံ.
The Blessed One, whose nature is worthy of veneration, the ender of becoming—who, aspiring to bring an end to becoming, would not venerate that mighty one?
မိဿကသမတာ
Evenness of Mixed Letters
၁၃၄.
134.
လဒ္ဓစန္ဒနသံသဂ္ဂ, သုဂန္ဓိ မလယာ’နိလော;
မန္ဒ မာယာတိ ဘီတော’ဝ, မုနိန္ဒမုခမာရုတာ.
The fragrant breeze from Malaya, having gained contact with sandalwood, comes gently, as if afraid of the breeze from the Sage-king's mouth.
၁၃၅.
135.
အနိဋ္ဌုရ’က္ခရ’ပ္ပာယာ, သဗ္ဗကောမလ နိဿဋာ;
ကိစ္ဆမုစ္စာရဏာ’ပေတ, ဗျဉ္ဇနာ သုခုမာလတာ.
Delicacy is characterized by consonants that are predominantly gentle, uttered with complete softness, and free from difficult pronunciation.
၁၃၆.
136.
ပဿန္တာ ရူပဝိဘဝံ, သုဏန္တာ မဓုရံ ဂိရံ;
စရန္တိ သာဓူ သမ္ဗုဒ္ဓ, ကာလေ ကေဠိပရမ္မုခါ.
Seeing the splendor of his form, hearing his sweet voice, the virtuous, in the time of the Perfectly Enlightened One, conduct themselves with faces turned from amusement.
၁၃၇.
137.
အလင်္ကာရဝိဟီနာ’ပိ, သတံ သမ္မုခတေ’ဒိသီ;
အာရောဟတိ ဝိသေသေန, ရမဏီယာ တ’ဒုဇ္ဇလာ.
Though devoid of ornaments, such speech, in the presence of the virtuous, increases especially in loveliness and radiance.
၁၃၈.
138.
ရောမဉ္စ [Pg.168] ပိဉ္ဆ ရစနာ, သာဓု ဝါဒါဟိတဒ္ဓနီ;
လဠန္တိ’မေ မုနိမေဃု, မ္မဒါ သာဓု သိခါဝလာ.
These virtuous peacocks, whose display of plumage is a thrill and who make the sound of 'Sādhu', delight, enraptured, in the cloud that is the Sage.
၁၃၉.
139.
သုခုမာလတ္တ မတ္ထေ’ဝ, ပဒတ္ထဝိသယမ္ပိ စ;
ယထာ မတာဒိသဒ္ဒေသု, ကိတ္တိသေသာဒိကိတ္တနံ.
Delicacy applies to the meaning itself, and also to the domain of word-and-meaning, as for instance, in words like 'mother', or in expressions such as 'he whose fame alone remains'.
၁၄၀.
140.
သိလိဋ္ဌ ပဒ သံသဂ္ဂ, ရမဏီယ ဂုဏာ’လယော;
သဗန္ဓဂါရဝေါ သော’ယံ, သိလေသော နာမ တံ ယထာ.
This quality, having contact with well-joined words, an abode of pleasing qualities, and respect for composition, is called 'coalescence' (silesa), for example:
၁၄၁.
141.
ဗာလိ’န္ဒုဝိဗ္ဘမ’စ္ဆေဒိ, နခရာ’ဝလိ ကန္တိဘိ;
သာ မုနိန္ဒပဒ’မ္ဘောဇ, ကန္တိ ဝေါ ဝလိတာ’ဝတံ.
May the radiance of the Sage-king's lotus feet—a radiance whose rows of nails by their splendor surpass the charm of the young moon—encompass and protect you.
၁၄၂.
142.
ဥက္ကံသဝန္တော ယောကောစိ, ဂုဏော ယဒိ ပတီယတေ;
ဥဒါရော’ယံ ဘဝေ တေန, သနာထာ ဗန္ဓပဒ္ဓတိ.
If any excellent quality is perceived, the composition thereby becomes noble, and its method is well-supported.
၁၄၃.
143.
ပါဒမ္ဘောဇ ရဇော လိတ္တ, ဂတ္တာ ယေ တဝ ဂေါတမ;
အဟော! တေ ဇန္တဝေါ ယန္တိ, သဗ္ဗထာ နိရဇတ္တနံ.
O Gotama, those beings whose bodies are smeared with the dust of Your lotus feet, ah! They attain in every way a state utterly free from defilement.
၁၄၄.
144.
ဧဝံ ဇိနာ’နုဘာဝဿ, သမုက္ကံသော’တြ ဒိဿတိ;
ပညဝါ ဝိဓိနာ’နေန, စိန္တယေ ပရ မီဒိသံ.
Thus, the excellence of the Conqueror's power is seen here. The wise one, by this method, should reflect on other such supreme qualities.
၁၄၅.
145.
ဥဒါရော သောပိ ဝိညေယျော, ယံ ပသတ္ထ ဝိသေသနံ;
ယထာ ကီဠာသရော လီလာ, ဟာသော ဟေမင်္ဂဒါ’ဒယော.
That which is a praised attribute should also be known as 'noble'; for example, a pleasure-pond, grace, laughter, golden armlets, and so on.
၁၄၆.
146.
လောကိယ’တ္ထာ’န’တိက္ကန္တာ, ကန္တာ သဗ္ဗဇနာနပိ;
ကန္တိ နာမာ’တိဝုတ္တဿ, ဝုတ္တာ သာ ပရိဟာရတော.
Beloved by all people and not transcending worldly matters, such is called 'radiance' (kanti); it is spoken of by way of circumlocution concerning the one who has surpassed all.
ယထာ မုနိန္ဒ ဣစ္စာဒိ.
As in 'King of Sages,' and so on.
၁၄၇.
147.
အတ္ထဗျတ္တာ’ဘိဓေယျဿာ,နေယျတာ သဒ္ဒတော’တ္ထတော;
သာ’ယံ တဒုဘယာ နေယျ, ပရိဟာရေ ပဒဿိတာ;
ယထာ မရီစိစ္စာဒိ စ, မနောနုရဉ္ဇနောစ္စာဒိ.
Intelligibility (neyyatā) is the clarity of the expressed meaning, derived from both the word and its sense. This is intelligible in both ways, as shown by way of circumlocution. For example: 'mirage,' and so on, and 'delighting the mind,' and so on.
ပုန အတ္ထေန ယထာ
Again, by way of meaning, for example:
၁၄၈.
148.
သဘာဝါ’မလတာ ဓီရ, မုဓာ ပါဒနခေသု တေ;
ယတော တေ’ဝနတာ’နန္တ, မောဠိစ္ဆာယာ ဇဟန္တိ နော.
O Wise One, the natural purity of Your toenails is in vain, for the shadows from the crowns of those endlessly bowing to You never leave them.
၁၄၉.
149.
‘ဗန္ဓသာရော’တိ မညန္တိ, ယံ သမဂ္ဂါပိ ဝိညုနော;
ဒဿနာ’ဝသရံ ပတ္တော, သမာဓိ နာမ’ယံ ဂုဏော.
That which even the assembled wise perceive as the 'essence of binding,' having reached the opportunity for insight, is this quality named 'concentration' (samādhi).
၁၅၀.
150.
အညဓမ္မော တတော’ညတ္ထ, လောကသီမာ’နုရောဓတော;
သမ္မာ အာဓီယတေ’စ္စေ’သော, ‘သမာဓီ’တိ နိရုစ္စတိ.
When a property of one thing is rightly established upon another, in keeping with the limits of convention, this is therefore called 'samādhi'.
သမာဓိ ဥဒ္ဒေသ
Summary Statement on Concentration
၁၅၁.
151.
အပါဏေ [Pg.169] ပါဏီနံ ဓမ္မော, သမ္မာ အာဓီယတေ ကွစိ,;
နိရူပေ ရူပယုတ္တဿ, နိရသေ သရသဿ, စ.
The property of the animate is sometimes rightly established in the inanimate; that of one endowed with form, in the formless; and that of one endowed with taste, in the tasteless.
၁၅၂.
152.
အဒြဝေ ဒြဝယုတ္တဿ, အကတ္တရိပိ ကတ္တုတာ,;
ကဌိနဿာ’သရီရေ,ပိ, ရူပံ တေသံ ကမာ သိယာ.
That of one endowed with fluidity, in the non-fluid; agency, even in a non-agent; and the form of the hard, even in the bodiless. These are their types in order.
သမာဓိနိဒ္ဒေသ
Detailed Explanation of Concentration
အပါဏေ ပါဏီနံ ဓမ္မော
The property of the animate in the inanimate.
၁၅၃.
153.
ဥဏ္ဏာ ပုဏ္ဏိ’န္ဒုနာ နာထ! ဒိဝါပိ သဟ သင်္ဂမာ;
ဝိနိဒ္ဒါ သမ္ပမောဒန္တိ, မညေ ကုမုဒိနီ တဝ.
O Lord! I think Your water lilies, through union with Your uṇṇā which is like a full moon, rejoice without sleep even during the day.
နိရုပေ ရူပယုတ္တဿ
The property of one endowed with form in the formless.
၁၅၄.
154.
ဒယာရသေသု မုဇ္ဇန္တာ, ဇနာ’မတရသေသွိ’ဝ;
သုခိတာ ဟတဒေါသာ တေ, နာထ! ပါဒ’မ္ဗုဇာ’နတာ.
O Lord! Those who bow to Your lotus feet, immersing themselves in the taste of compassion as if in the taste of the Deathless, are happy, their faults destroyed.
နိရသေ သရသဿ
The property of one endowed with taste in the tasteless.
၁၅၅.
155.
မဓုရေပိ ဂုဏေ ဓီရ, န’ပ္ပသီဒန္တိ ယေ တဝ;
ကီဒိသီ မနသောဝုတ္တိ, တေသံ ခါရဂုဏာန ဘော’.
O Wise One, those who do not delight even in Your sweet qualities—what kind of mental disposition, alas, do those of bitter character possess?
အဒြဝေ ဒြဝယုတ္တဿ
The property of one endowed with fluidity in the non-fluid.
၁၅၆.
156.
သဗ္ဗတ္ထသိဒ္ဓ! စူဠက, ပုဋပေယျာ မဟာဂုဏာ;
ဒိသာ သမန္တာ ဓာဝန္တိ, ကုန္ဒသောဘာ သ လက္ခဏာ.
O Accomplished-in-All-Things! Your great qualities, possessing the beauty and characteristics of the kunda flower, spread in every direction, ready to be savored from the smallest vessel.
အကတ္တရိပိ ကတ္တုတာ
Agency in a non-agent.
၁၅၇.
157.
မာရာ’ရိဗလဝိဿဋ္ဌာ, ကုဏ္ဌာ နာနာဝိဓာ’ယုဓာ;
လဇ္ဇမာနာ’ညဝေသေန, ဇိန! ပါဒါ’နတာ တဝ.
O Conqueror! The forces of the enemy Māra, dispatched with their diverse weapons blunted, were ashamed; with changed appearance, they bowed at Your feet.
ကဌိနဿာ သရီရေ
The property of the hard in the bodiless.
၁၅၈.
158.
မုနိန္ဒဘာဏုမာ ကာလော,ဒိတော ဗောဓော’ဒယာ’စလေ;
သဒ္ဓမ္မရံသိနာ ဘာတိ, ဘိန္ဒ မန္ဒတမံ ပရံ.
The sun that is the King of Sages has risen at the proper time on the dawn-mountain of enlightenment; it shines with the rays of the True Dhamma, shattering the deepest, thickest darkness.
၁၅၉.
159.
ဝမနု’ဂ္ဂိရနာဒျေ’တံ, ဂုဏဝုတျ’ပရိစ္စုတံ;
အတိသုန္ဒရ မညံ တု, ကာမံ ဝိန္ဒတိ ဂါမ္မတံ.
This usage, beginning with 'vomiting' or 'emitting,' if not deviating from the proper expression of a quality, is exceedingly beautiful; another such usage, however, may easily be considered vulgar.
၁၆၀.
160.
ကန္တီနံ ဝမနဗျာဇာ, မုနိပါဒနခါ’ဝလီ;
စန္ဒကန္တီ ပိဝန္တီ’ဝ, နိပ္ပဘံ တံ ကရောန္တိယော.
The rows of the Sage's toenails, under the pretext of emitting radiances, appear as if drinking the light of the moon, rendering it lusterless.
၁၆၁.
161.
အစိတ္တကတ္တုကံ [Pg.170] ရုစျ, မိစ္စေဝံ ဂုဏကမ္မတံ;
သစိတ္တကတ္တုကံ ပေ’တံ, ဂုဏကမ္မံ ယဒု’တ္တမံ.
An action without intention is pleasing, and thus it is a 'quality-action'; but this intentional action is also a 'quality-action,' which is the highest kind.
၁၆၂.
162.
ဥဂ္ဂိရန္တော’ဝ သသ္နေဟ, ရသံ ဇိနဝရော ဇနေ;
ဘာသန္တော မဓုရံ ဓမ္မံ, ကံ န သပ္ပီဏယေ ဇနံ.
The noble Conqueror, speaking the sweet Dhamma, as if affectionately emitting nectar for the people—what person would he not gratify?
၁၆၃.
163.
ယော သဒ္ဒသတ္ထကုသလော ကုသလော နိဃဏ္ဍု,ဆန္ဒောအလင်္ကတိသု နိစ္စကတာ’ဘိယောဂေါ;
သော’ယံ ကဝိတ္တဝိကလောပိ ကဝီသု သင်္ချ,မောဂ္ဂယှ ဝိန္ဒတိ ဟိ ကိတ္တိ’ မမန္ဒရူပံ.
He who is skilled in grammar and lexicon, constantly engaged in prosody and figures of speech; this one, even if deficient in poetic talent, having mastered these, is counted among poets and indeed gains boundless fame.
ဣတိ သံဃရက္ခိတမဟာသာမိဝိရစိတေ သုဗောဓာလင်္ကာရေ
Thus, in the Subodhālaṅkāra composed by the great elder Saṅgharakkhita,
ဂုဏာဝဗောဓော နာမ
Entitled 'The Understanding of Qualities'
တတိယော ပရိစ္ဆေဒေါ.
The Third Chapter.
၄. အတ္ထာလင်္ကာရာဝဗောဓ-စတုတ္ထပရိစ္ဆေဒ
4. The Fourth Chapter: The Understanding of the Ornaments of Meaning
၁၆၄.
164.
အတ္ထာလင်္ကာရသဟိတာ, သဂုဏာ ဗန္ဓပဒ္ဓတိ;
အစ္စန္တကန္တာ ကန္တာ ဝ ဝုစ္စန္တေ တေ တတော’ဓုနာ.
A style of composition, accompanied by ornaments of meaning and possessing good qualities, is exceedingly lovely, like a beloved woman; therefore, they are now explained.
၁၆၅.
165.
သဘာဝ, ဝင်္ကဝုတ္တီနံ, ဘေဒါ ဒွိဓာ အလံကြိယာ;
ပဌမာ တတ္ထ ဝတ္ထူနံ, နာနာဝတ္ထာ’ဝိဘာဝိနီ.
Ornamentation is twofold by division: natural expression and indirect expression. The first among them reveals the various states of things.
ယထာ
For example:
၁၆၆.
166.
လီလာ ဝိကန္တိ သုဘဂေါ, ဒိသာ ထိရ ဝိလောကနော;
ဗောဓိသတ္တင်္ကုရော ဘာသံ, ဝိရောစိ ဝါစ မာသဘိံ.
Playful, graceful, and handsome, gazing steadily in all directions, the Bodhisatta-sprout shone forth with radiance and uttered a noble speech.
၁၆၇.
167.
ဝုတ္တိ ဝတ္ထုသဘာဝဿ, ယာ’ညထာ သာ’ပရာ ဘဝေ;
တဿာ’နန္တဝိကပ္ပတ္တာ, ဟောတိ ဗီဇော’ပဒဿနံ.
The other mode of expression is that which is otherwise than the inherent nature of a thing; on account of its endless variations, only an indication of its seed is given.
ဝင်္ကဝုတ္တိ အတ္ထာလင်္ကာရ
Indirect Expression: The Ornaments of Meaning
ဥဒ္ဒေသ
Enumeration
၁၆၈.
168.
တတ္ထာ’တိသယ, ဥပမာ, ရူပကာ, ဝုတ္တိ, ဒီပကံ,;
အက္ခေပေါ, တ္ထန္တရနျာသော, ဗျတိရေကော, ဝိဘာဝနာ.
Therein are: hyperbole, simile, metaphor, natural description, illuminator; objection, corroboration, contrast, peculiar cause.
၁၆၉.
169.
ဟေတု[Pg.171], က္ကမော, ပိယတရံ, သမာသ, ပရိကပ္ပနာ;
သမာဟိတံ, ပရိယာယ, ဝုတ္တိ, ဗျာဇောပဝဏ္ဏနံ.
Cause, sequence, the more beloved, condensed speech, supposition; composure, circumlocution, mode of expression, feigned praise.
၁၇၀.
170.
ဝိသေသ, ရုဠှာဟင်္ကာရာ, သိလေသော, တုလျယောဂိတာ;
နိဒဿနံ, မဟန္တတ္တံ, ဝဉ္စနာ, ပ္ပကတတ္ထုတိ,.
Distinction, established pride, pun, equal pairing; illustration, greatness, deception, indirect praise.
၁၇၁.
171.
ဧကာဝလိ, အညမညံ, သဟဝုတ္တိ, ဝိရောဓိတာ;
ပရိဝုတ္တိ, ဗ္ဘမော, ဘာဝေါ, မိဿ, မာသီ, ရသီ, ဣတိ.
Chain, mutual, co-expression, opposition; exchange, delusion, emotion, mixed, blessing, sentiment, thus.
၁၇၂.
172.
ဧတေ ဘေဒါ သမုဒ္ဒိဋ္ဌာ, ဘာဝေါ ဇီဝိတ မုစ္စတေ;
ဝင်္ကဝုတ္တီသု ပေါသေသိ, သိလေသော တု သိရိံ ပရံ.
These types have been enumerated; emotion is said to be the life of poetry. Among the indirect expressions, the pun in particular fosters supreme beauty.
နိဒ္ဒေသ
Exposition
၁၇၃.
173.
ပကာသကာ ဝိသေသဿ, သိယာ’တိသယဝုတ္တိ ယာ;
လောကာ’တိက္ကန္တဝိသယာ, လောကိယာ,တိ စ သာ ဒွိဓာ.
The mode of expression that reveals a special quality is hyperbole. It is twofold: having a world-transcending subject, and worldly.
၁၇၄.
174.
လောကိယာတိသယဿေ’တေ,ဘေဒါ ယေ ဇာတိအာဒယော;
ပဋိပါဒီယတေ တွ’ဇ္ဇ, လောကာတိက္ကန္တဂေါစရာ.
The divisions of worldly hyperbole, such as those of genus and so on, are known; but today, that which pertains to the world-transcending sphere is explained.
၁၇၅.
175.
ပိဝန္တိ ဒေဟကန္တီ ယေ, နေတ္တဉ္ဇလိပုဋေန တေ;
နာ’လံ ဟန္တုံ ဇိနေ’သံ တွံ, တဏှံ တဏှာဟရောပိ ကိံ?
Those who drink his bodily beauty with the cupped hands of their eyes—you, O Craving, are not able to destroy the Conqueror; how could you, when he is the very remover of craving?
၁၇၆.
176.
ဥပမာနော’ပမေယျာနံ, သဓမ္မတ္တံ သိယော’ပမာ;
သဒ္ဒ, တ္ထဂမ္မာ, ဝါကျတ္ထ, ဝိသယာ,တိ စ သာ ဘိဓာ.
A simile is the possession of a common property by the standard of comparison and the object of comparison. And it is threefold: word-based, meaning-based, and sentence-meaning-based.
၁၇၇.
177.
သမာသ, ပစ္စယေ, ဝါ’ဒီ, သဒ္ဒါ တေသံ ဝသာ တိဓာ;
သဒ္ဒဂမ္မာ သမာသေန, မုနိန္ဒော စန္ဒိမာ’နနော.
The word-based simile is threefold, by means of: compound, affix, and particles like 'vā'. By compound: 'the Lord of Sages, with a face like the moon'.
၁၇၈.
178.
အာယာဒီ ပစ္စယာ တေဟိ, ဝဒနံ ပင်္ကဇာယတေ;
မုနိန္ဒနယန ဒွန္ဒံ, နီလုပ္ပလဒလီယတိ.
By affixes like '-āya' and so on: 'the face becomes like a lotus'; 'the pair of eyes of the Lord of Sages becomes like blue lotus petals'.
၁၇၉.
179.
ဣဝါဒီ ဣဝ, ဝါ, တုလျ, သမာန, နိဘ, သန္နိဘာ;
ယထာ, သင်္ကာသ, တုလိတ, ပ္ပကာသ, ပတိရူပကာ.
Particles like 'iva' and so on: iva, vā, tulya, samāna, nibha, sannibha; yathā, saṅkāsa, tulita, pakāsa, patirūpaka.
၁၈၀.
180.
သရီ, သရိက္ခ, သံဝါဒီ, ဝိရောဓိ, သဒိသာ, ဝိယ;
ပဋိပက္ခ, ပစ္စနီကာ, သပက္ခော, ပမိတော, ပမာ.
Sarī, sarikkha, saṃvādī, virodhi, sadisa, viya; paṭipakkha, paccanīka, sapakkha, pamita, pamā.
၁၈၁.
181.
ပဋိဗိမ္ဗ, ပဋိစ္ဆန္န, သရူပ, သမ, သမိတာ;
သဝဏ္ဏာ, ဘာ, ပဋိနိဓိ, သဓမ္မာ, ဒိ သလက္ခဏာ.
Paṭibimba (reflection), paṭicchanna (concealed), sarūpa (likeness), sama (same), samita (equal); savaṇṇa (of the same kind), bhā (luster), paṭinidhi (substitute), sadhamma (having the same quality), and so on are its characteristics.
၁၈၂.
182.
ဇယတျ[Pg.172], က္ကောသတိ, ဟသတိ, ပတိဂဇ္ဇတိ, ဒူဘတိ;
ဥသူယတျ, ဝဇာနာတိ, နိန္ဒတိ, ဿတိ, ရုန္ဓတိ.
He excels, scolds, laughs at, rivals, harms; he envies, disparages, blames, is jealous of, obstructs.
၁၈၃.
183.
တဿ စောရေတိ သောဘဂ္ဂံ, တဿ ကန္တိံ ဝိလုမ္ပတိ;
တေန သဒ္ဓိံ ဝိဝဒတိ, တုလျံ တေနာ’ဓိရောဟတိ.
He steals its charm, he plunders its beauty; he disputes with it, he rises to equality with it.
၁၈၄.
184.
ကစ္ဆံ ဝိဂါဟတေ, တဿ, တ မနွေတျ, နုဗန္ဓတိ;
တံသီလံ, တံနိသေဓေတိ, တဿ စာ’နုကရောတိ, မေ.
He rivals it, he follows it, he pursues it; he shares its nature, he opposes it, and he imitates it.
၁၈၅.
185.
ဥပမာနော’ပမေယျာနံ, သဓမ္မတ္တံ ဝိဘာဝိဘိ;
ဣမေဟိ ဥပမာဘေဒါ, ကေစိ နိယျန္တိ သမ္ပတိ.
By these who discern the common quality of the standard of comparison and the object of comparison, some divisions of similes are now set forth.
၁၈၆.
186.
ဝိကာသိပဒုမံ’ဝါ’တိ, သုန္ဒရံ သုဂတာ’နနံ;
ဣတိ ဓမ္မောပမာ နာမ, တုလျဓမ္မနိဒဿနာ.
'Like a blooming lotus,' thus, 'fair is the face of the Well-Gone One.' This is called the simile of quality, a showing of equivalent qualities.
၁၈၇.
187.
ဓမ္မဟီနာ ‘‘မုခ’မ္ဘောဇ, သဒိသံ မုနိနော’’ဣတိ;
ဝိပရီတော’ပမာ ‘‘တုလျ, မာနနေန’မ္ဗုဇံ တဝ’’.
The simile devoid of a common quality: 'The face of the sage is like a lotus.' The inverted simile: 'Your lotus is equal to your face.'
၁၈၈.
188.
တဝါ’နန’မိဝ’မ္ဘောဇံ, အမ္ဘောဇ’မိဝ တေ မုခံ;
အညမညောပမာ သာ’ယံ, အညမညောပမာနတော.
'A lotus is like your face; your face is like a lotus.' This is the mutual simile, from mutual comparison.
၁၈၉.
189.
‘‘ယဒိ ကိဉ္စိ ဘဝေ’မ္ဘောဇံ, လောစန’ဗ္ဘမုဝိဗ္ဘမံ;
ဓာရေတုံ မုခသောဘံ တံ, တဝေ’’တိ အဗ္ဘုတောပမာ.
'If there were any lotus, with the roving beauty of your eyes and brow, to bear that splendor of your face'—this is the astounding simile.
၁၉၀.
190.
‘‘သုဂန္ဓိ သောဘာ သမ္ဗန္ဓီ, သိသိရံ’သု ဝိရောဓိ စ;
မုခံ တဝ’မ္ဗုဇံဝေ’တိ’’, သာ သိလေသောပမာ မတာ.
'Fragrant, endowed with beauty, cool, and opposing the sun—your face is indeed a lotus.' This is considered the pun-simile.
၁၉၁.
191.
သရူပသဒ္ဒဝါစ္စတ္တာ, သာ သန္တာနောပမာ ယထာ;
ဗာလာ’ဝု’ယျာနမာလာ’ယံ, သာ’လကာ’နနသောဘိနီ.
Because it is expressed by words of similar form, it is the continuous simile, for instance: 'This young girl, a garden garland, shines with locks of hair upon her face.'
၁၉၂.
192.
ခယီ စန္ဒော, ဗဟုရဇံ, ပဒုမံ, တေဟိ တေ မုခံ;
သမာနမ္ပိ သမုက္ကံသိ, တျ’ယံ နိန္ဒောပမာ မတာ.
The moon wanes, the lotus has much pollen; by these, your face, though equal, surpasses. This is considered the blame-simile.
၁၉၃.
193.
အသမတ္ထော မုခေနိ’န္ဒု, ဇိန! တေ ပဋိဂဇ္ဇိတုံ;
ဇဠော ကလင်္ကီ’တိ အယံ, ပဋိသေဓောပမာ သိယာ.
'The moon is unable, O Conqueror, to rival your face; it is dull and blemished'—this would be the refutation-simile.
၁၉၄.
194.
‘‘ကစ္ဆံ စန္ဒာရဝိန္ဒာနံ, အတိက္ကမ္မ မုခံ တဝ;
အတ္တနာ’ဝ သမံ ဇာတ’’, မိတျ’သာဓာရဏောပမာ.
'Surpassing a thicket of moons and lotuses, your face is born equal to itself'—this is the incomparable simile.
၁၉၅.
195.
‘‘သဗ္ဗ’မ္ဘောဇ’ပ္ပဘာသာရော, ရာသိဘူတော’ဝ ကတ္ထစိ;
တဝါ’နနံ ဝိဘာတီ’’တိ, ဟောတာ’ဘူတောပမာ အယံ.
'Your face shines forth as if the very essence of the splendor of all lotuses were gathered into a heap somewhere'—this is the unreal simile.
၁၉၆.
196.
ပတီယတေ’တ္ထဂမ္မာ တု, သဒ္ဒသာမတ္ထိယာ ကွစိ;
သမာသ, ပ္ပစ္စယေ, ဝါဒိ, သဒ္ဒယောဂံ ဝိနာ အပိ.
The meaning-based simile, however, is understood sometimes by the inherent power of the word, even without the use of words such as compounds, suffixes, or 'iva'.
၁၉၇.
197.
ဘိင်္ဂါနေ’မာနိ [Pg.173] စက္ခူနိ, နာ’မ္ဗုဇံ မုခ’မေဝိ’ဒံ;
သုဗျတ္တသဒိသတ္တေန, သာ သရူပေါပမာ မတာ.
'These eyes are bees, and this face is indeed a lotus.' By its clearly expressed likeness, this is considered the simile of identical form.
၁၉၈.
198.
‘‘မယေ’ဝ မုခသောဘာ’ဿေ, တျလ’မိန္ဒု! ဝိကတ္ထနာ;
ယတော’မ္ဗုဇေပိ သာ’တ္ထီတိ’’, ပရိကပ္ပောပမာ အယံ.
'If splendor of face were in me alone, then enough, O moon, with your boasting! For it exists in the lotus as well'—this is the supposition-simile.
၁၉၉.
199.
‘‘ကိံ ဝါ’မ္ဗုဇ’န္တောဘန္တာလိ, ကိံ လောလနယနံ မုခံ;
မမ ဒေါလာယတေ စိတ္တ’’, မိစ္စ’ယံ သံသယောပမာ.
'Is it a lotus with bees wandering within, or is it a face with restless eyes? My mind wavers'—this is the doubt-simile.
၂၀၀.
200.
ကိဉ္စိ ဝတ္ထုံ ပဒဿေတွာ, သဓမ္မဿာ’ဘိဓာနတော;
သာမျပ္ပတီတိသဗ္ဘာဝါ, ပတိဝတ္ထုပမာ ယထာ.
Having shown some object, by stating a common quality, where the understanding of similarity exists—that is the counterpart simile, as for example:
၂၀၁.
201.
ဇနေသု ဇာယမာနေသု, နေ’ကောပိ ဇိနသာဒိသော;
ဒုတိယော နနု နတ္ထေ’ဝ, ပါရိဇာတဿ ပါဒပေါ.
Among beings who are born, not even one is like the Conqueror; surely, a second Pārijāta tree does not exist.
၂၀၂.
202.
ဝါကျတ္ထေနေ’ဝ ဝါကျတ္ထော, ယဒိ ကောစူ’ပမီယတေ;
ဣဝယုတ္တာ, ဝိယုတ္တတ္တာ, သာ ဝါကျတ္ထောပမာ ဒွိဓာ.
If one sentence-meaning is compared by another sentence-meaning, that sentence-meaning simile is twofold: connected with 'iva' and unconnected with it.
ဣဝယုတ္တာ
Connected with 'iva'
၂၀၃.
203.
ဇိနော သံက္လေသတတ္တာနံ, အာဝိဘူတော ဇနာန’ယံ;
ဃမ္မသန္တာပတတ္တာနံ, ဃမ္မကာလေ’မ္ဗုဒေါ ဝိယ.
This Conqueror, manifest to people afflicted by defilements, is like a rain cloud in the hot season to those afflicted by the heat.
ဣဝဝိယုတ္တာ
Unconnected with 'iva'
၂၀၄.
204.
မုနိန္ဒာနန မာဘာတိ, ဝိလာသေကမနောဟရံ;
ဥဒ္ဓံ သမုဂ္ဂတဿာ’ပိ, ကိံ တေ စန္ဒ ဝိဇမ္ဘနာ.
The face of the Lord of Sages shines, singularly captivating in its grace; though you have risen high, O moon, what is this boasting of yours?
၂၀၅.
205.
သမုဗ္ဗေဇေတိ ဓီမန္တံ, ဘိန္နလိင်္ဂါဒိကံ တု ယံ;
ဥပမာဒူသနာယာ’လ, မေတံ ကတ္ထစိ တံ ယထာ.
Whatever is of different gender and so on, it agitates the wise; this is sufficient to spoil a simile in some cases. For instance:
၂၀၆.
206.
ဟံသီ’ဝါ’ယံ သသီ ဘိန္န, လိင်္ဂါ, ကာသံ သရာနိ’ဝ;
ဝိဇာတိ ဝစနာ, ဟီနာ, သာ’ဝ ဘတ္တော ဘဋော’ဓိပေ.
'This moon is like a female swan'—(this is faulty due to) different gender. 'Arrows are like kāsa-grass'—(this is faulty due to) different class and number. An inferior comparison is also a fault.
၂၀၇.
207.
‘‘ခဇ္ဇောတော ဘာဏုမာလီ’ဝ, ဝိဘာတိ’’တျဓိကောပမာ;
အဖုဋ္ဌတ္ထာ ‘‘ဗလမ္ဗောဓိ, သာဂရော ဝိယ သံခုဘိ.’’
'A firefly shines like the sun'—this is the excessive simile. With an unconnected meaning: 'The ocean of the army was agitated like the ocean.'
၂၀၈.
208.
‘‘စန္ဒေ ကလင်္ကော ဘိင်္ဂေါ’ဝေ’, တျု’ပမာပေက္ခိနီ အယံ;
ခဏ္ဍိတာ ကေရဝါ’ကာရော, သကလင်္ကော နိသာကရော.
'The stain on the moon is like a bee'—this is the dependent simile. It is incomplete; the night-maker is stained and has the appearance of a white water-lily.
၂၀၉.
209.
ဣစ္စေဝမာဒိရူပေသု, ဘဝန္တိ ဝိဂတာ’ဒရာ;
ကရောန္တိ စာ’ဒရံ ဓီရာ, ပယောဂေ ကွစိ ဒေ’ဝ တု.
In such and similar forms, some are unconcerned; but the wise show concern, though only in some applications.
၂၁၀.
210.
ဣတ္ထီယံ’ဝါ’ဇနော ယာတိ, ဝဒတျေ’သာ ပုမာ ဝိယ;
ပိယော ပါဏာ ဣဝါ’ယံ မေ, ဝိဇ္ဇာ ဓန’မိဝ’စ္စိတာ.
This person goes like a woman; she speaks like a man. This one is dear to me like life; knowledge is honored like wealth.
၂၁၁.
211.
ဘဝံ [Pg.174] ဝိယ မဟီပါလ, ဒေဝရာဇာ ဝိရောစတေ;
အလ’မံသုမတော ကစ္ဆံ, တေဇသာ ရောဟိတုံ အယံ.
O king, you shine like the king of gods; this one is able to ascend with splendor to the very realm of the sun.
၂၁၂.
212.
ဥပမာနော’ပမေယျာနံ, အဘေဒဿ နိရူပနာ;
ဥပမာ’ဝ တိရောဘူတ, ဘေဒါ ရူပက မုစ္စတေ.
The presentation of non-difference between the standard of comparison and the object of comparison is called a metaphor; it is the simile itself, with its distinction concealed.
၂၁၃.
213.
အသေသ ဝတ္ထု ဝိသယံ, ဧကဒေသ ဝိဝုတ္တိ, စ;
တံ ဒွိဓာ ပုန ပစ္စေကံ, သမာသာဒိဝသာ တိဓာ.
It is of two kinds: pertaining to the entire object, and partial description. Each of these is again threefold by way of compound and so on.
အသေသဝတ္ထုဝိသယသမာသ
Compound pertaining to the entire object.
၂၁၄.
214.
အင်္ဂုလိဒလ သံသောဘိံ, နခဒီဓိတိ ကေသရံ;
သိရသာ န ပိလန္ဓန္တိ, ကေ မုနိန္ဒ ပဒ’မ္ဗုဇံ.
Adorned with finger-petals and nail-ray filaments, who, O Lord of Sages, would not place upon their head your lotus-foot?
အသေသဝတ္ထုဝိသယအသမာသ
Non-compound pertaining to the entire object.
၂၁၅.
215.
ရတနာနိ ဂုဏာ ဘူရီ, ကရုဏာ သီတလံ ဇလံ;
ဂမ္ဘီရတ္တ မဂါဓတ္တံ, ပစ္စက္ခော’ယံ ဇိနော’မ္ဗုဓိ.
Abundant virtues are jewels, compassion is cool water, profundity and unfathomableness; this Victor is a manifest ocean.
အသေသဝတ္ထုဝိသယမိဿက
Mixed metaphor pertaining to the entire object.
၂၁၆.
216.
စန္ဒိကာ မန္ဒဟာသာ တေ, မုနိန္ဒ! ဝဒနိ’န္ဒုနော;
ပဗောဓယတျ’ယံ သာဓု, မနော ကုမုဒ ကာနနံ.
O Lord of Sages, your gentle smile is the moonlight from the moon of your face; this well awakens the water-lily grove of the mind.
၂၁၇.
217.
အသေသဝတ္ထုဝိသယေ, ပဘေဒေါ ရူပကေ အယံ;
ဧကဒေသဝိဝုတ္တိမှိ, ဘေဒေါ ဒါနိ ပဝုစ္စတိ.
This is a division of metaphor concerning the entire object; now the division concerning partial description is declared.
ဧကဒေသဝိဝုတ္တိသမာသ
Compound with partial description.
၂၁၈.
218.
ဝိလာသ ဟာသ ကုသုမံ, ရုစိရာ’ဓရ ပလ္လဝံ;
သုခံ ကေ ဝါ န ဝိန္ဒန္တိ, ပဿန္တာ မုနိနော မုခံ.
The flower of a graceful smile, the charming lip-sprout; who indeed would not find happiness, seeing the face of the Sage?
ဧကဒေသဝိဝုတ္တိအသမာသ
Non-compound with partial description.
၂၁၉.
219.
ပါဒဒွန္ဒံ မုနိန္ဒဿ, ဒဒါတု ဝိဇယံ တဝ;
နခရံသီ ပရံ ကန္တာ, ယဿ ပါပဇယဒ္ဓဇာ.
May the pair of feet of the Lord of Sages grant you victory; whose supremely lovely nail-rays are the banners of the conquest of evil.
ဧကဒေသဝိဝုတ္တိမိဿက
Mixed metaphor with partial description.
၂၂၀.
220.
သုနိမ္မလကပေါလဿ, မုနိန္ဒ ဝဒနိ’န္ဒုနော;
သာဓု’ပ္ပဗုဒ္ဓ ဟဒယံ, ဇာတံ ကေရဝ ကာနနံ.
Of the Lord of Sages, whose cheeks are spotless, whose face is like the moon; the well-awakened heart has become a water-lily grove.
၂၂၁.
221.
ရူပကာနိ [Pg.175] ဗဟူနျေ’ဝ, ယုတ္တာ, ယုတ္တာဒိဘေဒတော;
ဝိသုံ န တာနိ ဝုတ္တာနိ, ဧတ္ထေ’ဝ’န္တောဂဓာနိ’တိ.
Metaphors are indeed many, differentiated as 'fitted' and so on; they are not stated separately, for they are included herein.
၂၂၂.
222.
‘‘စန္ဒိမာ’ကာသပဒုမ’’, မိစ္စေတံ ခဏ္ဍရူပကံ;
ဒုဋ္ဌ, ‘‘မမ္ဗောရုဟဝနံ, နေတ္တာနိ’စ္စာ’’ဒိ သုန္ဒရံ.
'The moon is a sky-lotus'—this is a defective metaphor; it is faulty. But 'the face a lotus-forest, the eyes...' and so on is beautiful.
၂၂၃.
223.
ပရိယန္တော ဝိကပ္ပာနံ, ရူပကဿော’ပမာယ စ;
နတ္ထိ ယံ တေန ဝိညေယျံ, အဝုတ္တ မနုမာနတော.
There is no limit to the variations of metaphor and simile; therefore, what is not stated should be understood by inference.
၂၂၄.
224.
ပုနပ္ပုန မုစ္စာရဏံ, ယမတ္ထဿ, ပဒဿ စ;
ဥဘယေသဉ္စ ဝိညေယျာ, သာ’ယ’မာဝုတ္တိ နာမတော.
That which is the repeated utterance of a meaning, of a word, or of both, should be understood to be 'āvutti' by name.
အတ္ထာဝုတ္တိ
Repetition of meaning.
၂၂၅.
225.
မနော ဟရတိ သဗ္ဗေသံ, အာဒဒါတိ ဒိသာ ဒသ;
ဂဏှာတိ နိမ္မလတ္တဉ္စ, ယသောရာသိ ဇိနဿ’ယံ.
It captivates the minds of all, it pervades the ten directions, it takes on purity; this is the mass of glory of the Victor.
ပဒါဝုတ္တိ
Repetition of a word.
၂၂၆.
226.
ဝိဘာသေန္တိ ဒိသာ သဗ္ဗာ, မုနိနော ဒေဟကန္တိယော;
ဝိဘာ သေန္တိ စ သဗ္ဗာပိ, စန္ဒာဒီနံ ဟတာ ဝိယ.
The bodily splendors of the Sage illuminate all directions; and they illuminate all things, as if the moon and other lights were vanquished.
ဥဘယာဝုတ္တိ
Repetition of both word and meaning.
၂၂၇.
227.
ဇိတွာ ဝိဟရတိ က္လေသ, ရိပုံ လောကေ ဇိနော အယံ;
ဝိဟရတျ’ရိဝဂ္ဂေါ’ယံ, ရာသိဘူတော’ဝ ဒုဇ္ဇနေ.
Having conquered the enemy of the defilements, this Victor dwells in the world; this host of enemies dwells as if in a heap among the wicked.
၂၂၈.
228.
ဧကတ္ထ ဝတ္တမာနမ္ပိ, သဗ္ဗဝါကျော’ပကာရကံ;
ဒီပကံ နာမ တံ စာဒိ, မဇ္ဈ, န္တဝိသယံ တိဓာ.
Though present in one place, it assists every clause; that is called Dīpaka, and it is threefold in scope: beginning, middle, and end.
အာဒိ ဒီပက
Beginning Illuminator.
၂၂၉.
229.
အကာသိ ဗုဒ္ဓေါ ဝေနေယျ, ဗန္ဓူန မမိတော’ဒယံ;
သဗ္ဗပါပေဟိ စ သမံ, နေကတိတ္ထိယမဒ္ဒနံ.
The Buddha brought about infinite welfare for his kinsmen to be trained, and, along with all evils, the crushing of the many heretics.
မဇ္ဈေ ဒီပက
Middle Illuminator.
၂၃၀.
230.
ဒဿနံ မုနိနော သာဓု, ဇနာနံ ဇာယတေ’မတံ;
တဒ’ညေသံ တု ဇန္တူနံ, ဝိသံ နိစ္စော’ပတာပနံ.
For people, from the good sight of the Sage, immortality arises; but for other beings, poison and constant torment.
အန္တဒီပက
End Illuminator.
၂၃၁.
231.
အစ္စန္တ [Pg.176] ကန္တ လာဝဏျ, စန္ဒာ’တပ မနောဟရော;
ဇိနာ’နနိ’န္ဒု ဣန္ဒု စ, ကဿ နာ’နန္ဒကော ဘဝေ.
The Victor's moon-like face, exceedingly lovely, beautiful, and charming like the light of the moon, and the moon itself—to whom would they not be a source of joy?
မာလာဒီပက
The Garland Illuminator.
၂၃၂.
232.
ဟောတာ’ဝိပ္ပဋိသာရာယ, သီလံ, ပါမောဇ္ဇဟေတု သော;
တံ ပီတိဟေတု, သာ စာ’ယံ, ပဿဒ္ဓျာ’ဒိ ပသိဒ္ဓိယာ.
Virtue is for the sake of non-remorse; that (non-remorse) is a cause of joy; that (joy) is a cause of rapture; and this (rapture) is for the accomplishment of tranquility and so on.
၂၃၃.
233.
ဣစ္စာ’ဒိဒီပကတ္တေပိ, ပုဗ္ဗံ ပုဗ္ဗ မပေက္ခိနီ;
ဝါကျမာလာ ပဝတ္တာတိ, တံ မာလာဒီပကံ မတံ.
Thus, when a garland of sentences proceeds, each dependent on the preceding one, even in its function as an illuminator of the beginning and so on, that is considered the Garland Illuminator.
၂၃၄.
234.
အနေနေ’ဝ’ပ္ပကာရေန, သေသာန မပိ ဒီပကေ;
ဝိကပ္ပာနံ ဝိဓာတဗ္ဗာ, နုဂတိ သုဒ္ဓဗုဒ္ဓိဘိ.
By this very method, the application of variations to the remaining illuminators should also be undertaken by those of pure intellect.
၂၃၅.
235.
ဝိသေသ ဝစနိ’စ္ဆာယံ, နိသေဓဝစနံ တု ယံ;
အက္ခေပေါ နာမ သောယဉ္စ, တိဓာ ကာလပ္ပဘေဒတော.
When there is a desire to make a special statement, that which is a statement of prohibition is called Akkhepa; and this is threefold according to the distinctions of time.
၂၃၆.
236.
ဧကာကီ’ နေကသေနံ တံ, မာရံ သ ဝိဇယီ ဇိနော;
ကထံ တ မထဝါ တဿ, ပါရမီဗလ မီဒိသံ.
Alone, that Victor conquered Māra with his vast army. How could that be? Or rather, such was the power of his perfections.
အတီတက္ခေပေါ.
Past Akkhepa.
၂၃၇.
237.
ကိံ စိတ္တေ’ဇာသမုဂ္ဃာတံ, အပတ္တော’သ္မီတိ ခိဇ္ဇသေ;
ပဏာမော နနု သော ယေ’ဝ, သကိမ္ပိ သုဂတေ ဂတော.
Why do you fret in mind, thinking, 'I have not attained the uprooting of defilements'? Is not that very obeisance, made even once to the Well-Gone One, sufficient?
ဝတ္တမာနက္ခေပေါ.
Present Akkhepa.
၂၃၈.
238.
သစ္စံ န တေ ဂမိဿန္တိ, သိဝံ သုဇနဂေါစရံ;
မိစ္ဆာဒိဋ္ဌိ ပရိက္ကန္တ, မာနသာ ယေ သုဒုဇ္ဇနာ.
Truly, they will not go to the blissful state, the domain of the virtuous—those very wicked people whose minds are overcome by wrong view.
အနာဂတက္ခေပေါ.
Future Akkhepa.
၂၃၉.
239.
ဉေယျော အတ္ထန္တရနျာသော, ယော, ညဝါကျတ္ထသာဓနော;
သဗ္ဗဗျာပီ ဝိသေသဋ္ဌော, ဟိဝိသိဋ္ဌ’ဿ ဘေဒတော.
Atthantaranyāsa should be known as that which corroborates the meaning of another sentence; it is either general or specific, with the distinction of being accompanied by 'hi' or not.
ဟိ ရဟိတ သဗ္ဗဗျာပီ
General Statement, Devoid of 'hi'.
၂၄၀.
240.
တေပိ လောကဟိတာ သတ္တာ, သူရိယော စန္ဒိမာ အပိ;
အတ္ထံ ပဿ ဂမိဿန္တိ, နိယမော ကေန လင်္ဃျတေ.
Behold, even those beings who are benefactors of the world, the sun and the moon too, will go to their setting. By whom can this fixed principle be transgressed?
ဟိ သဟိတ သဗ္ဗဗျာပီ
General Statement, Accompanied by 'hi'.
၂၄၁.
241.
သတ္ထာ ဒေဝမနုဿာနံ, ဝသီ သောပိ မုနိဿရော;
ဂတော’ဝ နိဗ္ဗုတိံ သဗ္ဗေ, သင်္ခါရာ န ဟိ သဿတာ.
The Teacher of gods and humans, that lord of sages and master, has also gone to Nibbāna; for indeed, all conditioned formations are not eternal.
ဟိ ရဟိတ ဝိသေသဋ္ဌ
Specific Statement, Devoid of 'hi'.
၂၄၂.
242.
ဇိနော [Pg.177] သံသာရကန္တာရာ, ဇနံ ပါပေတိ နိဗ္ဗုတိံ;
နနု ယုတ္တာ ဂတိ သာ’ယံ, ဝေသာရဇ္ဇ သမင်္ဂိနံ.
The Victor leads people from the wilderness of saṃsāra to Nibbāna. Surely this is a fitting course for one endowed with fearlessness.
ဟိ သဟိတ ဝိသေသဋ္ဌ
Specific Statement, Accompanied by 'hi'.
၂၄၃.
243.
သုရတ္တံ တေ’ဓရဖုဋံ, ဇိန! ရဉ္ဇေတိ မာနသံ;
သယံ ရာဂပရီတာ ဟိ, ပရေ ရဉ္ဇေန္တိ သင်္ဂတေ.
O Victor! Your very red lower lip delights the mind; for those who are themselves overcome by passion delight others when they are encountered.
၂၄၄.
244.
ဝါစ္စေ ဂမ္မေ ထ ဝတ္ထူနံ, သဒိသတ္တေ ပဘေဒနံ;
ဗျတိရေကော’ယ’မပျေ’ကော, ဘယဘေဒါ စတုဗ္ဗိဓော.
Byatireka is the stating of a difference where there is similarity between things, whether expressed or implied. It is fourfold, based on the distinction being of one aspect or of both.
ဝါစ္စဧကဗျတိရေက
Expressed, with a Single Distinction.
၂၄၅.
245.
ဂမ္ဘီရတ္တ မဟတ္တာဒိ, ဂုဏာ ဇလဓိနာ ဇိန!;
တုလျော တွ မသိ ဘေဒေါ တု, သရီရေနေ’ဒိသေန တေ.
O Victor! In virtues such as profundity and greatness, you are similar to the ocean; there is a difference, however, in your body being of this kind.
ဝါစ္စ ဥဘယဗျတိရေက
Expressed, with a Double Distinction.
၂၄၆.
246.
မဟာသတ္တာ’တိဂမ္ဘီရာ, သာဂရော သုဂတောပိ စ;
သာဂရော’ဉ္ဇနသင်္ကာသော, ဇိနော စာမီကရဇ္ဇုတိ.
The ocean and the Well-Gone One are great entities and very profound. The ocean is like a mass of collyrium; the Victor has the radiance of pure gold.
ဂမ္မ ဧကဗျတိရေက
Implied, with a Single Distinction.
၂၄၇.
247.
န သန္တာပါပဟံ နေဝိ, စ္ဆိတဒံ မိဂလောစနံ;
မုနိန္ဒ! နယနဒွန္ဒံ, တဝ တဂ္ဂုဏ ဘူသိတံ.
O Lord of Sages! A deer's eye does not remove distress, nor does it grant what is desired; yet your pair of eyes is adorned with its quality.
ဂမ္မဥဘယဗျတိရေက
Implied, with a Double Distinction.
၂၄၈.
248.
မုနိန္ဒာနန မမ္ဘောဇ, မေသံ နာနတ္တ မီဒိသံ;
သုဝုတ္တာ’မတသန္ဒာယီ, ဝဒနံ နေ’ဒိသ’မ္ဗုဇံ.
The face of the Lord of Sages and a lotus—their difference is of this kind: the face is well-spoken and yields the deathless nectar; a lotus is not so.
၂၄၉.
249.
ပသိဒ္ဓံ ကာရဏံ ယတ္ထ, နိဝတ္တေတွာ’ ဉာကာရဏံ;
သာဘာဝိကတ္တ မထဝါ, ဝိဘာဗျံ သာ ဝိဘာဝနာ.
Where a well-known cause is prevented and another cause is elucidated, or where naturalness is made manifest, that is Vibhāvanā.
ကာရဏန္တရဝိဘာဝနာ
Vibhāvanā of a different cause.
၂၅၀.
250.
အနဉ္ဇိတာ’သိတံ နေတ္တံ, အဓရော ရဉ္ဇိတာ’ရုဏော;
သမာနတာ ဘမု စာ’ယံ, ဇိနာ’နာဝဉ္စိတာ တဝ.
Your eyes are unanointed, yet dark; your lips are unadorned, yet red; and these, your even brows, O Conqueror, are not crooked.
သာဘာဝိက ဝိဘာဝနာ
Natural Vibhāvanā.
၂၅၁.
251.
န ဟောတိ ခလု ဒုဇ္ဇနျ, မပိ ဒုဇ္ဇနသင်္ဂမေ;
သဘာဝနိမ္မလတရေ, သာဓုဇန္တူန စေတသိ.
Indeed, wickedness does not arise, even in the company of the wicked, in the mind of good beings, which is by nature exceedingly pure.
၂၅၂.
252.
ဇနကော[Pg.178], ဉာပကော စေတိ, ဒုဝိဓာ ဟေတဝေါ သိယုံ;
ပဋိသင်္ခရဏံ တေသံ, အလင်္ကာရတာယော’ဒိတံ.
Producer and indicator—thus are the two kinds of causes; their thorough analysis is said to be an adornment.
၂၅၃.
253.
ဘာဝါ’ဘာဝ ကိစ္စဝသာ, စိတ္တဟေတုဝသာပိ စ;
ဘေဒါ’နန္တာ ဣဒံ တေသံ, မုခမတ္တ နိဒဿနံ.
By the power of the function of existence and non-existence, and also by the power of the mental cause, their divisions are endless; this is but a brief indication of them.
၂၅၄.
254.
ပရမတ္ထပကာသေ’က, ရသာ သဗ္ဗမနောဟရာ;
မုနိနော ဒေသနာ’ယံ မေ, ကာမံ တောသေတိ မာနသံ.
Revealing the ultimate truth, of a single taste and delighting all, this teaching of the Sage greatly satisfies my mind.
ဘာဝကိစ္စော ကာရကဟေတု.
The producing cause has the function of existence.
၂၅၅.
255.
ဓီရေဟိ သဟ သံဝါသာ, သဒ္ဓမ္မဿာ’ဘိယောဂတော;
နိဂ္ဂဟေနိ’န္ဒြိယာနဉ္စ, ဒုက္ခဿု’ပသမော သိယာ.
Through living with the wise, through devotion to the true Dhamma, and through restraint of the faculties, the stilling of suffering comes to be.
အဘာဝကိစ္စော ကာရကဟေတု.
The producing cause has the function of non-existence.
၂၅၆.
256.
မုနိန္ဒ’စန္ဒ သံဝါဒိ, ကန္တဘာဝေါ’ပသောဘိနာ;
မုခေနေ’ဝ သုဗောဓံ တေ, မနံ ပါပါ’ဘိနိဿဋံ.
By your face alone, which is like the moon of the Lord of Sages and shines with a lovely nature, your mind, having emerged from evil, is easily understood.
ဘာဝကိစ္စော ဉာပကဟေတု.
The indicator cause has the function of existence.
၂၅၇.
257.
သာဓုဟတ္ထာ’ရဝိန္ဒာနိ, သင်္ကောစယတိ တေ ကထံ;
မုနိန္ဒ! စရဏဒွန္ဒ, ရာဂဗာလာ’တပေါ ဖုသံ?
O Lord of Sages, how can the scorching heat of the morning sun of passion, upon touching them, cause your excellent lotus-like hands and your pair of feet to contract?
အယုတ္တကာရီ စိတ္တဟေတု.
The mental cause as an agent of what is improper.
၂၅၈.
258.
သင်္ကောစယန္တိ ဇန္တူနံ, ပါဏိပင်္ကေရုဟာနိ’ဟ;
မုနိန္ဒ! စရဏဒွန္ဒ, နခ စန္ဒာန’ မံသဝေါ.
O Lord of Sages! Here, the rays from the moons that are the nails of your pair of feet cause the lotus-like hands of beings to contract.
ယုတ္တကာရီ စိတ္တဟေတု.
The mental cause as an agent of what is proper.
၂၅၉.
259.
ဥဒ္ဒိဋ္ဌာနံ ပဒတ္ထာနံ, အနုဒ္ဒေသော ယထာက္ကမံ;
‘သင်္ချာန’မိတိ နိဒ္ဒိဋ္ဌံ, ယထာသင်္ချံ ကမောပိ စ.
The subsequent statement, in respective order, of words and meanings previously mentioned, is designated as ‘Saṅkhyāna’; it is also called ‘Kama’ and ‘Yathāsaṅkhya’.
၂၆၀.
260.
အာလာပ ဟာသ လီဠာဟိ, မုနိန္ဒ! ဝိဇယာ တဝ;
ကောကိလာ ကုမုဒါနိ စော, ပသေဝန္တေ ဝနံ ဇလံ.
O Lord of Sages, through your speech, laughter, and grace you are victorious; the cuckoos resort to the forest, and the water lilies to the water, respectively.
၂၆၁.
261.
သိယာ ပိယတရံ နာမ, အတ္ထရူပဿ ကဿစိ;
ပိယဿာ’တိသယေနေ’တံ, ယံ ဟောတိ ပဋိပါဒနံ.
For someone, a certain object of meaning or form may be dear; the presentation of that which is dear with excess is this figure of speech.
၂၆၂.
262.
ပီတိယာ မေ သမုပ္ပန္နာ, သန္တ! သန္ဒဿနာ တဝ;
ကာလေနာ’ယံ ဘဝေ ပီတိ, တဝေ’ဝ ပုန ဒဿနာ.
O Peaceful One, joy has arisen in me at the sight of you. May this joy arise in time from seeing you once more.
၂၆၃.
263.
ဝဏ္ဏိတေနော’ပမာနေန, ဝုတျာ’ဓိပ္ပေတ ဝတ္ထုနော;
သမာသဝုတ္တိ နာမာ’ယံ, အတ္ထ သင်္ခေပ ရူပတော.
When the intended object is stated by means of a described simile, this is called ‘Concise Expression’ (Samāsavutti), due to its nature of summarizing the meaning.
၂၆၄.
264.
သာ’ယံ [Pg.179] ဝိသေသျမတ္တေန, ဘိန္နာ’ဘိန္နဝိသေသနာ;
အတ္ထေ’ဝ အပရာ ပျ’တ္ထိ, ဘိန္နာ’ဘိန္နဝိသေသနာ.
This figure, based on the substantive alone, has both shared and unshared qualifiers; and there is another, based on meaning alone, which also has shared and unshared qualifiers.
အဘိန္နဝိသေသန
The unshared qualifier.
၂၆၅.
265.
ဝိသုဒ္ဓါ’မတသန္ဒာယီ, ပသတ္ထရတနာ’လယော;
ဂမ္ဘီရော စာ’ယ’ မမ္ဗောဓိ, ပုညေနာ’ပါဒိတော မယာ.
Pure, yielding the deathless, an abode of praised gems, and profound—this ocean has been attained by me through merit.
ဘိန္နာဘိန္နဝိသေသန
The shared and unshared qualifier.
၂၆၆.
266.
ဣစ္ဆိတ’တ္ထပဒေါ သာရော, ဖလပုပ္ဖော’ပသောဘိတော;
သစ္ဆာယော’ယ’မပုဗ္ဗောဝ ကပ္ပရုက္ခော သမုဋ္ဌိတော.
An excellent source of desired things, adorned with fruits and flowers, providing good shade, this has arisen like an unprecedented wish-fulfilling tree.
၂၆၇.
267.
သာဂရတ္တေန သဒ္ဓမ္မော, ရုက္ခတ္တေနော’ဒိတော ဇိနော;
သဗ္ဗေ သာဓာရဏာ ဓမ္မာ, ပုဗ္ဗတြာ’ညတြ တု’တ္တယံ.
The true Dhamma is spoken of as an ocean, the Victor is spoken of as a tree. All the qualities are common, but in the former case, except for the latter three.
၂၆၈.
268.
ဝတ္ထုနော’ညပ္ပကာရေန, ဌိတာ ဝုတ္တိ တဒ’ညထာ;
ပရိကပ္ပီယတေ ယတ္ထ, သာ ဟောတိ ပရိကပ္ပနာ.
Where an expression, standing in one way with respect to an object, is conceived of otherwise, that is Parikappanā.
၂၆၉.
269.
ဥပမာ’ဗ္ဘန္တရတ္တေန, ကိရိယာဒိဝသေန စ;
ကမေနော’ဒါဟရိဿာမိ, ဝိဝိဓာ ပရိကပ္ပနာ.
I will illustrate in order the various kinds of Parikappanā, based on an internal simile and by way of action and so forth.
ဥပမာဗ္ဘန္တရပရိကပ္ပနာ
Conception within Similes
၂၇၀.
270.
ဣစ္ဆာဘင်္ဂါ’တုရာ’သီနာ, တာ’တိနိစ္စလ မစ္ဆရာ;
ဝသံ နေန္တိ’ဝ ဓီရံ တံ, တဒါ ယောဂါ’ဘိယောဂတော.
Afflicted by their broken desires, seated, those extremely still and selfish ones did not then bring that steadfast one under their sway through his application to meditation.
ကြိယာပရိကပ္ပနာ
Conception of Action
၂၇၁.
271.
ဂဇံ မာရော သမာရုဠှော, ယုဒ္ဓါယ’စ္စန္တ’မုန္နတံ;
မဂ္ဂ မနွေသတီ နူန, ဇိနဘီတော ပလာယိတုံ.
Māra, having mounted an elephant for battle, exceedingly uplifted, surely seeks a path to flee, fearing the Conqueror.
ဂုဏပရိကပ္ပနာ
Conception of Qualities
၂၇၂.
272.
မုနိန္ဒ! ပါဒဒွန္ဒေ တေ, စာရု ရာဇိဝ သုန္ဒရေ;
မညေ ပါပါ’ဘိ’သမ္မဒ္ဒ, ဇာတသောဏေန သောဏိမာ.
O Lord of Sages! At your twin feet, lovely and beautiful as lotuses, I imagine their redness is born from the crushing of evil.
၂၇၃.
273.
မညေ, သင်္ကေ, ဓုဝံ, နူန, မိဝ, မိစ္စေဝ မာဒိဟိ;
သာ’ယံ ဗျဉ္ဇီယတေ ကွာ’ပိ, ကွာ’ပိ ဝါကျေန ဂမျတေ.
By means of words like 'I fancy,' 'I suspect,' 'certainly,' 'surely,' 'as if,' 'just so,' and so forth, this figure of speech is sometimes expressed, and sometimes understood through the sentence.
ဂမ္မပရိကပ္ပနာ
Conception of Implication
၂၇၄.
274.
ဒယာ သဉ္ဇာတ သရသာ, ဒေဟာ နိက္ခန္တကန္တိယော;
ပီဏေန္တာ ဇိန! တေ သာဓု, ဇနံ သရသတံ နယုံ.
Compassion, arisen and full of essence, and splendors issuing from the body; delighting, O Conqueror, they indeed lead people to serenity.
၂၇၅.
275.
အာရဗ္ဘန္တဿ [Pg.180] ယံကိဉ္စိ, ကတ္တုံ ပုညဝသာ ပုန;
သာဓန’န္တရလာဘော ယော, တံ ဝဒန္တိ သမာဟိတံ.
For one who undertakes to do anything by the power of merit, that acquisition of intervening means which then occurs, they call 'composure'.
၂၇၆.
276.
မာရာ’ရိဘင်္ဂါ’ဘိမုခ, မာနသော တဿ သတ္ထုနော;
မဟာမဟီ မဟာရဝံ, ရဝီ’ယ’မုပကာရိကာ.
With the mind of that Teacher set upon the defeat of the foe Māra, the great earth resounded with a great sound, being helpful.
၂၇၇.
277.
အဝတွာ’ဘိမတံ တဿ, သိဒ္ဓိယာ ဒဿန’ညထာ;
ဝဒန္တိ တံ ‘ပရိယာယ, ဝုတ္တီ’တိ သုစိဗုဒ္ဓယော.
When, without stating the intended matter, its accomplishment is shown in another way, those of pure wisdom call that 'indirect expression'.
၂၇၈.
278.
ဝိဝဋ’င်္ဂဏနိက္ခိတ္တံ, ဓန’မာရက္ခ ဝဇ္ဇိတံ;
ဓနကာမ! ယထာကာမံ, တုဝံ ဂစ္ဆ ယဒိစ္ဆသိ.
Wealth left in an open courtyard, unguarded; O wealth-desirer! Go as you wish, if you so desire.
၂၇၉.
279.
ထုတိံ ကရောတိ နိန္ဒန္တော, ဝိယ တံ ဗျာဇဝဏ္ဏနံ;
ဒေါသာ’ဘာသာ ဂုဏာ ဧဝ, ယန္တိ သန္နိဓိ မတြ ဟိ.
Praise is offered as if blaming—that is 'feigned praise'; for here, apparent faults become virtues by mere proximity.
၂၈၀.
280.
သဉ္စာလေတု မလံ တွံ’သိ, ဘုသံ ကုဝလယာ’ခိလံ;
ဝိသေသံ တာဝတာ နာထ!, ဂုဏာနံ တေ ဝဒါမ ကိံ?
You are able to stir up the entire world violently; O Lord, by that alone, what more can we say of your excellent qualities?
၂၈၁.
281.
ဝိသေသိ’စ္ဆာယံ ဒဗ္ဗဿ, ကြိယာ, ဇာတိ, ဂုဏဿ စ;
ဝေကလ္လဒဿနံ ယတြ, ဝိသေသော နာမ ယံ ဘဝေ.
Where, with the desire to show distinction in a substance, action, class, or quality, a deficiency is shown, that is what is called 'distinction'.
၂၈၂.
282.
န ရထာ, န စ မာတင်္ဂါ, န ဟယာ, န ပဒါတယော;
ဇိတော မာရာရိ မုနိနာ, သမ္ဘာရာဝဇ္ဇနေန ဟိ.
No chariots, no elephants, no horses, nor foot soldiers; the foe Māra was conquered by the sage indeed through turning away from all accumulations.
ဒဗ္ဗဝိသေသဝုတ္တိ.
Mode of Distinction in Substance.
၂၈၃.
283.
န ဗဒ္ဓါ ဘူကုဋိ, နေဝ, ဖုရိတော ဒသနစ္ဆဒေါ;
မာရာရိဘင်္ဂံ စာ’ကာသိ, မုနိ ဝီရော ဝရော သယံ.
No knitted brow, nor quivering lip; yet the noble, heroic sage himself accomplished the defeat of the foe Māra.
ကြိယာဝိသေသဝုတ္တိ.
Mode of Distinction in Action.
၂၈၄.
284.
န ဒိသာသု ဗျာတ္တာ ရံသိ,နာ’လောကော လောကပတ္ထဋော;
တထာပျ’န္ဓတမဟရံ, ပရံ သာဓုသုဘာသိတံ.
No radiance spread in the directions, no light was shed upon the world; yet the supreme, well-spoken word dispelled the deepest darkness.
ဇာတိဝိသေသဝုတ္တိ.
Mode of Distinction in Class/Kind.
၂၈၅.
285.
န ခရံ, န ဟိ ဝါ ထဒ္ဓံ, မုနိန္ဒ! ဝစနံ တဝ;
တထာပိ ဂါဠှံ ခဏတိ, နိမ္မူလံ ဇနတာမဒံ.
Not harsh, nor indeed rigid, O Lord of Sages, is your speech; yet it digs deeply, completely uprooting the intoxication of the people.
ဂုဏဝိသေသဝုတ္တိ
Mode of Distinction in Quality.
၂၈၆.
286.
ဒဿီယတေ’တိရိတ္တံ [Pg.181] တု, သူရဝီရတ္တနံ ယဟိံ;
ဝဒန္တိ ဝိညူဝစနံ, ရုဠှာဟင်္ကာရ မီဒိသံ.
Where exceeding heroism is displayed, the wise call such speech 'deep-rooted arrogance'.
၂၈၇.
287.
ဒမေ နန္ဒောပနန္ဒဿ, ကိံ မေ ဗျာပါရဒဿနာ?ပုတ္တာ မေ ပါဒသမ္ဘတ္တာ, သဇ္ဇာ သန္တေ’ဝ တာဒိသေ.
In the matter of taming Nandopananda, what need is there for me to exert myself? My sons, devoted at my feet, are indeed ready for such a one.
၂၈၈.
288.
သိလေသော ဝစနာ’နေကာ, ဘိဓေယျေ’ကပဒါယုတံ;
အဘိန္နပဒဝါကျာဒိ, ဝသာ တေဓာ’ယ မီရိတော.
Silesa (paronomasia) is when many meanings are joined to a single expression; by means of unbroken word, sentence, and so forth, it is said to be of three kinds.
၂၈၉.
289.
အန္ဓတမဟရော ဟာရီ, သမာရုဠှော မဟောဒယံ;
ရာဇတေ ရံသိမာလီ’ယံ, ဘဂဝါ ဗောဓယံ ဇနေ.
Dispelling the deepest darkness, captivating, having attained a great arising; this Blessed One, garlanded with rays, shines, awakening the people.
အဘိန္နပဒဝါကျသိလေသော.
Silesa of Unbroken Word and Sentence.
၂၉၀.
290.
သာရဒါ’မလကာ’ဘာသော, သမာနီတ ပရိက္ခယော;
ကုမုဒါ’ကရသမ္ဗောဓော, ပီဏေတိ ဇနတံ သုဓီ.
He who has the splendor of pure learning, who has brought all corruptions to an end, whose enlightenment destroys unwholesome joy—that wise one gladdens the people.
ဘိန္နပဒဝါကျသိလေသော.
Śleṣa of Broken Word and Sentence.
၂၉၁.
291.
သမာဟိတ’တ္တဝိနယော, အဟီန မဒ မဒ္ဒနော;
သုဂတော ဝိသဒံ ပါတု, ပါဏိနံ သော ဝိနာယကော.
He who has a composed and disciplined self, who crushes pride without fail; may that guide, the Well-Gone One, lucidly protect beings.
ဘိန္နာဘိန္နပဒဝါကျသိလေသော.
Śleṣa of Broken and Unbroken Word and Sentence.
၂၉၂.
292.
ဝိရုဒ္ဓါ, ဝိရုဒ္ဓါ, ဘိန္န, ကမ္မာ, နိယမဝါ, ပရော;
နိယမ’က္ခေပဝစနော, အဝိရောဓိ, ဝိရောဓျ’ပိ.
Contradictory, non-contradictory, divided, action-based, rule-based, other-based; words rejecting a rule, non-conflicting, and also conflicting.
၂၉၃.
293.
ဩစိတျ သမ္ပောသကာဒိ, သိလေသော, ပဒဇာ’ဒိ ပိ;
ဧသံ နိဒဿနေသွေ’ဝ, ရူပ မာဝိ ဘဝိဿတိ.
Propriety, nourishing, and so forth, śleṣa, and also that which arises from words, and so forth; in these examples alone, its form will become manifest.
ဝိရုဒ္ဓကမ္မသိလေသ
Śleṣa of Contradictory Action.
၂၉၄.
294.
သဝသေ ဝတ္တယံ လောကံ, အခိလံ ကလ္လဝိဂ္ဂဟော;
ပရာဘဝတိ မာရာရိ, ဓမ္မရာဇာ ဝိဇမ္ဘတေ.
Bringing the entire world under his control, with a flawless body; the foe of Māra is defeated, the King of Dhamma flourishes.
အဝိရုဒ္ဓကမ္မသိလေသ
Śleṣa of Non-Contradictory Action.
၂၉၅.
295.
သဘာဝမဓုရံ ပုည ဝိသေသော’ဒယ သမ္ဘဝံ;
သုဏန္တိ ဝါစံ မုနိနော, ဇနာ ပဿန္တိ စာ’မတံ.
Naturally sweet, born from the arising of special merit; people hear the words of the Sage and also see the Deathless.
အဘိန္နကမ္မသိလေသ
Śleṣa of Undivided Action.
၂၉၆.
296.
အန္ဓကာရာ’ပဟာရာယ[Pg.182], သဘာဝ မဓုရာယ စ;
မနော ပီဏေတိ ဇန္တူနံ, ဇိနော ဝါစာယ ဘာယ စ.
For dispelling darkness and for natural sweetness, the Victor delights the minds of beings with his speech and with his splendor.
နိယမဝန္တသိလေသ
Śleṣa with a Restriction.
၂၉၇.
297.
ကေသ’က္ခီနံ’ဝ ကဏှတ္တံ, ဘမူနံယေဝ ဝင်္ကတာ;
ပါဏိပါဒါ’ဓရာနံ’ဝ, မုနိန္ဒဿာ’ဘိရတ္တတာ.
Just as blackness belongs only to the hair and eyes, and crookedness only to the eyebrows, so the deep redness of the Lord of Sages belongs only to his hands, feet, and lips.
နိယမက္ခေပသိလေသ
Śleṣa Rejecting a Restriction.
၂၉၈.
298.
ပါဏိပါဒါ’ဓရေသွေ’ဝ, သာရာဂေါ တဝ ဒိဿတိ;
ဒိဿတေ သော’ယ မထဝါ, နာထ! သာဓုဂုဏေသွ’ပိ.
Your passion is seen only in your hands, feet, and lips; or rather, O Lord, this same is also seen in your virtuous qualities.
အဝိရောဓိသိလေသ
Non-Contradictory Śleṣa.
၂၉၉.
299.
သလက္ခဏော’တိသုဘဂေါ, တေဇဿီ နိယတော’ဒယော;
လောကေသော ဇိတသံက္လေသော,ဝိဘာတိ သမဏိဿရော.
Possessing the marks, exceedingly beautiful, radiant, of certain arising; the Lord of the World, conqueror of defilements, the Chief of Ascetics shines forth.
ဝိရောဓိသိလေသ
Contradictory Śleṣa.
၃၀၀.
300.
အသမောပိ သမော လောကေ,လောကေသောပိ နရုတ္တမော;
သဒယော ပျ’ဒယော ပါပေ, စိတ္တာ’ယံ မုနိနော ဂတိ.
Though matchless, he is impartial in the world; though in the world, he is the highest of men; though compassionate, he is without compassion for evil—wonderful is this nature of the Sage.
ဩစိတျသမ္ပောသကပဒသိလေသ
Śleṣa of Words that Nourish Propriety.
၃၀၁.
301.
သံသာရဒုက္ခော’ပဟတာ, ဝနတာ ဇနတာ တွယိ;
သုခ မိစ္ဆိတ မစ္စန္တံ, အမတန္ဒဒ! ဝိန္ဒတိ.
Oppressed by the suffering of saṃsāra, the populace afflicted by craving finds in you, O Giver of the Deathless, the ultimate happiness they desired, and attains it.
၃၀၂.
302.
ဂုဏယုတ္တေဟိ ဝတ္ထူဟိ, သမံ ကတွာန ကဿစိ;
သံကိတ္တနံ ဘဝတိ ယံ, သာ မတာ တုလျယောဂိတာ.
When, by means of objects endowed with qualities, a praising together with something is made, that is considered Tulyayogitā.
၃၀၃.
303.
သမ္ပတ္တသမ္မဒေါ လောကော, သမ္ပတ္တာ’လောကသမ္ပဒေါ;
ဥဘောဟိ ရံသိမာလီ စ, ဘဂဝါ စ တမောနုဒေါ.
The world has attained joy, the prosperity of light has been achieved; both the sun and the Blessed One are dispellers of darkness.
၃၀၄.
304.
အတ္ထန္တရံ သာဓယတာ, ကိဉ္စိ တံ သဒိသံ ဖလံ;
ဒဿီယတေ အသန္တံ ဝါ, သန္တံ ဝါ တံ နိဒဿနံ.
When establishing another meaning, some similar result is shown, whether it be non-existent or existent; that is called a Demonstration.
အသန္တဖလနိဒဿန
Demonstration of a Non-Existent Result.
၃၀၅.
305.
ဥဒယာ [Pg.183] သမဏိန္ဒဿ, ယန္တိ ပါပါ ပရာဘဝံ;
ဓမ္မရာဇဝိရုဒ္ဓါနံ, သူစယန္တာ ဒုရ’န္တတံ.
From the arising of the Lord of Ascetics, evils go to ruin, indicating the dire end of those hostile to the King of Dhamma.
သန္တဖလနိဒဿန
Demonstration of an Existent Result.
၃၀၆.
306.
သိရော နိက္ခိတ္တ စရဏော, စ္ဆရိယာန’မ္ဗုဇာန’ယံ;
ပရမ’ဗ္ဘုတတံ လောကေ, ဝိညာပေတ’တ္တနော ဇိနော.
This Victor, upon whose feet—like wondrous lotuses—heads are placed, makes known his own supreme marvel in the world.
၃၀၇.
307.
ဝိဘူတိယာ မဟန္တတ္တံ, အဓိပ္ပာယဿ ဝါ သိယာ;
ပရမုက္ကံသတံ ယာတံ, တံ မဟန္တတ္တ မီရိတံ.
That which has attained supreme excellence, whether it be greatness through glory or greatness of intention, is called Greatness.
ဝိဘူတိမဟန္တတ္တ
Greatness of Glory.
၃၀၈.
308.
ကိရီဋ ရတန’စ္ဆာယာ, နုဝိဒ္ဓါ’တပ ဝါရဏော;
ပုရာ ပရံ သိရိံ ဝိန္ဒိ, ဗောဓိသတ္တော’ ဘိနိက္ခမာ.
Formerly, the Bodhisatta, whose sun-warding parasol was intermingled with the shade of his jeweled crown, having attained supreme glory, went forth.
အဓိပ္ပာယမဟန္တတ္တ
Greatness of Intention
၃၀၉.
309.
သတ္တော သမ္ဗောဓိယံ ဗောဓိ, သတ္တော သတ္တဟိတာယ သော;
ဟိတွာ သ္နေဟရသာဗန္ဓ, မပိ ရာဟုလမာတရံ.
A being intent on perfect enlightenment is a Bodhisatta; he is a being for the welfare of beings, having abandoned the bond of affection, even for the mother of Rāhula.
၃၁၀.
310.
ဂေါပေတွာ ဝဏ္ဏနီယံ ယံ, ကိဉ္စိ ဒဿီယတေ ပရံ;
အသမံ ဝါ သမံ တဿ, ယဒိ သာ ဝဉ္စနာ မတာ.
If something praiseworthy is concealed and something else is shown, whether unequal or equal to it, that is considered deception.
အသမဝဉ္စနာ
Deception by the Unequal
၃၁၁.
311.
ပုရတော န သဟဿေသု, န ပဉ္စေသု စ တာဒိနော;
မာရော ပရေသု တဿေ’သံ, သဟဿံ ဒသဝဍ္ဎိတံ.
Māra, among others, has his ten-thousand-fold army; yet in the presence of such a one, it is not reckoned in the thousands, nor even in the five hundreds.
သမဝဉ္စနာ
Deception by the Equal
၃၁၂.
312.
ဝိဝါဒ မနုယုဉ္ဇန္တော, မုနိန္ဒဝဒနိ’န္ဒုနာ;
သမ္ပုဏ္ဏော စန္ဒိမာ နာ’ယံ, ဆတ္တ မေတံ မနောဘုနော.
Engaging in dispute with the moon-like face of the Sage-King, one might say: 'This is not the full moon; this is the parasol of the Lord of the Mind.'
၃၁၃.
313.
ပရာနုဝတ္တနာဒီဟိ, နိဗ္ဗိန္ဒေနိ’ဟ ယာ ကတာ;
ထုတိ ရ’ပ္ပကတေ သာ’ယံ, သိယာ အပ္ပကတတ္ထုတိ.
Whatever praise is made here out of weariness, by following others and so forth, is praise for a minor deed; this may be called 'praise for the insignificant'.
၃၁၄.
314.
သုခံ ဇီဝန္တိ ဟရိဏာ, ဝနေသွ’ပရသေဝိနော;
အနာယာသော ပလာဘေဟိ, ဇလဒဗ္ဘင်္ကုရာဒိဘိ.
The deer live happily in the forests, not dependent on others; without toil, they are sustained by fallen leaves, water, kusa grass, sprouts, and the like.
၃၁၅.
315.
ဥတ္တရံ ဥတ္တရံ ယတ္ထ, ပုဗ္ဗပုဗ္ဗဝိသေသနံ;
သိယာ ဧကာဝလိ သာ’ယံ, ဒွိဓာ ဝိဓိ, နိသေဓတော.
Where each succeeding item is an attribute of the preceding one, this is a single chain, twofold: by affirmation and by negation.
ဝိဓိဧကာဝလိ
Ekāvali by Affirmation
၃၁၆.
316.
ပါဒါ [Pg.184] နခါလိ ရုစိရာ, နခါလိ ရံသိ ဘာသုရာ;
ရံသီတမောပဟာနေ’က, ရသာ သောဘန္တိ သတ္ထုနော.
The Teacher's feet are beautiful with their rows of nails; the rows of nails are radiant with rays; these rays, in dispelling darkness, are of a single nature and shine forth.
နိသေဓဧကာဝလိ
Ekāvali by Negation
၃၁၇.
317.
အသန္တုဋ္ဌော ယတိ နေဝ,သန္တောသော နာ’လယာဟတော;
နာ’လယော ယော သ ဇန္တူနံ, နာ’နန္တ ဗျသနာ ဝဟော.
A discontented one is not a true ascetic; contentment is not found where there is attachment; one who is without attachment does not bring endless disaster to beings.
၃၁၈.
318.
ယဟိံ ဘူသိယ ဘူသတ္တံ, အညမညံ တု ဝတ္ထုနံ;
ဝိနာ’ဝ သဒိသတ္တံ တံ, အညမညဝိဘူသနံ.
Where objects mutually adorn each other, without similarity, that is mutual embellishment.
၃၁၉.
319.
ဗျာမံ’သု မဏ္ဍလံ တေန, မုနိနာ လောကဗန္ဓုနာ;
မဟန္တိံ ဝိန္ဒတီ ကန္တိံ, သောပိ တေနေဝ တာဒိသိံ.
By that Sage, the Kinsman of the World, the fathom-long circle of rays attained great radiance, and he himself also attained such radiance by it.
၃၂၀.
320.
ကထနံ သဟဘာဝဿ, ကြိယာယ စ, ဂုဏဿ စ;
‘သဟဝုတ္တီ’တိ ဝိညေယျံ, တ’ဒုဒါဟရဏံ ယထာ.
The statement of the co-existence of action and quality should be understood as 'co-occurrence'; its example is as follows.
ကြိယာသဟဝုတ္တိ
Co-occurrence of Action
၃၂၁.
321.
ဇလန္တိ စန္ဒရံသီဟိ, သမံ သတ္ထု နခံ သဝေါ;
ဝိဇမ္ဘတိ စ စန္ဒေန, သမံ တမ္မုခစန္ဒိမာ.
The Teacher’s nail-rays glow together with the moonbeams; and his moon-like face blossoms together with the moon.
ဂုဏသဟဝုတ္တိ
Co-occurrence of Qualities
၃၂၂.
322.
ဇိနော’ဒယေန မလီနံ, သဟ ဒုဇ္ဇန စေတသာ;
ပါပံ ဒိသာ သုဝိမလာ, သဟ သဇ္ဇန စေတသာ.
With the arising of the Victor, defilements vanish together with the minds of the wicked; the directions become utterly pure together with the minds of the virtuous.
၃၂၃.
323.
ဝိရောဓီနံ ပဒ’တ္ထာနံ, ယတ္ထ သံသဂ္ဂဒဿနံ;
သမုက္ကံသာ’ဘိဓာနတ္ထံ, မတာ သာ’ယံ ဝိရောဓိတာ.
Where an association of opposing terms is seen for the purpose of expressing excellence, this is considered 'opposition'.
၃၂၄.
324.
ဂုဏာ သဘာဝ မဓုရာ, အပိ လောကေ’က ဗန္ဓုနော;
သေဝိတာ ပါပ သေဝီနံ, သမ္ပဒူသေန္တိ မာနသံ.
The qualities, naturally sweet, even those of the Sole Kinsman of the World, when cultivated by those who practice evil, corrupt the mind.
၃၂၅.
325.
ယဿ ကဿ စိ ဒါနေန, ယဿ ကဿ စိ ဝတ္ထုနော;
ဝိသိဋ္ဌဿ ယ မာဒါနံ, ‘ပရိဝုတ္တီ’တိ သာ မတာ.
When, in return for the giving of any object whatsoever, a more distinguished thing is received, that is considered 'exchange'.
၃၂၆.
326.
ပုရာ ပရေသံ ဒတွာန, မနုညံ နယနာဒိကံ;
မုနိနာ သမနုပ္ပတ္တာ, ဒါနိ သဗ္ဗညုတာသိရီ.
Having formerly given to others pleasing things, such as his eyes, the Sage has now attained the glory of omniscience.
၃၂၇.
327.
ကိဉ္စိ [Pg.185] ဒိသွာန ဝိညာတာ, ပဋိပဇ္ဇတိ တံသမံ;
သံသယာ’ပဂတံ ဝတ္ထုံ, ယတ္ထ သော’ယံ ဘမော မတော.
Where one, having seen a certain object that is free from doubt, apprehends it as something similar, that is considered 'error'.
၃၂၈.
328.
သမံ ဒိသာသု’ဇ္ဇလာသု, ဇိန ပါဒ နခံ’သုနာ;
ပဿန္တာ အဘိနန္ဒန္တိ, စန္ဒာ’တပ မနာ ဇနာ.
In the directions, radiant with the rays from the Victor's toenails, people who see them rejoice, their minds delighted like the moon and the sun.
၃၂၉.
329.
ပဝုစ္စတေ ယံ နာမာဒိ, ကဝီနံ ဘာဝဗောဓနံ;
ယေန ကေနစိ ဝဏ္ဏေန, ဘာဝေါ နာမာ’ယ မီရိတော.
When, by means of some description, something is expressed by name and so forth to convey a state of being to poets, this is called 'designation'.
၃၃၀.
330.
နနု တေယေ’ဝ သန္တာနော, သာဂရာ န ကုလာစလာ;
မနမ္ပိ မရိယာဒံ ယေ, သံဝဋ္ဋေပိ ဇဟန္တိ နော.
Surely, are they not the truly constant ones—not the oceans, not the great mountains—they who do not abandon the boundaries of the mind even in the cosmic dissolution?
၃၃၁.
331.
အင်္ဂင်္ဂိ ဘာဝါ သဒိသ, ဗလဘာဝါ စ ဗန္ဓနေ;
သံသဂ္ဂေါ’လင်္ကတီနံ ယော, တံ ‘မိဿ’န္တိ ပဝုစ္စတိ.
The association of ornaments that is similar due to a part-and-whole relationship, and due to strength in connection, is called 'mixture'.
အင်္ဂင်္ဂီဘာဝမိဿ
Mixture of the Part-and-Whole Relationship
၃၃၂.
332.
ပသတ္ထာ မုနိနော ပါဒ, နခ ရံသိ မဟာနဒီ;
အဟော! ဂါဠှံ နိမုဂ္ဂေပိ, သုခယတျေ’ဝ တေ ဇနေ.
The praised feet of the Sage, whose nail-rays are a great river—ah! Even when people are deeply submerged therein, those feet indeed bring them happiness.
သဒိသ ဗလ ဘာဝ မိဿ
Mixture of a Similar State of Strength
၃၃၃.
333.
ဝေသော သဘာဝ မဓုရော, ရူပံ နေတ္တ ရသာယနံ;
မဓူ’ဝ မုနိနော ဝါစာ, န သမ္ပီဏေတိ ကံ ဇနံ.
The appearance is naturally sweet, the form an elixir for the eyes; like honey is the Sage's speech—what person does it not delight?
၃၃၄.
334.
အာသီ နာမ သိယာ’တ္ထဿ, ဣဋ္ဌဿာ’သီသနံ ယထာ;
တိလောကေ’ကဂတိ နာထော,ပါတု လောက မပါယတော.
Blessing (Āsī), by name, is the wishing for a desired object, as for example: May the Lord, the sole refuge in the three worlds, protect the world from the states of woe.
၃၃၅.
335.
ရသ’ပ္ပတီတိ ဇနကံ, ဇာယတေ ယံ ဝိဘူသနံ;
‘ရသဝန္တ’န္တိ တံ ဉေယျံ, ရသဝန္တ ဝိဓာနတော.
Whatever embellishment arises that generates the experience of aesthetic sentiment (rasa), that should be known as 'rasavanta', in accordance with the definition of 'rasavanta'.
၃၃၆.
336.
ရာဂါ’နတ’ဗ္ဘုတ သရောဇ မုခံ ဓရာယ,ပါဒါ တိလောကဂရုနော’ဓိက ဗန္ဓရာဂါ;
အာဒါယ နိစ္စသရသေန ကရေန ဂါဠှံ,သဉ္စုမ္ဗယန္တိ သတတာ’ဟိတ သမ္ဘမေန.
The wondrous lotus-face of the earth, unbent by passion; the feet of the Teacher of the three worlds, redder than the bandhuka flower; taking them firmly with an ever-delightful hand, they constantly kiss them with sustained reverence.
၃၃၇.
337.
ဣစ္စာ’နုဂမ္မ [Pg.186] ပုရိမာစရိယာ’နုဘာဝံ,သင်္ခေပတော နိဂဒိတော’ယ မလင်္ကတီနံ;
ဘေဒေါ’ပရူပရိ ကဝီဟိ ဝိကပ္ပိယာနံ,ကော နာမ ပဿိတု မလံ ခလု တာသ မန္တံ.
Thus, having followed the authority of the ancient teachers, this classification of ornaments, which are variously conceived by poets again and again, has been briefly stated. Who, indeed, is able to see their limit?
ဣတိ သံဃရက္ခိတမဟာသာမိ ဝိရစိတေ သုဗောဓာလင်္ကာရေ
Thus in the Subodhālaṅkāra composed by the Great Master Saṅgharakkhita,
အတ္ထာလင်္ကာရာဝဗောဓော နာမ
the chapter named The Understanding of the Figures of Meaning,
စတုတ္ထော ပရိစ္ဆေဒေါ.
the Fourth Chapter.
၅. ဘာဝါဝဗောဓ-ပဉ္စမပရိစ္ဆေဒ
5. The Fifth Chapter: The Understanding of Emotional States (Bhāva)
၃၃၈.
338.
ပဋိဘာနဝတာ လောက, ဝေါဟာရ’မနုသာရိနာ;
တတော’စိတျ သမုလ္လာသ, ဝေဒိနာ ကဝိနာ ပရံ.
By a poet possessing ready wit, conforming to worldly usage, and furthermore, knowing the arising of propriety...
၃၃၉.
339.
ဌာယိသမ္ဗန္ဓိနော ဘာဝ, ဝိဘာဝါ သာ’နုဘာဝကာ;
သမ္ဗဇ္ဈန္တိ နိဗန္ဓာ တေ, ရသ’ဿာဒါယ သာဓုနံ.
The determinants (vibhāva), the consequents (anubhāva), and the transient states connected to the stable state, are bound together in compositions for the discerning to savour the aesthetic sentiment (rasa).
ဘာဝအဓိပ္ပာယ
The Meaning of an Emotional State (Bhāva)
၃၄၀.
340.
စိတ္တ ဝုတ္တိ ဝိသေသာ တု, ဘာဝယန္တိ ရသေ ယတော;
ရတျာဒယော တတော ဘာဝ, သဒ္ဒေန ပရိကိတ္တိတာ.
Since these specific modifications of the mind bring the aesthetic sentiments (rasas) into being, therefore delight and the others are designated by the word 'bhāva'.
ဌာယီဘာဝအဓိပ္ပာယ
The Meaning of a Stable State (Ṭhāyibhāva)
၃၄၁.
341.
ဝိရောဓိနာ’ညဘာဝေန, ယော ဘာဝေါ န တိရောဟိတော;
သီလေန တိဋ္ဌတိ’စ္စေသော, ‘ဌာယီဘာဝေါ’တိ သဒ္ဒိတော.
That state which is not obscured by an opposing or other state, and which endures by its own nature, is called a 'stable state' (ṭhāyibhāva).
ဌာယီဘာဝပ္ပဘေဒဥဒ္ဒေသ
Enumeration of the Types of Stable States
၃၄၂.
342.
ရတိ, ဟဿော, စ သောကော, စ,ကောဓု, ဿာဟာ, ဘယံ,ပိ စ;
ဇိဂုစ္ဆာ, ဝိမှယော, စေဝ, သမော စ နဝ ဌာယိနော.
Delight, mirth, and sorrow; anger, energy, and fear; disgust, astonishment, and tranquility—these nine are the stable states.
ဗျဘိစာရီဘာဝအဓိပ္ပာယ
The Meaning of a Transient State (Byabhicārībhāva)
၃၄၃.
343.
တိရောဘာဝါ, ဝိဘာဝါ’ဒိ, ဝိသေသနာ’ဘိမုချတော;
ယေ တေ စရန္တိ သီလေန, တေ ဟောန္တိ ဗျဘိစာရိနော.
Those states which by nature fluctuate, due to concealment, manifestation, and being directed towards particular objects, are the transient states.
ဗျဘိစာရိဘာဝပဘေဒ
The Types of Transient States
၃၄၄.
344.
နိဗ္ဗေဒေါ[Pg.187], တက္က, သင်္ကာ, သမ,ဓိတိ, ဇဠတာ, ဒီနတု, ဂ္ဂါ, လသတ္တံ,သုတ္တံ, တာသော, ဂိလာနု, ဿုက, ဟရိသ,သတိ, ဿာ, ဝိသာဒါ, ဗဟိတ္ထာ ;
စိန္တာ, ဂဗ္ဗာ, ပမာရော, မရိသ, မဒ,မတု, မ္မာဒ, မောဟာ, ဝိဗောဓော,နိဒ္ဒါ, ဝေဂါ, သဗိလံ, မရဏ,စပလတာ, ဗျာဓိ, တေတ္တိံသ မေတေ.
Disillusionment, conjecture, apprehension, fatigue, fortitude, stupor, wretchedness, fierceness, indolence, drowsiness, terror, sickness, eagerness, joy, recollection, envy, dejection, concealment of emotion; anxiety, pride, heedlessness, indignation, intoxication, resolve, madness, delusion, awakening, sleep, agitation, shame, death, fickleness, and sickness—these are the thirty-three.
သတ္တိကဘာဝအဓိပ္ပာယ
The Meaning of an Involuntary State (Sāttikabhāva)
၃၄၅.
345.
သမာဟိတ’တ္တ’ပ္ပဘဝံ, သတ္တံ တေနော’ပပါဒိတာ;
သတ္တိကာ ပျ’နုဘာဝတ္တေ, ဝိသုံ ဘာဝါ ဘဝန္တိ တေ.
Sattva arises from a concentrated mind. The states produced by it, the sāttvika states, although being in the nature of consequents (anubhāva), become distinct states.
သတ္တိကဘာဝပ္ပဘေဒ
The Types of Involuntary States
၃၄၆.
346.
ထမ္ဘော, ပဠယ, ရောမဉ္စာ, တထာ သေဒ, ဿု, ဝေပထု;
ဝေဝဏ္ဏိယံ, ဝိသရတာ, ဘာဝါ’ဋ္ဌေ’တေ တု သတ္တိကာ.
Stupor, fainting, horripilation, likewise sweat, tears, trembling, change of colour, and change of voice—these eight are indeed the involuntary states.
၃၄၇.
347.
ယဒါ ရတျာဒယော ဘာဝါ, ဌိတိသီလာ န ဟောန္တိ စေ;
တဒါ သဗ္ဗေပိ တေ ဘာဝါ, ဘဝန္တိ ဗျဘိစာရိနော.
When states such as delight are not stable by nature, then all those states become transient states.
၃၄၈.
348.
ဝိဘာဝေါ ကာရဏံ တေသု, ပ္ပတ္တိယု’ဒ္ဒီပနေ တထာ;
ယော သိယာ ဗောဓကော တေသံ,အနုဘာဝေါ’ယ မီရိတော.
Vibhāva is the cause of these states, as well as their manifestation and intensification; that which may be their indicator is called anubhāva.
၃၄၉.
349.
နေကဟေတုံ မနောဝုတ္တိ, ဝိသေသဉ္စ ဝိဘာဝိတုံ;
ဘာဝံ ဝိဘာဝါ’နုဘာဝါ, ဝဏ္ဏိယာ ဗန္ဓနေ ဖုဋံ.
Mental activity has many causes, and to manifest its distinctness, states should be clearly described by means of vibhāvas and anubhāvas in a composition.
၃၅၀.
350.
သဝိဘာဝါ’နုဘာဝေဟိ, ဘာဝါ တေ တေ ယထာရဟံ;
ဝဏ္ဏနီယာ ယထော’စိတျံ, လောကရူပါ’နုဂါမိနာ.
With vibhāvas and anubhāvas, those various states should be described, each appropriately and with propriety, following worldly forms.
၃၅၁.
351.
စိတ္တ [Pg.188] ဝုတ္တိ ဝိသေသတ္တာ, မာနသာ သတ္တိကာ’င်္ဂတော;
ဗဟိ နိဿဋ သေဒါဒိ, အနုဘာဝေဟိ ဝဏ္ဏိယာ.
Because they are specific mental activities and are mental, as part of the sāttvika, they should be described by anubhāvas such as externally discharged sweat and so on.
ရသအဓိပ္ပာယ
The Meaning of Rasa
၃၅၂.
352.
သာမာဇိကာန မာနန္ဒော, ယော ဗန္ဓတ္ထာ’နုသာရိနံ;
ရသီယတီတိ တညူဟိ, ရသော နာမာ’ယ’မီရိတော.
The delight of the audience, which accords with the meaning of the composition—because it is relished by the connoisseurs, this is called rasa.
ရသပ္ပဘေဒ
The Varieties of Rasa
၃၅၃.
353.
သဝိဘာဝါ, နုဘာဝေဟိ, သတ္တိက,ဗျဘိစာရိဘိ;
အဿာဒိယတ္တ မာနီယ, မာနော ဌာယေ’ဝ သော ရသော.
When, by means of vibhāvas, anubhāvas, involuntary states, and transient states, it is brought to a state of relishability, that very stable state is rasa.
၃၅၄.
354.
သိင်္ဂါရ,ဟဿ,ကရုဏာ, ရုဒ္ဒ,ဝီရ,ဘယာနကာ;
ဗီဘစ္ဆ,ဗ္ဘုတ,သန္တာ, စ, ရသာ ဌာယီန နုက္ကမာ.
Erotic, comic, compassionate, furious, heroic, terrifying, disgusting, wondrous, and tranquil—these are the rasas, in the order of their stable states.
၃၅၅.
355.
ဒုက္ခရူပေ’ယ’ မာနန္ဒော, ကထံ နု ကရုဏာဒိကေ?သိယာ သောတူနမာနန္ဒော,သောကော ဝေဿန္တရဿ ဟိ.
How can there be delight in what is of the nature of suffering, such as in the compassionate rasa and the like? There may be delight for the listeners, for indeed, the sorrow is Vessantara's.
ဌာယီဘာဝ နိဒ္ဒေသ ရတိဋ္ဌာယီဘာဝ
Description of Stable States: The Stable State of Delight
၃၅၆.
356.
ရမ္မ,ဒေသ, ကလာ, ကာလ, ဝေသာဒိ, ပဋိသေဝနာ;
ယုဝါန’ညောညရတ္တာနံ, ပမောဒေါ ရတိ ရုစ္စတေ.
From the enjoyment of pleasant places, arts, seasons, attire, and so on, the joy of mutually affectionate youths is called rati.
၃၅၇.
357.
ယုတျာ ဘာဝါနုဘာဝါ တေ, နိဗန္ဓာ ပေါသယန္တိ နံ;
သောပျ’ယောဂ, ဝိပ္ပယောဂ, သမ္ဘောဂါနံ ဝသာ တိဓာ.
Those vibhāvas and anubhāvas, when composed with propriety, nourish it. And that rati is threefold by way of non-union, separation, and enjoyment.
ဟဿဋ္ဌာယီဘာဝ
The Stable State of Laughter
၃၅၈.
358.
ဝိကာရာ’ကတိအာဒီဟိ, အတ္တနော ထ ပရဿ ဝါ;
ဟဿော နိဒ္ဒါ, သမာ’လသျ, မုစ္ဆာဒိ,ဗျဘိစာရိဘိ;
ပရိပေါသေ သိယာ ဟဿော, ဘိယျော’တ္ထိပဘုတီနံ သော.
Laughter arises from distortions of form and so on, whether of oneself or another; it may be further nourished by transient states such as sleep, fatigue, laziness, and fainting, and is especially so for jesters and the like.
ဟဿပ္ပဘေဒ
The Kinds of Laughter
၃၅၉.
359.
သိတ မိဟ ဝိကာသိ နယနံ,ကိဉ္စာ’လက္ခိယ ဒိဇံ တု တံ ဟသိတံ;
မဓုရဿရံ ဝိဟသိတံ, အံသသိရောကမ္ပမုပဟသိတံ.
Here, a smile (sita) is with blossoming eyes; a gentle laugh (hasita) is when the teeth are slightly visible; a laugh (vihasita) is sweet-toned; a mocking laugh (upahasita) involves shaking of shoulders and head.
၃၆၀.
360.
အပဟသိတံ [Pg.189] သဇလ’က္ခိ, ဝိက္ခိတ္တင်္ဂံ ဘဝတျ’တိဟသိတံ;
ဒွေ ဒွေ ကထိတာ စေ’သံ,ဇေဋ္ဌေ မဇ္ဈေ’ဓမေ စ ကမသော.
A loud laugh (apahasita) is with tearful eyes; an excessive laugh (atihasita) is with convulsed limbs. And of these, two by two are spoken of for the superior, middling, and inferior persons, respectively.
ကရုဏဋ္ဌာယီဘာဝ
The Stable State of Compassion
၃၆၁.
361.
သောကရူပေါ တု ကရုဏော, နိဋ္ဌပ္ပတ္တိ’ဋ္ဌ နာသတော;
တတ္ထာ’နုဘာဝါ ရုဒိတ, ပဠယ,တ္ထမ္ဘကာဒယော;
ဝိသာဒါ,လသျ,မရဏ, စိန္တာ’ဒီ ဗျဘိစာရိနော.
The compassionate rasa is of the nature of sorrow, arising from the loss of what is cherished. Therein, its consequents are weeping, fainting, paralysis, and so forth; despair, laziness, deathly faintness, and anxiety are its transitory states.
ရုဒ္ဒဋ္ဌာယီဘာဝ
The Stable State of Wrath
၃၆၂.
362.
ကောဓော မစ္ဆရိယာ’ဒီဟိ, ပေါသေ တာသ, မဒါဒိဘိ;
နယနာ’ရုဏတာဒီဟိ, ရုဒ္ဒေါ နာမ ရသော ဘဝေ.
Anger, arising from jealousy and the like, nourished by fear, intoxication, and so forth, with redness of the eyes and so on, becomes the rasa known as Raudra.
ဝီရဋ္ဌာယီဘာဝ
The Stable State of Heroism
၃၆၃.
363.
ပတာပ, ဝိက္ကမာ’ဒီဟု, ဿာဟော ‘ဝီရော’တိ သညိတော;
ရဏ,ဒါန,ဒယာယောဂါ, ဝီရော’ယံ တိဝိဓော ဘဝေ;
တေဝါ’နုဘာဝါ ဓိတိ,မ, တျာ’ဒယော ဗျဘိစာရိနော.
Enthusiasm in matters of majesty, courage, and so forth, is designated as 'heroism'. By association with battle, giving, and compassion, this heroism may be of three kinds. Resolve, intellect, sacrifice, and so forth are its transient states.
ဘယဋ္ဌာယီဘာဝ
The Stable State of Fear
၃၆၄.
364.
ဝိကာရာ,သနိ,သတ္တာ’ဒိ, ဘယု’က္ကံသော ဘယာနကော;
သေဒါ’ဒယော နုဘာဝေ’တ္ထ, တာသာ’ဒီ ဗျဘိစာရိနော.
From distorted sounds, thunderbolts, fierce creatures, and the like, the intensification of fear is the dreadful rasa. Here, sweat and so forth are the consequents; trembling and the like are the transient states.
ဇိဂုစ္ဆာဋ္ဌာယီဘာဝ
The Stable State of Disgust
၃၆၅.
365.
ဇိဂုစ္ဆာ ရုဓိရာ’ဒီဟိ, ပူတျာ’ဒီဟိ ဝိရာဂတော;
ဗီဘစ္ဆော ခေါဘနု’ဗ္ဗေဂီ, ကမေန ကရုဏာယုတော;
နာသာ ဝိကူဏနာဒီဟိ, သင်္ကာဒီဟိ’ဿ ပေါသနံ.
Disgust arises from blood and so forth, and from putrid things, due to aversion. The sentiment of disgust is agitating and disturbing, gradually accompanied by compassion. Its nourishment is by wrinkling of the nose and so forth, and by suspicion and so forth.
ဝိမှယဋ္ဌာယီဘာဝ
The Stable State of Astonishment
၃၆၆.
366.
အတိ လောက ပဒတ္ထေဟိ, ဝိမှယော’ယံ ရသော’ဗ္ဘုတော;
တဿာ’နုဘာဝါ သေဒ,ဿု, သာဓုဝါဒါ’ဒယော သိယုံ;
တာသာ,ဝေဂ,ဓိတိ,ပ္ပညာ, ဟောန္တေ’တ္ထ ဗျဘိစာရိနော.
From supramundane objects, this wonder is the wondrous rasa. Its consequents may be sweat, tears, exclamations of 'well done', and so forth. Here, trembling, agitation, resolve, and wisdom are the transient states.
သမဋ္ဌာယီဘာဝ
The Abiding State of Equanimity
၃၆၇.
367.
ဌာယီဘာဝေါ သမော မေတ္တာ, ဒယာ,မောဒါ’ဒိ သမ္ဘဝေါ;
ဘာဝါဒီဟိ တ’ဒုက္ကံသော, သန္တော သန္တ နိသေဝိတော.
The abiding state is equanimity, arising from loving-kindness, compassion, sympathetic joy, and so forth. Its excellence is achieved through cultivation; it is resorted to by the peaceful.
ဣတိ သံဃရက္ခိတ မဟာသာမိဝိရစိတေ သုဗောဓာလင်္ကာရေ
Thus, in the Subodhālaṅkāra, composed by the Great Elder Saṅgharakkhita,
ရသဘာဝါ’ဝဗောဓော နာမ
The Understanding of Sentiments and Moods,
ပဉ္စမော ပရိစ္ဆေဒေါ.
The Fifth Chapter.
သုဗောဓာလင်္ကာရော သမတ္တော.
The Subodhālaṅkāra is complete.