法華玄義釋籤 13.2
法華玄義釋籤 13.2
- Language
- Classical Chinese
13.2
次明神通中,標、列、釋。前諸文中並立來意一門,但寄在文前明之;今則別列。言「次第」者,次前文來故云次第,即來意異名也。於中為三:初舉前生後,次略示後文之相,三「上辨」下正明次前有此文來。初文二:初舉前,次「若正論」下生後。次示後文相中二:初列,次「普門」下釋。釋中二:初引〈普門〉證,次「遊於」下釋經意。初明「普門品但有二文兼得三意」者,經文先問、次答,問中具三,答文但二。「問云觀世音菩薩云何遊此娑婆世界?」問身也。「云何而為眾生說法?」問口也。「方便之力其事云何?」問意也。答中句句但舉身口,以兼於意,「應以聲聞身」答身也,「而為說法」答口也。既有身口,必兼於意,或將「應以」兩字即是意也。善達機緣,故云「應以」。次文又二:初約身口表意,次「又化」下從多少以論。初又二:謂法、譬。譬又三:謂譬、合、結。次文又為三:先正論多少,次引證,三正辨多用身口。一切聖教但多有此二相故也。又為四:先釋二身二鼓,次「此是」下明身口所由,三「若示」下明所兼之意,四「亦是」下舉二行以釋二身二鼓。初文中言「藥樹王身」者,則示可畏破惡之形,如《大經》第二十九〈菩薩品〉云:「譬如藥樹名曰樹王,於諸藥中最為殊勝,能滅諸病。樹不作念若取枝葉及皮身等。雖不作念,能愈諸病。涅槃亦爾(云云)。」「如意珠王身」者,示為可愛生善之形,如《大品》第十云:「如摩尼珠所在住處,一切非人不得其便,其珠著身,暗中得明、熱時得涼、寒時得溫。若在水中隨物現色。」「毒鼓」者,《大經》云:「譬如有人以諸毒藥用塗大鼓,於大眾中擊令出聲,聞者皆死。」此譬說於破惡法也,如《止觀》第五記。「天鼓」者,如忉利天所有妙鼓,隨天心念出種種聲,此譬說於生善法也。次意者,雖現身口,皆由意慈。第三意者,覩身口相則知意業。今且引《大經》,經從說邊,故名為語。今文略語以證於意,謂隨自意等語必待意故也。隨自如珠如天,隨他如藥如毒,二行對上亦應可見。次正明次第,中二:先法說、次譬況。先舉小譬,次小尚下以小況大,謂妙感應也。「鳱鵲鳴」者,鳱鵲小鵲也。《西京雜記》云:「乾鵲鳴者則行人至,亦可作䧲,今時書本多作乾字。」
Next, in explaining supernormal powers, there are: designating, listing, and explaining. In all the preceding texts, the single heading of 'purpose of arrival' was established, but it was merely explained prior to the passage; here it is separately listed. As for 'sequence', because it comes following the preceding text it is called sequence, which is just another name for 'purpose of arrival'. Within this, there are three parts: first, raising the preceding to generate the subsequent; next, briefly showing the characteristics of the subsequent text; third, from 'distinguishing above' downward, directly explaining that this passage comes following the preceding. The first part has two: first, raising the preceding; next, from 'if properly discussed' downward, generating the subsequent. In the second part, showing the characteristics of the subsequent text, there are two: first, listing; next, from 'Universal Gate' downward, explaining. In the explanation, there are two: first, citing the 'Universal Gate' as proof; next, from 'wandering in' downward, explaining the sūtra's meaning. First, regarding 'the Universal Gate Chapter has only two passages yet encompasses three meanings': the sūtra text first asks and then answers; within the question, all three are complete, while the answering text has only two. 'The question says: How does Bodhisattva Avalokiteśvara wander in this Sahā world?' asks about the body. 'How does he expound the Dharma for sentient beings?' asks about speech. 'What is the matter of the power of expedient means?' asks about mind. In the answers, each phrase merely raises body and speech to encompass the mind: 'he should in the body of a śrāvaka' answers body; 'and expound the Dharma for them' answers speech. Since there are body and speech, they must encompass mind; or else taking the two words 'should in' as being the mind itself. Well understanding capacities and conditions, it therefore says 'should in'. The next text also has two: first, discussing mind in terms of body and speech; next, from 'further transforming' downward, discussing in terms of more or less. The first also has two, namely dharma and metaphor. The metaphor also has three, namely metaphor, application, and conclusion. The next text also has three: first, directly discussing more and less; next, citing proof; third, directly distinguishing the frequent use of body and speech. It is simply because all sacred teachings mostly have these two marks. It also has four: first, explaining the two bodies and two drums; next, from 'this is' downward, explaining the origin of body and speech; third, from 'if showing' downward, explaining the encompassed mind; fourth, from 'it is also' downward, raising the two practices to explain the two bodies and two drums. In the first text, 'body of the medicinal tree king' shows an intimidating form that destroys evil, as the Great Sūtra, fascicle twenty-nine, 'Bodhisattva Chapter' says: 'For example, a medicinal tree called tree king is supreme among all medicines and can extinguish all illnesses. The tree does not form the thought: "If someone takes branches, leaves, bark, or trunk..." Though it does not form a thought, it can cure all illnesses. Nirvāṇa is also like this (and so forth).' 'Body of the wish-fulfilling jewel king' shows an attractive form that generates goodness, as the Large Perfection of Wisdom Sūtra, fascicle ten, says: 'As where the maṇi jewel abides, all non-humans cannot gain advantage over it; when this jewel is worn on the body, one gains light in darkness, coolness in heat, and warmth in cold. If placed in water, it manifests colors according to the objects.' 'Poison drum': the Great Sūtra says: 'For example, a person smears a great drum with various poisons and strikes it in a great assembly to produce sound; those who hear it all die.' This is a metaphor for expounding the Dharma that destroys evil, as noted in the fifth fascicle of the Zhiguan. 'Heavenly drum': like the wonderful drum possessed by the Trāyastriṃśa heaven, which produces various sounds according to the thoughts of the devas; this is a metaphor for expounding the Dharma that generates goodness. Next, regarding mind: although manifesting body and speech, all are due to the kindness of the mind. The third, regarding mind: by viewing the marks of body and speech, one knows the mental karma. Here, temporarily citing the Great Sūtra, because the sūtra proceeds from the side of preaching, it is therefore called speech. The present text abbreviates speech to prove mind, meaning words such as following one's own mind must depend on the mind. Following oneself is like the jewel and like heaven; following others is like medicine and like poison. The two practices corresponding to the above should also be evident. Next, directly explaining the sequence has two parts: first, expounding in dharma; next, using metaphors. First, raising a small metaphor; next, from 'small still' downward, using the small to illustrate the great, meaning the wonderful resonance and response. 'The magpie calling': the magpie is a small magpie. The Xijing zaji says: 'When the magpie calls, a traveler arrives; it can also be written with the character 䧲; in contemporary books it is mostly written as 干.'
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