法華玄義釋籤 16.12

16.12

四歷法明經中二：先歷法，次約教。初又二：先略明經體，次正明歷法。初文又二：先明此土三法，次「若他土」下明諸土六塵。初文又二：初通立三法，次明利鈍互非。初文二：初略徵起，次「舊用」下釋三法相。次明隨根利鈍異故各取者，又二：初總標，次別釋三文。然今古共以法為經者，文從強說，雖別立三法，然聲色兩種必假法通，若覩若聞，不以意思無能令教與心相應。次他土中二：先總立，言「亦六亦偏」者，或一土具六，或一土偏一，或二三四，即如此土具足用三。復有增強，若單雙具，若爾何妨此土根性不等。亦有因味及香觸等，即如下文通釋者是。於中二：先釋六相，次明此土不用之意。次正釋中二，先假問徵起，次「答」下正釋。釋中二：先通辨六塵皆具諸法，次別釋，即正歷諸法。於中二：先寄歷十八界，次「是則」下總結。初文二：初廣約六塵，次略例根識。初六塵中，初色極廣，次聲漸略，餘四全略。初廣色中二：初約色立相，次結成三諦。初又二：初舉一黑色，次青黃下以餘色例。初黑色中二：初一「黑」字，歷於有翻無翻及和通等；次正以「黑」字為法界遍說諸法，即是結成三諦也。初文二：先總引《大品》色具諸法，次正借色能詮諸義。於中又三：初詮無翻，次有翻，三和通。初文五義，即為五文。初法本中，先且積「黑」字為諸法之本，即是教本。中云「左迴」等者，此以所表為善惡等，左謂偏僻以表於惡，右謂便易以表為善，在上為勝以表無漏，在下為劣以表有漏。亦如梵書，以十一點加於本音，成十二字，各有所表，故知迴轉皆由於墨。次正詮法本，即教行義三。次「黑墨」下成三微發，從淺至深，故云「微發」。從「有黑色」下涌泉。「次又」下約詮裁邪。次「又約」下詮結鬘，結鬘中二義，今亦具之。次「又色」下詮經是由義及訓等。次「有色」下詮不可翻，文略，準前可知。次「又可翻」下共翻為經，今亦詮之，於詮經中具結成三諦，以一切法不出三諦，故非字亦字，即雙照空假。次於一黑色既名為經，經詮諸法，故於經字廣歷十妙，方是今文妙法之經。於中先約迹文自為十即十妙也。於中二：先釋，次「如此解」下結功能。前九可見。十利益中云「勤學此字」等者，通論五乘皆因勤學，別論今經專能利益佛乘學者。「祿」即是益。次結功能中云「手不執卷」等者，卷軸是色，今以色法遍一切法，乃見一期佛法常在一塵，豈假執於黃卷經耶？是則一念具讀一期色教，色具眾典未藉口言，如來一音出一切音，此中遍詮何殊梵響？一塵即足何須別思？如此勸學豈與夫一經一論至皓首耶？次例餘色可知。結成三諦中四：先結三諦，次「不可」下歷事雙非，三「能於」下勸誡，四「若於」下結示。初如文。次歷事中色中諸法既在一色，故不可說。亦可寄事分別解釋，色是可說，色中諸法則不可見。色為法界無可簡擇，復須簡九以從佛界，即空故無所攝，即假故遍攝，「棄」等重釋於攝，遍攝故不棄，無所攝故遍棄；同一法界故俱是，法界離念故俱非。三勸誡中二：先勸，次「若於」下誡。四結示中二：先結，次示今經意。今經秖是開顯十妙，色具十妙及一切法，故是今經意也。

Fourth, in "Explaining 'Sūtra' by Traversing Phenomena," there are two parts: first, traversing phenomena; second, in terms of the teachings. The first also has two parts: first, briefly explaining the substance of the sūtra; second, properly explaining the traversing of phenomena. The first passage also has two parts: first, explaining the three phenomena of this land; second, from "If in other lands" onward, explaining the six sense data of the various lands. The first passage also has two parts: first, generally establishing the three phenomena; second, explaining how sharp and dull [faculties] negate one another. The first passage has two parts: first, briefly raising the question; second, from "In past use" onward, explaining the characteristics of the three phenomena. Next, in explaining that they are adopted differently according to whether faculties are sharp or dull, there are also two parts: first, generally identifying [the positions]; second, individually explaining the three passages. However, the reason why both ancients and moderns take "mental dharmas" to be the sūtra is that the text follows the most prominent factor: although three phenomena are distinguished, sounds and forms must inevitably rely on mental dharmas to be understood; whether seen or heard, without mental reflection, one cannot cause the teaching to correspond with the mind. Next, regarding other lands, there are two parts: first, generally establishing them. As for the statement "either all six or exclusively one," either one land is equipped with all six, or one land is exclusively one, or two, three, or four—just as this land completely utilizes three. There are also reinforcements, whether single, paired, or complete; if so, why not allow that the capacities of this land are unequal? There are also those who [awaken] through tastes, fragrances, touches, and the like, which is just as the general explanation below indicates. Within this, there are two parts: first, explaining the six characteristics; second, explaining the reason why they are not used in this land. Next, in the main explanation, there are two parts: first, raising the topic with a hypothetical question; second, from "Answer" onward, the main explanation. In the explanation, there are two parts: first, generally demonstrating that all six sense data are equipped with all dharmas; second, individually explaining them, which is properly traversing all dharmas. Within this, there are two parts: first, provisionally traversing the eighteen realms; second, from "Thus" onward, the general conclusion. The first passage has two parts: first, broadly in terms of the six sense data; second, briefly by analogy with the sense faculties and consciousnesses. Among the first six sense data, form is treated most extensively, sound progressively more briefly, and the remaining four completely briefly. In the first part on extensive form, there are two parts: first, establishing characteristics in terms of form; second, concluding with their formation into the three truths. The first also has two parts: first, bringing up one color, black; second, from "blue, yellow" onward, using the remaining colors by analogy. In the first part on the color black, there are two parts: first, taking the single character "black" and traversing untranslated, translated, and harmonized [meanings]; second, properly taking the character "black" as the dharma realm to comprehensively explain all dharmas, which is precisely concluding with their formation into the three truths. The first passage has two parts: first, generally citing the *Large Perfection of Wisdom Sūtra* on form possessing all dharmas; second, properly borrowing form to express all meanings. Within this, there are also three parts: first, expressing the untranslated; second, the translated; third, harmonizing them. In the first passage, there are five meanings, which form five passages. First, in "the root of dharmas," one first accumulates the character "black" as the root of all dharmas, which is the root of the teaching. Where it says "turning to the left," and so forth: this indicates good, evil, and so on through what is represented; "left" signifies devious and represents evil; "right" signifies smooth and represents good; "above" is superior and represents the undefiled; "below" is inferior and represents the defiled. It is also like Indic scripts, where eleven dots are added to the root sound to form twelve letters, each having what it represents; thus we know that all turns and strokes depend on ink. Next, it properly expresses the root of dharmas, namely the three of teaching, practice, and meaning. Next, from "black ink" onward, it forms the subtle manifestation of the three; proceeding from shallow to deep, it is called "subtle manifestation." From "having the color black" onward is the gushing spring. From "Next also" onward, it refers to expressing the eradication of heterodoxy. Next, from "Again, in terms of" onward, it expresses stringing garlands; the stringing of garlands contains two meanings, which are also fully present here. Next, from "Again, form" onward, it expresses the sūtra as the meaning of "that from which it arises," as well as etymological definitions and the like. Next, from "having form" onward, it expresses untranslatability; the text is abbreviated, but can be understood by following what preceded. Next, from "also translatable" onward, they are mutually translated as "sūtra"; here too it expresses this. Within expressing the sūtra, it is fully concluded into the three truths; because all dharmas do not go beyond the three truths, being non-characters and yet characters, it illuminates both the empty and the provisional. Next, since the single color black is already called a sūtra, and a sūtra expresses all dharmas, one broadly traverses the ten subtleties through the character "sūtra"; only then is it the sūtra of the wonderful Dharma in the present text. Within this, it first relies on the trace text itself to form ten, which are the ten subtleties. Within this, there are two parts: first, explaining; second, from "understanding thus" onward, concluding with the efficacy. The preceding nine can be seen. In the tenth, "benefits," where it says "diligently studying this character" and so forth: generally speaking, all five vehicles depend on diligent study; specifically speaking, the present sūtra is uniquely able to benefit practitioners of the Buddha vehicle. "Emolument" (*lu*) is precisely benefit. Next, in concluding with the efficacy, where it says "hands not holding scrolls" and so forth: scrolls are forms; now, taking the dharma of form to encompass all dharmas, one realizes that the Buddha Dharma of a whole lifetime constantly resides in a single dust mote—how could one need to hold scrolls of yellow paper? Thus, in a single thought, one fully reads the formal teachings of an entire lifetime; forms possess all the scriptures without relying on oral speech. The Tathāgata with a single voice emits all sounds; in this, comprehensive expression—how does it differ from the resonance of Brahmā? A single dust mote is already sufficient, so why need distinct contemplation? How could such an encouragement to study be compared to spending one's life until white-haired over a single sūtra or a single treatise? Next, the analogies with other colors can be understood. In concluding with their formation into the three truths, there are four parts: first, concluding with the three truths; second, from "cannot" onward, traversing phenomena to negate both; third, from "able to in" onward, admonition; fourth, from "if in" onward, concluding demonstration. The first is as in the text. Next, in traversing phenomena: since all dharmas within form reside in a single form, they cannot be spoken of. One may also rely on phenomena to distinguish and explain: form can be spoken of, but all dharmas within form cannot be seen. Form being the dharma realm, there is nothing to select or reject; yet one must reject the nine [realms] to accord with the Buddha realm. Being identical with emptiness, nothing is gathered; being identical with the provisional, it gathers everything comprehensively. "Discarding" and so forth re-explains gathering: because it gathers everything, it discards nothing; because it gathers nothing, it discards everything comprehensively. Because it is the same dharma realm, both are affirmed; because the dharma realm is free from conceptual thought, both are negated. In the third part, the admonition, there are two parts: first, encouragement; second, from "if in" onward, warning. In the fourth part, the concluding demonstration, there are two parts: first, concluding; second, demonstrating the intent of the present sūtra. The present sūtra merely opens and reveals the ten subtleties; form is equipped with the ten subtleties and all dharmas, and therefore this is the intent of the present sūtra.