法華玄義釋籤 16.4

16.4

次「夫華」下正釋中二：初更通敘用喻意，次「又餘華」下正釋。初又二：初示前文，次出今喻意。初文具如第一卷文意。次文中二：初總，次「多分」下別。總如分喻，別如全喻。初總中二：釋、結。釋又二：先略，次「又以」下廣。初文言「九法佛法」者，秖是權實，權實不出十法界法，故略以對之。次廣中猶總，故但對本迹六文，具如序中文意，又二：先對六喻，次以十如結成。初文二：標、釋。釋中本迹各二：釋、結。釋中各皆先譬，次合。或有引文等，前序文中具引六文竟，故今不委悉。次結成中亦二：先舉前生後，次釋。釋又二：先釋、次結。初文二：先迹，次本。初又二：先結成十如，次例餘境餘妙。次本文，可見。次「始終」下結，迹門以施為始、開為終，本門以垂為始、拂為終，各以始開終合，合竟名為圓滿具足。次「是為」下總結可見。次多分喻，即全分也。今不云「全」但云「多分」者，雖以此華喻於本迹各十意足，然因果自他久近適時，乃至實相妙體，取體妙宗，體家之用，體宗用三料簡之相，何由可以此華能喻？理足事闕，故云多分。於中又二：先敘意，次廣釋。初文略述兩文遍喻之相，如師子法門遍喻如來果人大用，次波利樹法門遍喻行者從因至果。今蓮華獨能喻前兩義，約本門則是果人無方大用節節不休當當不已，約迹門譬於行者從因至果味味調熟位位入圓。於中二：先引二譬，次「今亦」下結意顯同。同意如向，可以意得。言「譬如師子吼法門」者，《大論》二十三，先列師子種類身相吼聲，然後合云「如來師子亦復如是。從六波羅蜜、四聖諦清淨種中生，寂滅大山谷中住，一切種智頭，集諸善頰，無漏正見脩廣目，光澤定慧等行步，高廣眉，四無所畏牙白利，四正勤堅滿頤，三十七品齒齊密，修不淨觀吐赤舌，修念慧耳高上，十八不共毛光澤，三解脫門身肉堅，三種示現修平脊，明行足腹不現，忍辱腰纖細，遠離尾長，四如意足安立，四無量知嚬呻，無礙解脫口，威伏諸外道邪見之屬，覺諸眾生四諦睡」等。「大經波利質多羅樹」者，二十七經遍喻中，始自葉黃終至開敷，遍喻佛弟子，初始出家乃至得果。經云：「三十三天有波利質多樹，其根入地深五由旬，枝葉四布五十由旬，葉熟則黃。諸天見已心生歡喜，是葉不久必當墮落。其葉既落復生歡喜，是枝不久必當變色。枝既變色復生歡喜，是色不久必當生皰。見已復喜，是皰不久必當生嘴。見已復喜，是嘴不久必當開敷。開敷之時，香氣周遍五十由旬，光明遠照八十由旬，諸天爾時夏三月在下受樂。我諸弟子，亦復如是。其葉黃者喻念欲捨家，葉落喻剃髮，色變喻白四羯磨，生皰喻發菩提心，嘴喻十住菩薩見性，開敷喻得阿耨菩提，香氣喻十方無量眾生受持禁戒，光喻如來名號周遍。夏三月者喻三三昧，諸天受樂喻諸佛在大涅槃常樂我淨。」

Next, in the correct explanation from "Now, the lotus..." onward, there are two parts: first, a general reiteration of the intention behind using the metaphor; next, from "Moreover, other flowers..." onward, the correct explanation. In the first part there are also two: first, showing the preceding text; next, setting forth the intention of the present metaphor. The first text is fully as intended in the text of the first fascicle. In the next text there are two parts: first, the general; next, from "largely" onward, the particular. The general is like the partial metaphor; the particular is like the complete metaphor. In the first general part there are two: the explanation and the conclusion. The explanation also has two: first, brief; next, from "Furthermore, by using..." onward, extensive. In the first text, when it says "the nine dharmas and the Buddha Dharma," this is merely provisional and real; the provisional and the real do not go beyond the dharmas of the ten dharma realms, hence they are briefly matched. In the next extensive part, it is still general, so it merely matches the six texts of the origin and traces, fully as intended in the preface text. This also has two: first, matching the six metaphors; next, concluding by establishing them through the ten suchnesses. In the first text there are two: stating and explaining. In the explanation, the origin and traces each have two: explanation and conclusion. In the explanation, each first gives the metaphor, followed by the application. Some cite texts and so forth; since the six texts were already fully cited in the preceding preface text, they are not detailed now. In the concluding establishment, there are also two: first, raising the preceding to generate the succeeding; next, explaining. The explanation also has two: first, explaining; next, concluding. In the first text there are two: first, traces; next, origin. The first also has two: first, concluding and establishing the ten suchnesses; next, using them as an example for the remaining objects and remaining wonders. Next, the text on origin is evident. Next, in the conclusion from "from beginning to end" onward, the trace gate takes provision as the beginning and opening as the end; the origin gate takes dropping [traces] as the beginning and sweeping away as the end. Each takes the beginning to open and the end to join together; once joined together, this is termed "consummately fulfilled and complete." Next, the overall conclusion from "This is..." onward is evident. Next, the metaphor of "largely" is indeed the full metaphor. The reason it does not say "complete" now but only says "largely" is that, although using this flower illustrates the ten intentions each of origin and traces sufficiently, yet with cause and effect, self and other, ancient and recent, fitting the times, down to the wondrous substance of the true mark, grasping the wondrous principle of the substance, the function of the substance, and the examined characteristics of these three—substance, principle, and function—how could this flower fully illustrate them? The principle is sufficient, but the concrete phenomenon is lacking, hence it is said to be "largely." Within this there are also two: first, recounting the intention; next, extensively explaining. The first text briefly recounts the characteristics of pervasive metaphor in two texts: as the lion Dharma gate pervasively illustrates the great function of the Tathāgata as the fulfilled person, and the pārijāta tree Dharma gate pervasively illustrates the practitioner moving from cause to effect. Now the lotus alone is able to illustrate both of the preceding meanings: in terms of the origin gate, it is the fulfilled person's boundless great function, ceaseless in every link and unending in every encounter; in terms of the trace gate, it illustrates the practitioner moving from cause to effect, mellowed and matured in every flavor, entering the perfect [teaching] at every stage. In this there are two: first, citing two metaphors; next, from "Now likewise..." onward, concluding the intention to reveal their commonality. The common intention is as above and can be grasped conceptually. As for "the metaphor of the Lion's Roar Dharma Gate," in the twenty-third fascicle of the Da zhidu lun, it first lists the species of lions, their physical characteristics, and their roaring sound, and then applies it, saying: "The lion of the Tathāgatas is also like this. He is born from the pure seed of the six pāramitās and the four noble truths, abides in the great mountain valley of tranquil extinction, has all-inclusive knowledge for a head, accumulated good deeds for cheeks, unblemished right view for long and wide eyes, radiant and harmonious concentration and wisdom for strides, high and broad brows, the four fearlessnesses for white and sharp fangs, the four right exertions for a firm and full jaw, the thirty-seven factors [of enlightenment] for evenly spaced and dense teeth, the cultivation of the meditation on the impure for a protruding red tongue, the cultivation of mindfulness and wisdom for high-standing ears, the eighteen unshared [qualities] for lustrous fur, the three gates of liberation for firm bodily flesh, the three kinds of manifestations for a long, straight spine, knowledge and conduct perfected for an invisible abdomen, forbearance for a slender waist, seclusion for a long tail, the four bases of psychic power for stable footing, the knowledge of the four immeasurables for yawning and stretching, and unhindered liberation for a mouth, intimidating and subduing all external paths and heretical views, awakening all sentient beings from the slumber of the four truths," and so forth. As for "the pāricchattraka tree in the Great Sūtra," in the pervasive metaphor of the twenty-seventh fascicle of the sūtra, beginning from the yellowing of the leaves and ending with the blossoming, it pervasively illustrates the Buddha's disciples, from their initial departure from home up to their attainment of the fruit. The sūtra says: "In the heaven of the thirty-three, there is a pāricchattraka tree whose roots penetrate five yojanas into the earth, whose branches and leaves spread fifty yojanas in the four directions, and whose leaves turn yellow when mature. When the devas see this, their hearts are filled with joy: 'These leaves will surely fall before long.' When the leaves have fallen, they again rejoice: 'These branches will surely change color before long.' When the branches have changed color, they again rejoice: 'This color will surely produce buds before long.' Seeing this, they again rejoice: 'These buds will surely produce beaks before long.' Seeing this, they again rejoice: 'These beaks will surely blossom before long.' When it blossoms, its fragrance pervades fifty yojanas, and its radiance shines afar for eighty yojanas. The devas then enjoy pleasure beneath it for the three summer months. My disciples are also like this. The yellowing of the leaves illustrates the thought of wishing to renounce the household; the falling of the leaves illustrates shaving the hair; the change of color illustrates the karmavācanā with one motion and three announcements; the production of buds illustrates giving rise to the bodhi-mind; the beaks illustrate the bodhisattvas of the ten abodes seeing the nature; the blossoming illustrates attaining anuttarā samyaksaṃbodhi; the fragrance illustrates immeasurable sentient beings in the ten directions upholding the prohibitions; and the radiance illustrates the pervasive spread of the Tathāgata's name. The three summer months illustrate the three samādhis; the devas enjoying pleasure illustrates all Buddhas being permanently, blissfully, self-sovereignly, and purely in Great Nirvāṇa."