法華文句記 3.21

3.21

觀行釋中，初句總標，次正釋中初約動為表，次約六為表。初文者，言雖兼六正語於動，皆表當破無明，名為「動難動地」即能表也。「淨未淨根」即所表也。次「東」等二六者，俱約六數表也。表淨六根約觀解故，故得通約觀行、相似、分真等位，皆淨六根。於中初六者，事東踊等，具如《中陰》等經，今入觀心義復符會。言「表根」者，眼鼻已表於東西，耳舌理對於南北，中央心也，四方身也。身具四根，心遍緣四，故以心對身而為踊沒，謂中踊邊沒、邊踊中沒，可表六及十二入也。復有六動者，義兼十八，於其六中前三是形、後三是聲，形實聲虛，六根亦似三形三聲，此六事釋新舊不同。新云動、踊、震、擊、吼、爆，今且用舊，搖颺不安名動，自下升高名起，𡑝壟凹凸名踊，六方出沒亦名踊，隱隱有聲名震，砰磕發響名吼，令物覺悟名覺。新云擊如打搏，爆若火聲，經論略標多云震動，即形聲三各標一也。《大經》云：「純陀去後未久之間，其地忽然六種震動。」「又各有三」者，以表一根各有根、識、境三。初文表六中，表雖更互破必同時。「淨十八界」者，次辨所表皆破無明，故知秖是見陰界入皆常住耳。「云云」者，應具述所表以成觀心，但略存數並闕心境辨妙相狀次不次等，亦可根根皆修三觀如十八動，此中但約能動之相，所動唯秖一地而已。如根雖六，以心破故一切俱破。

In the explanation according to contemplation practice, the first sentence is a general indication; next, in the correct explanation, it first explains it through movement as symbolic representation, and next through the number six as symbolic representation. Regarding the first passage: although the words include the six, it primarily speaks of the movement, all of which symbolizes the impending destruction of fundamental ignorance; calling it 'moving the difficult-to-move ground' refers to that which symbolizes, while 'purifying the unpurified faculties' refers to that which is symbolized. Next, regarding the two sets of six, such as 'east' and so forth: both use the number six for symbolic representation. Because symbolizing the purification of the six faculties is explained in terms of contemplative understanding, it applies generally across the stages of contemplation practice, resemblance, and partial realization of the real, all of which purify the six faculties. Within this, regarding the first six: the phenomena of surging in the east and so forth are fully detailed in such texts as the Sūtra on the Intermediate State (Antarābhava-sūtra), and now entering the contemplation of mind, the meanings correspond once again. Saying 'symbolizes the faculties': the eyes and nose have already symbolized the east and west, while the ears and tongue inherently correspond to the south and north; the center is the mind, and the four directions are the body. The body possesses the four faculties, and the mind universally takes conditions from all four; thus, pairing mind with body in terms of surging and sinking—meaning surging in the center while sinking at the edges, or surging at the edges while sinking in the center—can symbolize the six and twelve sense bases (āyatanas). There are also six kinds of movement that implicitly encompass the eighteen [elements]. Among those six, the first three are forms, and the latter three are sounds; forms are solid while sounds are empty, and the six faculties likewise resemble the three forms and three sounds. The explanations of these six phenomena differ between the old and new translations. The new calls them moving, surging, shaking, striking, roaring, and crackling; for now we follow the old: swaying and restless is called 'moving'; rising up from below is called 'arising'; swelling unevenly with mounds and hollows is called 'surging'—appearing and disappearing in the six directions is also called 'surging'; a muffled sound is called 'shaking'; a crashing resonance is called 'roaring'; causing beings to awaken is called 'awakening'. The new says 'striking' is like beating and clapping, and 'crackling' is like the sound of fire; sūtras and treatises generally indicate them in brief mostly as 'quaking and shaking', which indicates one of each of the three forms and three sounds. The Mahāparinirvāṇa-sūtra says: 'Not long after Cunda departed, the earth suddenly quaked and shook in six ways.' 'Each also having three': this symbolizes that each faculty possesses the three of faculty, consciousness, and object. In the first passage's representation of the six, although the representations alternate, the destruction must be simultaneous. 'Purifying the eighteen elements': next it determines that what is symbolized is the destruction of fundamental ignorance in all cases; thus we know it is simply seeing that the aggregates, elements, and sense bases are all eternally abiding. 'Et cetera': one ought to detail fully what is symbolized so as to accomplish the contemplation of mind; here, however, it merely records the numbers in brief and omits the mind and objects, delineating the wondrous features, whether sequential or non-sequential, and so forth. One may also cultivate the three contemplations in faculty after faculty just like the eighteen movements; here it only addresses the characteristics of that which moves, while that which is moved is merely a single ground. Just as the faculties, though six, are all simultaneously shattered because they are shattered by the mind.