妙法蓮華經玄贊 6

English (machine translation) 6

Language: English

6.1

Composed by the Śramaṇa Kuiji of Great Cien Temple.

6.2

The Sūtra [states]: 'The Buddha, wishing to restate this meaning, ... there was a great mansion.'

The Commentary says: Below are the verses. There are one hundred and sixty-five verses in all, divided into two parts: first, eighty-four and a half verses versifying the preceding dharma and metaphor; second, from 'He addressed Śāriputra: All of you people are my children, and I am your father' onward, there are eighty and a half verses, which form the third major section, exhorting faith and understanding in this sūtra and seeking the buddha-wisdom to be attained in the future. The first part has three sections: first, sixty-five and a half verses versifying the metaphorical exposition above; next, eighteen verses versifying the synthesis above; finally, one verse versifying the preceding concluding statement. That is: 'Due to these causes and conditions, seeking attentively throughout the ten directions, there is no other vehicle, aside from the Buddha's expedient means.' In the first sixty-five and a half verses versifying the metaphorical exposition, it is divided into two parts: first, fifty-three and a half verses versifying the provisional of the past; second, twelve verses versifying the real of the present. The first text is divided into four: first, half a verse versifying the metaphor that the triple world is possessed by the Buddha; second, thirty-two and a half verses versifying the metaphor of the peril and ruin of the five destinies; third, fourteen verses versifying the metaphor of seeing [their danger] and devising provisional expedients; fourth, six verses versifying the metaphor of following his words and escaping disaster. In the prose of the first metaphor there were six items; here it versifies only two: one, the master of the house; two, the features of the mansion. Earlier it said 'having many fields and houses'; 'herein there was a great mansion' has three explanations as given before.

6.4

The Sūtra [states]: 'That mansion was very old, ... the base and steps collapsed and ruined.'

6.5

The Commentary says: In the second section of thirty-two and a half verses versifying the metaphor of the peril and ruin of the five destinies, the prose had four items; here it is divided into three: first, three verses on the mansion being perilous and decayed; next, half a verse on the people being very numerous; finally, twenty-nine verses on disasters arising on all sides. It does not versify the fourth, the children playing and dwelling. In the mansion being perilous and decayed, it is divided into two: seven lines generally explain the impermanence of the five aggregates of the triple world; five lines specifically explain the meanings of impermanence, non-self, impurity, and emptiness of the physical body. 'That mansion was very old': vertically considered, the consciousness aggregate is from beginningless time arising and ceasing moment by moment, like an illusion, hence called 'very old'. Horizontally considered, it also undergoes sudden decay, not ceasing gradually. 'Dilapidated' (bi) means broken down and ruined. 'The halls and rooms high and precarious': the impermanence of the form aggregate; taking rooms in place of upper chambers, what is high will easily tilt, and what is precarious will surely be unstable, just like a mass of foam being insubstantial. 'Pillars and bases broken and rotting': the impermanence of the conditioning aggregate; shifting and passing away moment by moment, when karma is exhausted all die, hence called 'broken and rotting'. 'Broken' (cui) means snapped, fallen, rotted, and destroyed, like a plantain tree. 'Beams and ridgepoles slanting and askew': the impermanence of the sensation aggregate; having lost proper sensation, how could it be secure? Like floating bubbles. 'The base and steps collapsed and ruined': this is also the conditioning aggregate; volitional thoughts of karma are called the base and steps, because they support the pillar of the life-faculty. 'Collapsed' (tui) means fallen down; 'ruined' (hui) means destroyed. The conditioning aggregate subsumes many dharmas, with karma and fruit being two distinct things, hence opened into two lines.

6.6

The Sūtra [states]: 'The walls cracked and broken, ... mixed impurities filling it everywhere.'

6.7

The Commentary says: 'The walls cracked and broken': the impermanence of the perception aggregate. Pi is pronounced with the fanqie fu-mei; it means ruined and overturned. Che is pronounced with the fanqie chi-ge; it means split. The Yupian says: 'divided'. The above seven lines together explain the impermanence of the five aggregates in the triple world, for wherever they exist appropriately, they are all like this. The five lines below specifically explain the meanings of impermanence and so forth of the physical body: three lines on impermanence, one line on non-self, and one line on impurity; because of these three meanings, it consequently constitutes emptiness. 'Plaster' is a metaphor for flesh. The Qieyun says: 'Tu means smeared and covering.' Yi means collapsed, ruined, and dropped. Yi is pronounced with the fanqie chi-er. The Shuowen says: 'Shaking clothes is written as chi.' The Qieyun says: 'A collapsing mountain is called tuo.' The Yupian says: 'Splitting firewood along its grain is written as yi.' Some texts have chi, not knowing its source; now it should be yi. The Guangya says: 'It means peeling.' The Fangyan says: 'It means ruined.' The Shuowen says: 'A collapsing mountain is called yi.' Some have tuo. 'Thatch covering' is a metaphor for skin being loose, disordered, and falling down. The Erya says: 'White thatch covering is called shan.' Weaving white reed mats to cover a roof is called shan. 'Rafters and eaves': lü is pronounced with the fanqie li-ju, meaning the edge of rafters, now called eaves-brackets. Cha is pronounced with the two fanqie chu-yi and chu-jia. Tuo is pronounced with the fanqie tu-huo, also tu-huo. It is a metaphor for the impermanence of the joints, tendons, and vessels connected together. When rafters are displaced, the joints are impermanent; when eaves-brackets detach, the tendons and vessels are impermanent. Fascicle 19 of the Yogācārabhūmi cites a sūtra verse: 'There is a city with bones for ramparts, / smeared and adorned with sinews and flesh, / within which dwell greed and wrath, / sustained by conceit and hypocrisy.'

6.8

The Commentary says: Maitreya explains, saying that the city refers to the eight consciousnesses; the bones serve as bricks and stones; the sinews substitute for ropes; the flesh serves as plaster; and the bodily frame serves as ramparts surrounding it. Within this city, it is sustained by four kinds of evil dharmas: two arise among householders, namely greed and anger; two arise among non-Buddhists, namely conceit and hypocrisy. Householders, due to attachment to desires, are conjoined with evil deeds, and do not even have faith and acceptance in the true Dharma, much less can they cultivate good; even if someone exhorts them, they react with anger and resentment. Non-Buddhists, relying on poorly expounded teachings, generate haughtiness and cannot naturally proceed to the place of the Three Jewels; when the Three Jewels go to convert them, because of hypocrisy they do not even repent and disclose their evil deeds, much less can they have faith, understanding, and cultivate good dharmas. They cannot even enter the city of the two kinds of minds, much less take it as their own. The Nirvāṇa [Sūtra] also says: 'This body is like a city, with blood, flesh, sinews, bones, and skin wrapped around it, the hands and feet serving as defensive watchtowers, the eyes as apertures, the head as a hall, and the mind-king dwelling within. Therefore, taking flesh as plaster, skin as thatch, and bones and sinews as rafters and eaves.' The above are the dharmas of impermanence of the physical body. 'Surrounding partitions winding and convoluted': zhang is pronounced with the fanqie zhi-shang. The Shuowen says: 'A screen is an obstruction; an enclosing barrier is called zhang.' The Yupian says: 'The two fanqie zhi-rang and zhi-yang. Some write it as zhang, meaning obstructing and blocking boundaries.' This is a metaphor for non-self. Inside the mansion, there are partitions all around, winding and difficult to traverse. This makes it clear there is no self; if there were a self, it would be purely uniform without bends, and without partitions. 'Mixed impurities filling it everywhere' is a metaphor for impurity. If it is a body in the desire realm, it is filled with thirty-six impure substances. Because of these three meanings, it is also empty.

6.9

The Sūtra [states]: 'There were five hundred persons dwelling within it.'

6.10

The Commentary says: This versifies the people being very numerous.

6.11

The Sūtra [states]: 'Kites, owls, eagles, and vultures, ... running and darting back and forth across each other.'

6.12

The Eulogy states: The third section below consists of twenty-nine verses, [describing] disasters arising from all directions, which is divided into three parts: first, seventeen and a half verses generally explain the appearance of anomalous portents where insects and ghosts mingle together; next, ten and a half verses specifically explain the reasons why the insects and ghosts arise in swarms and confusion; finally, one verse concludes by summarizing the aforementioned perils. Generally explaining the anomalous portents directly corresponds to generally identifying the marks of the ten afflictions (kleśa); specifically explaining them arising in confusion directly corresponds to specifically identifying the marks of the delusions of the three realms. The prose portion, in recounting the outbreak of disasters, mentions only the burning of fire; here, insects and ghosts are added to speak of various baleful signs, intending to cause sentient beings to feel deep revulsion and dread, establishing various names just as the three poisons and the like are reproached and censured. Within the first part there are three: first, six verses explain how anomalous birds and venomous insects, because they are somewhat sluggish and dull, allegorize the five [afflictions] such as greed; next, ten verses explain how wondrous spirits and anomalous ghosts, because they are somewhat swift and sharp, allegorize the five views; finally, one and a half verses conclude both of these together. Within the first part there are again two: five and a half verses specifically explain [the creatures], and half a verse concludes it. The initial text is divided into five: the first half verse allegorizes greed; one and a half verses allegorize anger; one verse allegorizes delusion; one verse allegorizes doubt; one and a half verses allegorize conceit. These are the first two. Here, the assignments lack separate scriptural texts [establishing them]; they are merely paired based on the conceptual correspondence of their cognitive modes, tentatively following antiquity in this manner. The base treatise does not explain it, so logically it is not necessarily so, yet because the doctrinal principles accord smoothly, it is also not necessarily not so. Greedy craving has four types: first, craving for present existence; second, craving for future existence; third, craving accompanied by lustful joy; fourth, craving for delight here and there. All are based on specific cognitive modes, since they can be seen at present. "Vultures, owls, eagles, and kites" are successively paired with the four superior grades of craving; "crows, magpies, turtle doves, and pigeons" are successively paired with the four inferior grades of craving. Alternatively, they are paired with the eight: sluggish-natured greed, portent-manifesting greed, great-strength greed, body-moving greed, unprincipled greed, speech-producing greed, debased greed, and excessively lustful greed. Since these eight birds have great greed, they are used as allegories. There are eleven allegories for anger: First, the *yuan*, pronounced as the fanqie *yu* + *yuan*, or *wu* + *wan*. According to the *Bequeathed Teaching Sūtra*, it is a short black snake. The *Book of Han* mentions the "dark *yuan*," which Wei Zhao explains: "'Dark' means black; *yuan* means lizard." Cui Bao says: "It is the *sheyi* (grass lizard); the large ones are three feet long, deep dark blue in color, and adept at bewitching people. *Rangyuan*, *xiyi* (lizard), *yanting* (skink), and *shougong* (gecko) are four distinct names for it." The *Yupian* states: "It is the *sheyi*. In houses it is called *shougong*; in marshes it is called *yanting*." Following this, the *Bequeathed Teaching Sūtra* should have said "black *yuan*," which was mistakenly written as the character for snake (*she*). Now it is explained that *yuan* has two types: first, the lizard; second, the short black snake. Hence the *Bequeathed Teaching Sūtra* states, "Only when the sleeping snake has departed can one sleep peacefully," so that text is not mistaken; it is just named a black *yuan* and not a *rangyuan*. Some take it to be the *yuan* (giant softshell turtle), pronounced *yu* + *yuan*, meaning a vicious aquatic creature. In principle, this too is not so, because that character is the softshell turtle *yuan* (黿) and not this viper *yuan* (蚖). Second, ordinary snakes, meaning the rest of common snakes. Third, the viper (*fu*), that is, the *fushe*. The *Erya* states: "The viper (*fuyuan*) is three inches broad, with a head as large as a thumb. South of the Yangtze and Huai rivers they call the *[chong-fu]* a viper; it has fangs that are extremely venomous and a needle on its snout. Another name is the upturned-snout snake; its color is like woven ribbons, with crests between the patterns; the large ones are seven or eight feet long, and if it bites a hand, the hand must be severed. They are abundant in Lingnan." Fourth, scorpions. Fifth, centipedes. The *Zilin* states: "The *jiju* (centipede) is very capable of subduing snakes." Those with green bodies and red legs are superior; those with yellow legs cannot be used [medicinally], and people often roast them to make them red, which is counterfeit. Sixth, house centipedes (*youyan*). In Jiangnan, the large ones are centipedes. Seventh, geckos (*shougong*). East of the mountains they are called *xisi*; west of Shaanxi they are called *bigong*. If one coats a woman's arm with its blood, [a mark remains, but] if she has a secret affair, it will wash away and not remain; thus it can guard the palace (*shougong*). It is also said that on rocks it is a lizard, in marshes a skink, in houses a gecko, and all are generally called *rangyuan*. Eighth, millipedes (*baizu*). Ninth, the weasel (*you*), pronounced with the fanqie *yu* + *jiu*. The *Qieyun* states: "The name of an insect-like creature, resembling a rat, is written as *you* (鼬); the name of a beast, resembling an ape, is written as *you* (𮙩)." The *Yupian* says: "The *you* (𮙩) resembles a leopard cat and catches rats," which differs from the *Qieyun*. "The *you* (鼬) resembles a bamboo rat and eats mice"; it is also called *shengshu*. Because of this, manuscripts of the sūtra have it written as *you* (鼬) or as *you* (𮙩). According to the *Zilin*, it is written as *you* (狖); in ancient script it is written as *sui*; it is pronounced not only as *yu* + *jiu*, but also *yu* + *ji*, being a name from Jianping. The *Classic of Mountains and Seas* says: "Mount Ge has many *sui*." Guo Pu says: "It resembles a macaque, with a large, dark-grey face, a tail four to five feet long resembling an otter's tail, and two forks on its head. When it rains, it hangs upside down from trees, plugging its snout with its tail. East of the Yangtze, people raise it to catch rats; as a creature it is agile and vigorous." The *Erya* says: "The *sui* has an upturned snout and a long tail." Now, following the *Qieyun*, it is written with the character *you* (𮙩). This is of the ape family, shaped like a dog; it is not of a vicious nature, so it is not adopted here. It should be written with the character *you* (鼬), homophonous with *you* (𮙩) in the falling tone, which belongs to the class of yellow weasels; its nature is capable of harming and killing, and its shape is small. In ancient script it is written as *sui* (蜼). Following the *Yupian*, it is written as *you* (𧲹). Following the *Zilin*, it is written as *you* (狖). Some write it as *you* (㹨), whose origin is unknown. Tenth, leopard cats (*li*), that is, wild cats. It should be written as *li* (貍); there is no character *li* (狸). The *Shuowen* says: "Derived from the radical *zhi* (豸), with *li* (里) as the phonetic component." Eleventh, the biting mouse (*xishu*). The *Shuowen* says: "A small mouse." The *Yupian* states: "It possesses a venomous bite; it eats humans and birds or beasts, and even when [the flesh] is gnawed down completely, they do not realize it nor feel pain." What the *Spring and Autumn Annals* mentions as "eating the horns of the suburban sacrificial bull" is today called the sweet-mouthed mouse. Because these creatures have much poison, they are used to allegorize anger. The specific aspects of anger arise with reference to ten objects: first, one's own body; second, loved sentient beings; third, unloved sentient beings; fourth, past enemies and friends; fifth, future enemies and friends; sixth, present enemies and friends; seventh, unpleasant sensory objects; eighth, jealousy; ninth, past habits; tenth, the views of others. Combining the general aspect of anger as one and the specific cognitive modes as ten, they match together as eleven. Among the secondary afflictions (upakleśa), the five such as wrath and resentment are called "the various evil pests"; their arising upon encountering conditions is called "running crisscross in every direction." Furthermore, fiercely sharp anger, provoked anger, vengeance-seeking anger, outward-manifesting anger, harmful and venomous anger, unceasing anger, jealous anger, agonizing anger, privately harboring anger, destructive and lethal anger, and covertly plotting anger are paired respectively. "Running crisscross in every direction" concludes the [allegory of] anger above.

6.13

Sūtra: "Foul places of urine and dung [...] and gathered upon them."

6.14

The Eulogy states: This allegorizes delusion. Because of the predominance of delusion regarding the thirty-six bodily constituents such as urine and dung, one treasures and clings to one's body, just as dung beetles gather upon foul places without perceiving them to be impure. Infatuated with birth and death and foolish concerning the three time periods, they give rise to the seven or nine types [of delusion], hence they are called "various insects," for their classes are not one, as explained in the ninth fascicle of the *Yogācārabhūmi*. "Foul places" refers to what is not pleasing, what is repulsive, vile, and base. "Foul" means an evil stench. "Place" (*chu*) has the pronunciation of the fanqie *chang* + *yu*, meaning to rest, referring to evil odors and breath. The *Qieyun* also gives the fanqie *chi* + *shu*. The *Yupian* says: "To dwell; to halt." Once it is pronounced in the departing tone, it readily means an evil place.

6.15

Sūtra: "Foxes, wolves, and jackals [...] bones and flesh scattered in disorder."

6.16

The Eulogy states: This allegorizes doubt. "Fox" (*hu*) has the pronunciation of the fanqie *hu* + *du*. The *Yupian* says: "A bewitching beast, ridden by ghosts." The fox has three virtues: its color is moderate and harmonious, it is small in front and large behind, and at death it invariably faces toward its home hill. Jackals (*ye-gan*) are blue-yellow in color like dogs; they travel in packs and howl at night with sounds like wolves; they can climb trees and nest on perilous crags and tall trees. The fox is somewhat larger in form, while the jackal is small; although their two forms are similar, there is a difference in size. Hence the *Dhyāna Sūtra* states, "One sees a wild fox, and again sees a jackal." Wolves can be understood by extension. These represent doubts concerning the Three Jewels, the three times, and the three realms; hence three beasts are spoken of. "Munch" (*ju*) is pronounced with the fanqie *ci* + *lü*, or *chu* + *lü*. "Chew" (*jiao*) is pronounced with the fanqie *zai* + *jue*. The *Yupian* states: "*Ju* means to hold in the mouth, to taste, to suck." Some write the character as *ju* (齟). "*Jiao*" means to bite, to masticate, to eat. Holding in the mouth is called *ju*; biting is called *jiao*. Treading with the feet is called "trampling" (*jianta*). Severing tendons and bones is called *chi*. Damaging skin and flesh is called *nie*. "*Chi*" is pronounced with the fanqie *zai* + *zhu*, tasting by touching the teeth is called *ji*. It is unknown where the character *chi* (䶩) originates; it is feared to be an error for *chi*, and should be written as *nie* (𪘨) with *nie* (齧), where gnawing and pulling is called *chi*. Some pronounce this *chi* as *jie*, but that is not verified. "*Nie*" has the pronunciation of the fanqie *wu* + *jie*. "*Shi*" means to bite. Biting repeatedly is *nie*; touching the teeth is *ji*; thereby the bones and flesh ultimately end up scattered in disorder. Doubt expressed through the mouth is like munching and chewing; the mind doubting the true principles is like trampling; doubting the soft dharmas of suffering and origination is like *chi*, tasting by touching the teeth; doubting the hard dharmas of cessation and the path is like *nie*, biting and damaging skin and flesh; because of this, the corpses of birth and death are scattered in disorder and turmoil.

6.17

Sūtra: "Because of this, packs of dogs [...] anomalous appearances such as these."

6.18

The Eulogy states: The first verse and a half allegorize conceit, and the latter half verse concludes it. There are seven or nine forms of conceit, termed the "packs of dogs"; because they mostly arise dependent on doubt, they are said to be "because of this." "Striking" (*bo*) means hitting. "Snatching" (*cuo*) means grasping and seizing. "*Bo*" is pronounced with the fanqie *bu* + *ge*, hitting with the hand. The *Yupian* states: "To clap; to pat." "*Cuo*" is pronounced with the fanqie *zi* + *huo*, taking with the hand. The *Shiming* says: "*Cuo* means sudden, referring to seizing something suddenly." The *Yupian* says: "Identical with the four *gui* being called a *cuo*," meaning pinching with three fingers. Gripping with the hand is written as *zuan*, pronounced *zi* + *kuo*, but that is not the meaning here. Elevating oneself to oppress others is called *bo*; expecting others to comply with oneself is called *cuo*; the conceit of inferiority feeling unequal to others is like being hungry and emaciated, lacking even small expectations. The mind, though arrogant, is trembling and frightened, which is called terrified (*zhanghuang*); arising upon encountering various matters is called "everywhere"; the mind is perpetually unsatisfied, like seeking food—these are all aspects of the conceit of inferiority. The mind arrogantly despising others is called quarreling (*douzheng*); the body manifesting signs of conceit is called clawing (*zha*). "*Zha*" is pronounced with the fanqie *ze* + *jia*. The *Shiming* says: "*Zha* means to fork," referring to reaching with all five fingers to grasp. The *Yupian* says: "Seizing and striking with the five fingers; clutching." The *Qieyun* says: "Pressing with the fingers in play." "Snatching" (*che*) is pronounced with the fanqie *chi* + *zhi*. The *Zishu* says: "To drag." The *Yupian* says: "To pull and let loose." Another pronunciation is *chi* + *xi*, meaning to drag, referring to grasping and dragging with the five fingers. Pressing with the fingers and dragging, pulling, stretching, and letting loose, or moving forward to bite, is called *zha*, because one humbles one's body to approach others. Pulling backward is called *che*, because one's self-conceit reclines and sprawls back. Some texts write the character *cha* (䶥); the *Shuowen* says: "Irregular teeth," which is not the meaning here. Words manifesting conceit are called snarling, baring teeth, howling, and barking; gathering and baring the lips and teeth is called snarling and baring teeth (*aici*); emitting loud roars is called howling and barking (*haofei*). "*Ai*" is pronounced with the fanqie *wu* + *jia*, of dogs fighting. "*Ci*" is pronounced with the fanqie *shi* + *jia*; irregular teeth is written as *cicha*; opening the mouth to reveal teeth is written as *ciai*. Furthermore, it is not known where the character *chai* (喍) originates. A bellow is the sound of bears and tigers; the *Yupian* says: "To roar." "Roaring" (*pao*) means crying out. "Wailing as if weeping" concludes the terrifying, anomalous appearances of the house being like this.

6.19

Sūtra: "Everywhere there were [...] eating human flesh."

6.20

The Commentary says: The following ten verses explain that miraculous spirits and anomalous ghosts serve as metaphors for the five [wrong] views. They are divided into five parts: the first three and a half verses serve as a metaphor for wrong view (mithyādṛṣṭi); two and a half verses serve as a metaphor for attachment to rules and rituals (śīlavrataparāmarśa); one and a half verses serve as a metaphor for the view of individuality (satkāyadṛṣṭi); half a verse serves as a metaphor for attachment to views (dṛṣṭiparāmarśa); and two verses serve as a metaphor for extreme views (antagrāhadṛṣṭi). The first part is divided into two: one verse generally illustrates the own-nature of wrong view, and two and a half verses illustrate its distinct functional aspects. This is the first. Chi (魑) is pronounced ri-zhi reverse; mei (魅) is mei-bi reverse. The Shuowen and the Yupian say: 'They are the spirits of aged things.' The Tongsuwen says: 'Monsters of mountains and marshes are called chimei.' Zhang Pingzi's 'Western Capital Rhapsody' says: 'A mountain spirit with a tiger's shape is named chi; a marsh spirit with a pig's head, a human body, and a tail is named mei.' Wang (魍) is pronounced wen-liang reverse; liang (魎) is liang-jiang reverse. The Tongsuwen says: 'Anomalies of trees and stones are named wangliang.' The Chunqiu and the Yupian say: 'They are water spirits.' Adding yakṣas and evil ghosts, there are five classes altogether. They metaphorically illustrate the five functional aspects of the mind and mental factors, etc., which have wrong views as conditions and repudiate the five portals and repudiate the five dharmas, namely: repudiating cause, [repudiating] result, [repudiating] function, [repudiating] real entities, and any other wrong views other than the four [other] views. Injuring good dharmas and destroying fertile fields, so that there is nowhere they do not arise, is expressed as 'being everywhere.' Their harm is ever broader, like 'devouring human flesh.'

6.21

Sūtra: 'Venomous insects and their kind [...] each secretly guarding and protecting.'

6.22

The Commentary says: The next two and a half verses explain the distinct functional aspects. There are two parts within this: the first verse explains that dull afflictions arise on account of wrong view, and wrong view also arises again on account of afflictions; the latter one and a half verses explain that various evil views and unwholesome actions arise on account of wrong view. The remaining afflictions are called insects and beasts. Fu (孚) is pronounced fu-fu reverse, meaning trust. The Yupian says: 'An old hen brooding; an egg hatching (fu), giving birth.' The Tongsuwen says: 'Pao-fu reverse; an egg transforming is called fu.' The Guangya says: 'Fu means to give birth.' The Fangyan says: 'It refers to a hen brooding over eggs that have not yet hatched.' Ru (乳) is pronounced ru-zhu reverse, and also er-yu reverse. The Cangjiepian and the Yupian say: 'Ru means nurturing young.' Sheng (生), although possessing both level and departing tones, should follow the level tone. The Yupian says: 'Producing and advancing; raising, nurturing, and creating. Creating changes on account of things is called sheng.' Chan (産) also means sheng. A bird nurturing eggs is called fu; a beast nursing young is called ru. On account of wrong view, various afflictions grow like hatching and nursing; various afflictions arise like giving birth and producing, following the wrong views that repudiate the five portals. The distinct growth of afflictions is called 'each secretly guarding and protecting.' Guarding and protecting carries the sense of nourishing. Or else, afflictions such as insects and beasts producing and growing wrong views is called 'themselves secretly guarding and protecting,' and so forth.

6.23

Sūtra: 'Yakṣas vied to come [...] exceedingly frightening.'

6.24

The Commentary says: This explains that various evil views and unwholesome actions arise on account of wrong view. Various evil views, etc., are like yakṣas; their increasing daily is called 'vying to come.' Generating further evil actions on account of having stirred up afflictions is called 'striving to seize food.' Food carries the sense of sustaining and growing; hence, when evil bodily actions are fully engaged, it is called 'after eating their fill.' Wrong views growing ever more numerous is called 'evil minds becoming ever fiercer.' Their then manifesting in speech is called 'the sound of fighting and quarreling.' Evil actions of the three karmic paths are augmented by wrong views, and the damage being ever greater is called 'exceedingly frightening.' Therefore, the three evil actions arise on account of wrong view; it is not that wrong view directly initiates bodily and vocal [actions], but because it generates them distantly by its momentum, it is spoken of in this way.

6.25

Sūtra: 'Kumbhāṇḍa ghosts [...] dissolutely playing.'

6.26

The Commentary says: The following two and a half verses are a metaphor for attachment to rules and rituals. Within this there are two parts: the first one and a half verses are a metaphor for the general functional aspect, and the following one verse is a metaphor for the specific functional aspect. This is the first. However, earlier masters in the past, lacking clear texts, mostly took the Hīnayāna to explain the aspects of precepts; now, explaining them in accordance with new texts according to the Mahāyāna meaning, students should be aware. 'Kumbhāṇḍas' are terrifying ghosts; this is a metaphor for attachment to rules and rituals. Clinging firmly to and following along with the precepts arising from various views without taking other dharmas as objects is like 'squatting on a mound of earth.' The Zilin says: 'Crouching (dun) means sitting without support.' Ju (踞) is pronounced ju-yu reverse; it means sitting firmly with hanging feet, leaning, and also crouching. Duo (埵) is pronounced ding-guo reverse, meaning the corner of a small earth heap, or hard earth. The Yupian says: 'Ding-ge reverse; a small lump piled up, also hard earth, or dust.' Some pronounce it dui (堆), meaning a heap of earth; this is incorrect. If one merely clings to the precepts as an excellent cause and generates attachment, this is called 'one foot off the ground'; clinging to the restrictions that accord with the precepts as an excellent cause and generating attachment is called 'two feet.' Or, clinging to them as supreme is like 'one foot,' and further clinging to them as the cause is like 'two feet.' Attachment to rules and rituals must possess these two aspects; otherwise, it is subsumed under wrong view. There is no need to assign them specifically to the two attachments of the higher realms, because the other afflictions are not said to be common to the higher realms. Although they adhere to seeking the supramundane result of cessation, going to be born among humans and devas is called 'going,' and sinking back into the evil destinies is called 'returning'; constantly drowning in saṃsāra and vainly exerting painful austerities is called 'wandering around'; clinging to them as supreme and turning against the correct path is called 'dissolute'; and clinging to them as the correct cause and being defiled and attached to saṃsāra is called 'playing.'

6.27

Sūtra: 'Grasping both feet of a dog [...] scaring the dog to amuse themselves.'

6.28

The Commentary says: This explains the specific functional aspect. The nirvāṇa and liberation sought by non-Buddhists are not the true supreme dharma. Saṃsāra is loathsome and is metaphorically compared to a dog; obtaining those precepts and restrictions is like the two feet, because they are causes for nirvāṇa; like feet, the precepts and restrictions are distinct, hence called 'both.' Or, clinging to them as supreme and as cause is called 'both.' Firmly adhering to precepts and restrictions is like 'grasping the dog's feet'; executing what conforms to oneself is like 'flinging it down by the feet.' Pu (撲) is pronounced pu-jiao reverse, meaning to fall or throw down. The Tongsuwen says: 'Striving to throw down is called pu.' Some write pu (朴), pronounced pu-bu reverse, meaning to strike. The Yupian says: 'To strike, to hit with the hand.' Here, it does not have this meaning, nor is it the character pu (朴). Proclaiming painful austerities and their nirvāṇa to demonstrate them to sentient beings is like 'causing it to lose its voice.' Clinging to precepts or restrictions as being able to reach nirvāṇa is like 'placing the dog's feet upon the dog's neck.' Establishing this and practicing painful austerities to seek nirvāṇa is identical in meaning to terrifying and playing with the dog and indulging in it without abandoning it; although it is suffering, they call it pleasure, and because it amuses their own minds, it is called 'amusing themselves.'

6.29

Sūtra: 'Again there were ghosts [...] wailing and crying out, seeking food.'

6.30

The Commentary says: This is a metaphor for the view of individuality. Innate view of individuality operates constantly from beginningless time; therefore, they are called 'tall and large.' Those that are intellectually formed are associated with unwholesome natures, lack of shame, and lack of conscience, metaphorically compared to being 'naked.' Nakedness conveys exposure, because of having no shame. Being covered by ignorance is called 'black'; being confused and lacking correct principle is called 'emaciated.' Firmly clinging to the five aggregates without ever pausing for a moment is called 'constantly dwelling within.' Various afflictions arise on account of this, and the grasping of self-proclamations arises because of this, which is called 'uttering evil sounds.' Extensively giving rise to and growing the view of self everywhere is like 'wailing and crying out, seeking food.'

6.31

Sūtra: 'Again there were ghosts whose throats were like needles.'

6.32

The Commentary says: This is a metaphor for attachment to views. Their heads are like mountains and their throats are extremely small, only the size of needles, incapable of receiving food; attachment to views is also like this: clinging to one's own views, etc., as the cause and as supreme, they consider them large like mountains, but unable to accept the views of others, they are extremely small like needles.

6.33

Sūtra: 'Again there were ghosts [...] or else devouring dogs.'

6.34

The Commentary says: The following two verses are a metaphor for extreme views, divided into two: the first verse is a metaphor for the general functional aspect, and the latter verse is a metaphor for the specific functional aspect. This is the first. 'Heads like ox heads': the head has two horns, because within one extreme view both permanence and annihilation are contained. Permanence and annihilation must arise based upon the view of self, just as two horns exist based on an ox's head. 'Or devouring human flesh' is a metaphor for the view of annihilation: the harm to good [dharmas] is profound due to clinging to annihilation, refusing entirely to cultivate, just like devouring human flesh. 'Or else devouring dogs' is a metaphor for the view of permanence: it does not obstruct the arising of good, and the harm is shallow, just like devouring dogs.

6.35

Sūtra: 'With hair disheveled [...] shrieking and running about.'

6.36

The Commentary says: This is a metaphor for the specific functional aspect. Based on this extreme view, forty-seven of the sixty-two views are produced, like 'hair disheveled.' Based on this view, they mutually denounce the various non-Buddhists, like being 'cruel, vicious, and treacherous.' The false views of non-Buddhists are called treacherous; hence, vicious, evil, treacherous, and obstructing. Because they lack the food of correct teaching and the water of correct principle to nourish and sustain them, it is like being 'pressed by hunger and thirst.' Their inner minds being like this, outwardly they voice conceptual clingings like 'shrieking,' and their bodies urgently follow it, acting like 'running about.'

6.37

Sūtra: 'Yakṣas and hungry ghosts [...] immeasurably terrifying.'

6.38

The Commentary says: This concludes the matter. Non-Buddhists generate afflictions that are false and inverted, like 'yakṣas and hungry ghosts.' Householders generate afflictions that are indulgent and ignorant, like 'various evil birds and beasts.' Reiterating what was explained above: because they give rise to those, they do not comprehend correct principle. Poor and lacking wisdom is like being 'famished and urgent'; householders wander through the four states of birth, old age, sickness, and death. Encountering evil conditions everywhere, delusions arise, like 'famished and urgent in the four directions.' Non-Buddhists cannot look correctly upon the portal of the cause of nirvāṇa, and falsely practicing painful austerities they view correct principle as if 'peering through windows,' because their practice is not upright. Such various difficulties are 'immeasurably terrifying,' briefly stating suffering and delusion. If various difficulties are already like this, how much more endless are the principles and metaphors for various evil karmas! Gui (闚) is also written as kui (窺), meaning a small glance. Looking secretly at one another is called kui in southern Chu.

6.39

Sūtra: 'This decayed, old house [...] its flames blazed up together.'

6.40

The Commentary says: The following ten and a half verses specifically explain the reasons why insects and ghosts riotously and chaotically arose. There are three parts: the first two verses explain that when the master is present there are no disasters, and when the master is absent disasters arise; the next verse explains that on account of fire burning and sweeping through, the house collapsed; the following seven and a half verses pertain to this chaotic dispersal and the agitation of insects and ghosts. This is the first text. Shu (屬) is pronounced zhi-yu reverse, meaning 'owing to' or 'dependent upon.' The intention is to say that when a bodhisattva is in the causal stage in the house, and after having attained buddhahood remains in the world to benefit beings, the disasters and tribulations of saṃsāric afflictions then cease. When the Buddha enters nirvāṇa and bodhisattvas vanish, the benefits to beings cease, and the disasters and tribulations of saṃsāric afflictions consequently arise. It is also because when the master is in the house, strictly managing, repairing, and encouraging his children, disasters and tribulations do not arise; if the master leaves home and no one repairs it, since there is no encouragement, the children become dissolute, disasters arise, and the house collapses. Therefore, in the house of the triple world, because the Buddha is present, disasters do not arise; because the Buddha is absent, disasters arise; hence it is said to 'belong to one person,' which is a metaphor for buddhas and bodhisattvas. It is not dependent on non-Buddhists, but solely dependent on the Buddha Dharma; therefore it says 'one person.' Again, shu (屬) is pronounced shi-zhu reverse, meaning 'subsumed under' or 'belonging to.' The triple world is entirely possessed by the Buddha; the Buddha is said to be the master, and all belongs to the Buddha. 'That person having recently departed': entering nirvāṇa and concealing himself, leaving the births of the triple world, is called 'having recently departed,' like a house lacking a master. 'Suddenly fire broke out' is a metaphor for the various afflictions destroying the bodily vessel, like fire damaging a house. It should be the character shu (屬). Arising without an apparent beginning is called 'suddenly fire broke out.' Arising everywhere encountered from birth to death is called 'on all four sides at once.' On account of this, immeasurable evil karma is generated, called 'its flames blazed up together.'

6.41

Sūtra: 'Beams, ridgepoles, rafters, and pillars [...] walls collapsed.'

6.42

The Commentary says: By fire sweeping and burning, the mansion collapsed. "Ridgepoles and beams" symbolize the aggregate of feeling. "Rafters" are the joints and bones, which are the aggregate of form. "Pillars" are the aggregate of karmic formations. "Crackling sounds" symbolize the suffering of birth. The character bao 爆 [crackling] is pronounced bo jiao fan; it denotes the deep ferocity of fire. Another reading is pu bo fan; the Shuowen says "to scorch", meaning to break apart and scatter upwards. The Yupian says: "Three readings: bu jiao, pu jiao, and po jiao; it means scorching, or heating." It is also written as the character bao 曝, meaning to burst forth furiously. Anciently written as 㿺 and 曝, the two forms are identical. "Shaking and cracking" symbolizes the suffering of old age. "Shaking" (zhen 震) has the sense of being startled and struck down; the suffering of old age upon the body is like being terrified and struck down by thunder, because it is extremely frightening. It is sometimes written as zhen 振. "Shattering and breaking" symbolizes the suffering of sickness, shattering and impairing bodily life, deteriorating and snapping robust vigor. "Collapsing and falling" symbolizes the suffering of death, because it destroys the lifespan. Birth, old age, sickness, and death, together with the pillars, collectively constitute the impermanence of the aggregate of karmic formations. Explaining the four characteristics after the three aggregates and before the aggregate of perception is meant to make clear that birth and so on pervade all five aggregates. "The walls and partitions collapsed and fell" symbolizes the inner and outer impermanence of the aggregate of perception. The impermanence of the four aggregates above—feeling, form, karmic formations, and perception—exists within the mansion of consciousness. The preceding text already explained the fire starting within the mansion; in summary, it says that the five aggregates possess birth, old age, sickness, and death, and that their impermanence and ruin are deeply to be loathed.

6.43

Question:

6.44

"The calamities in the mansion are all afflictions. Why are they sometimes spoken of as fire, and sometimes as insects and demons?"

6.45

Answer:

6.46

"Burning and oppressing the body and mind is compared to fire; ignorant harming and injuring is compared to insects and demons. Desiring to cause terror and deepen revulsion, various metaphors are used. Consciousness is what is relied upon, compared to the mansion; afflictions arise relying [upon it], hence compared to fire and insects. The four aggregates are all that which relies [upon it], hence it is said that they collapse and fall on account of the fire, without saying that the insects and demons also wander relying on the fire."

6.47

The sūtra [states]: "All the demons and spirits, / [wailing and screaming loudly; / the poisonous insects and ferocious beasts, / wanting to escape through the holes, / but hindered by fire, / could not get out of it.]"

6.48

The Commentary says: The seven and a half verses below pertain to this chaotic bustling of insects and demons. There are three [parts]: one and a half verses symbolize the calamities of the desire realm; three and a half verses symbolize the calamities of the form realm; two and a half verses symbolize the calamities of the formless realm. This is the first [part]. "All the demons and spirits" symbolizes the non-Buddhist renunciants and householders of the desire realm. "Oppressed by manifold sufferings, / they accordingly wailed and screamed loudly, and so on": "and so on" includes the insects and beasts. Therefore the Daśabhūmika-śāstra states: "Non-Buddhists know birth, old age, sickness, and death; giving rise to revulsion, they wail and scream loudly." Here it applies equally to householders. Furthermore, householders give rise to disputes of greed and the like, while non-Buddhists give rise to disputes over various views. "Wailing and screaming loudly" is the general statement. Due to giving rise to dull afflictions such as greed, [they are] like condors and vultures; due to giving rise to sharp and swift afflictions such as views, [they are] like kumbhāṇḍas and the like. These are the specific statements. Although oppressed by suffering, they wail and scream loudly: householders give rise to distress through delusion and attachment; non-Buddhist renunciants seek to abandon suffering through suffering. These are all called "in flustered terror, unable to get out on their own." "Zhouzhang" (周慞) means hurried, alarmed, and frightened. It is also written with the character zhang 章. Zhou 周 means to flow around; it is the condition of being restless with fear, circulating and pervading. The text below has huangbu 惶怖, so it should be zhouzhang 周章 [wandering in panic], because below it already uses zhouzhang for "running about frantically in despair." Here it should be zhang 慞, the essence of which is terror and panic. "Panic" (bu 怖) is being startled and frightened; hence, trembling with fear and dread. This is explained according to the initial "wailing and screaming loudly." If explained according to the latter, householders and non-Buddhists give rise to sharp and dull afflictions and constantly dispute; because of this, they are rushed in life-and-death and frantic from morning to night. How could they know to seek deliverance from the fire of delusions burning them and the poison of insects and demons harming them? Even if they wished to seek escape, there is no way they could attain it by themselves.

6.49

The sūtra [states]: "Ferocious beasts and poisonous insects / [scurrying into holes, / the kumbhāṇḍa demons / also dwelling within them.]"

6.50

The Commentary says: The three and a half verses below symbolize the calamities of the form realm. There are three [parts]: one verse symbolizes householders and non-Buddhists both being born in that realm; one verse symbolizes that although they possess pure absorption that subdues afflictions, afflictions arise again; one and a half verses symbolize that although they seek detachment from desires, holding that state to be superior, afflictions are born anew. This is the first. The concentrations of the form realm are deep, like holes. Householders born there are like insects scurrying into them. When non-Buddhists are born there as demons, it is therefore said, "also dwelling within." The character cuan 竄 is pronounced qi luan fan, meaning to flee. The Yupian says: "To hide; to conceal."

6.51

The sūtra [states]: "Because of scant merit and virtue, / [oppressed by the fire, / they tore at each other, / drinking blood and eating flesh.]"

6.52

The Commentary says: This symbolizes that although they have pure absorption that subdues afflictions, afflictions arise again. The noble ones have pure absorption and afflictions do not arise; although those [worldly beings] possess pure absorption, they lack true merit and wisdom, which is termed "scant merit and virtue." Being further burned by afflictions such as greed, delusion, pride, doubt, personality view, and extreme views, is called being "oppressed by the fire." Unable to eradicate these afflictions, they still give rise to clinging to views, disparaging and refuting each other, which is called "tearing at each other." Clinging to their own superior path is like drinking blood, because cognitive objects of views are subtle. Giving rise to rigid attachment to attachment to precepts and practices is like eating flesh, because external matters are coarse. The character dan 噉 [eating] is pronounced tu gan fan, meaning to eat. It is sometimes written as dan 啖, pronounced tun gan fan.

6.53

The sūtra [states]: "The jackal species / [were all already dead; / the large, ferocious beasts / vied to come and feed on them. / Smoke billowed, / dense and suffocating, / choking and filling [the space] on all four sides.]"

6.54

The Commentary says: Although seeking detachment from desires and grasping that state as superior, afflictions arise again. "Jackals" are doubts of the desire realm. "The species" are the remaining afflictions. "Were all already dead" means they had previously been subdued and severed. Due to grasping absorption as superior, they give rise to various afflictions within the form realm, such as attachment, views, pride, and doubt, which are called "large, ferocious beasts." These mutually increase, like vying to come and devour. Once the fire of delusions blazes, its burning and scorching becomes ever wider; the afflictions arising on account of absorption are repulsive, like foul-smelling smoke. When the foul-smelling smoke is thick and dense, it is called pengbo 𤑫𤊹. The character peng 𤑫 is pronounced bo hong fan. There are only the two characters pengtuan 蓬𦮔, denoting a vapor as tangled as tumbleweed. It should be the character peng 蓬. Some texts have the character feng 熢. According to the Yupian, it is the feng of fenghuo 熢火 [beacon smoke], and does not have the sound peng. The character bo 𤊹 is pronounced pu mo fan, meaning great or rampant. If referring to rising dust, it is written as bo 𡋯. For the aroma of fire, it is written as bo 馞. Here, the foul vapor is fragrant/thick like tumbleweed, wildly entangled, or the foul vapor rises up rampantly like tumbleweed. Some texts have the character bo 㶿, the origin of which is unknown. Arising universally throughout the four absorptions, with nowhere free from it, is like "choking and filling [the space] on all four sides."

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妙法蓮華經玄贊 — Classical Chinese