大方廣佛華嚴經疏 46.35

46.35

第八如影忍。文分四別：一標、二釋、三結、四果。釋中有三，謂法、喻、合。今初法中有十一對，分三：初七對，雙遮顯性以成止行，如影無實故；二「非修」下二對，雙照性相以成觀行，如影雖虛而現故。性則非修、相乃不捨，真即俗故非實、俗即真故非不實。三「雖常」下二對，遮照無礙，成雙運自在行。初對雙照真俗，即權實雙行；後對雙遮真俗，即權實雙寂。遮照一時為雙運，互奪無礙為自在。以此結上二段同斯無礙，為忍相之深玄。二「譬如」下喻中，文具五法：一日等為所依本質、二「於油」下明能現之處，上二是緣；三「而現其影」下明緣之所起、四「影與油」下明有之非有、五「然諸」下愚小謂有。今初，若約影喻別喻菩薩現身，則日等喻悲智願等；若約影喻通喻一切法，則日等喻因。其河泉二種，雖通能現，且為所現，長河飛泉入鏡中故。二能現中亦有通別，別喻機感及應現處，通喻於緣，謂無明等。然此文具《攝論》三喻。一以油水對上日月為水月喻，喻於定地所引境界，以水有潤滑澄清性故。鏡等影像闕此潤等，喻非定地。二以於身對上日月為光影喻，身映日等而有影故，弄影多端故喻於諸識。三以寶鏡等對上男子等為影像喻，喻非定地果報，以鏡中影像離於本質別現鏡等之中故，喻於果與因處別。前映質之影，雖因日等影乃隨身，不於日內而現，故喻諸識雖託境生，異自在我，非在於境。三明所起中，亦有通別二果可知。四明有非有中攝多義門，於中一異合離通顯影義，各有四句，如幻喻辨。然一異約此影彼影，合離約影對水等。次「於川流」下別顯影義，不通二影。如月映淮流，流水不將月去；光臨潭上，萬仞不見光沈。喻菩薩同世遷流，不漂生死；證真寂滅，不沈涅槃。後「雖現」下雙結有無，喻性相交徹兼於鏡像。五取為有中，由以有無為有無，不知即影了不可取，故成執著。於中，先取有無為著；後「遠物」下舉影正義，顯上為執，不知此影無遠近故。第三「菩薩」下合，中二：先正合前文。於中，初舉智境合前本質、次「而於」下合前油等、後「各各」下合前現影。二「如種子」下轉以喻合非有之有。於中，先喻、後合。有無無礙，名為方便等。第三結名，可知。第四果，中三：初得稱性之身，如影不往而至、不分而遍故。次「然此」下結成無礙。以無差是差之無差故，雖不往而遍，令物見殊；差是無差之差故，雖遍而不在彼此。後「此菩薩」下顯此身因。其無邊身，近局果中，亦通前法。

Eighth is the patience [viewing dharmas as] like a shadow. The text is divided into four distinct parts: 1. indication, 2. explanation, 3. conclusion, 4. fruit. In the explanation there are three parts: the dharma, the simile, and the match. In the first part, the dharma, there are eleven pairs, divided into three: First, seven pairs mutually negate to reveal the nature so as to accomplish the practice of cessation, because like a shadow it lacks reality. Second, from 'not cultivated...' onward, two pairs mutually illumine both nature and marks so as to accomplish the practice of contemplation, because although a shadow is empty, it manifests. The nature is uncultivated, while marks are not abandoned; because the true is the conventional, it is not real; because the conventional is the true, it is not unreal. Third, from 'Although constantly...' onward, two pairs feature unobstructed negation and illumination, accomplishing the sovereign practice of dual operation. The first pair mutually illumines the true and conventional, which is the dual practice of the provisional and the real; the latter pair mutually negates the true and conventional, which is the dual quiescence of the provisional and the real. Negation and illumination occurring simultaneously is dual operation; mutual elimination without obstruction is sovereignty. By concluding the preceding two sections as sharing this non-obstruction, it constitutes the profound subtlety of the marks of patience. Second, in the simile from 'Just as...' onward, the text contains five dharmas: 1. the sun and so forth as the underlying original object; 2. from 'in oil...' onward, clarifying the places capable of reflecting—the above two are conditions; 3. from 'and manifests its shadow' onward, clarifying that which is produced by conditions; 4. from 'The shadow and the oil...' onward, clarifying the non-existence of existence; 5. from 'Yet all...' onward, fools grasping it as existent. Now, in the first: if we take the simile of a shadow specifically to illustrate the bodhisattva's manifested body, then the sun and so forth illustrate compassion, wisdom, vows, and so forth; if we take the simile of a shadow generally to illustrate all dharmas, then the sun and so forth illustrate causes. As for rivers and springs, although they both can reflect, they are provisionally taken as what is reflected, because a long river or cascading spring enters into a mirror. In the second, 'the places capable of reflecting', there are also general and specific senses: specifically, it illustrates the resonance of capacities and the places of responsive manifestation; generally, it illustrates conditions, namely ignorance and so forth. Now, this text contains the three similes of the *Mahāyānasaṃgraha*: 1. Pairing oil and water with the sun and moon above forms the simile of the moon in water, illustrating the realm brought forth in the stage of concentration (samādhi), because water has a moist, smooth, and clear nature. The images in mirrors and so forth lack this moisture and so forth, illustrating what is not the stage of concentration. 2. Pairing the body with the sun and moon above forms the simile of light and shadow: because the body reflects the sun and so forth, a shadow exists, and because it plays with shadows in many ways, it illustrates the consciousnesses. 3. Pairing precious mirrors and so forth with men and so forth forms the simile of reflected images, illustrating retribution outside the stage of concentration, because the reflected image in a mirror appears separately in the mirror apart from the original object, illustrating the difference in location between fruit and cause. In the preceding shadow reflecting the object, although caused by the sun and so forth, the shadow follows the body and does not appear within the sun; hence it illustrates that although the consciousnesses arise relying on sense-objects, they are distinct from the sovereign self and do not reside in the objects. In the third, clarifying what is produced, there are also general and specific fruits, which can be known. In the fourth, clarifying existence that is non-existence, many gates of meaning are subsumed. In this, oneness and difference, combination and separation, generally reveal the meaning of a shadow, each having four propositions, as distinguished in the simile of the illusion. However, oneness and difference refer to this shadow and that shadow; combination and separation refer to the shadow in relation to the water and so forth. Next, from 'in a flowing river...' onward, it specifically reveals the meaning of a shadow, not applying to both shadows: just as the moon reflects on the Huai River and the flowing water does not carry the moon away, and light shines over a deep pool and does not sink ten thousand fathoms down. This illustrates that the bodhisattva moves along with the worldly flux without being carried away in saṃsāra, and realizes true cessation without sinking into nirvāṇa. Afterwards, from 'Although manifesting...' onward, it doubly concludes existence and non-existence, illustrating the mutual penetration of nature and marks, also encompassing the mirror image. In the fifth, grasping it as existent: because one takes existence and non-existence as existence and non-existence, failing to understand that the shadow is completely ungraspable, attachment is formed. Therein, first, grasping existence and non-existence constitutes attachment; next, from 'distant objects...' onward, adducing the correct meaning of a shadow reveals the above as attachment, for one does not know that this shadow has neither distance nor proximity. Third, the match from 'Bodhisattva...' onward has two parts: First, it directly matches the preceding text. Therein, first it adduces the sphere of wisdom to match the original object above; next, from 'and in...' onward, it matches the oil and so forth above; afterwards, from 'each...' onward, it matches the manifesting of the shadow above. Second, from 'Just as a seed...' onward, it employs a transferred simile to match the existence of non-existence. Therein, the simile comes first, followed by the match. The non-obstruction of existence and non-existence is called skillful means and so forth. The third part, concluding with the name, can be known. The fourth part, the fruit, has three aspects: First, attaining a body that accords with the nature, because like a shadow it arrives without going and pervades without dividing. Next, from 'However, this...' onward, it concludes with non-obstruction: because non-differentiation is the non-differentiation of differentiation, although it pervades without going, it causes beings to see differences; because differentiation is the differentiation of non-differentiation, although it pervades, it is neither here nor there. Afterwards, from 'This bodhisattva...' onward, it reveals the causes of this body. As for this boundless body, it strictly applies to the fruit, but also extends to the preceding dharma.