[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [大方廣佛華嚴經疏](https://indike.org/pramana/in.bauddha.taisho.1735) › 49.23 # 大方廣佛華嚴經疏 49.23 大方廣佛華嚴經疏 49.23 - **Language:** Classical Chinese ### [49.23](https://indike.org/pramana/in.bauddha.taisho.1735.49.23) 第三出現語業，長行有標、釋、結。釋中三：初就法略說、二約喻廣說、三以法通結。昔人亦以初十入於中十為百，後十通前十為千。此亦可通。今更一解：後結則容通結中十，中十則別喻初十，但小不次耳。今初圓音之義，略啟四門：一敘昔、二辨違、三會通、四正釋。前三非要，廣在別章，但正釋文自含眾妙。文有十音以顯無盡，各上句標、下句釋。一普遍者，即隨類音。然有二義：一約體廣，無聲不至，故云普遍無量音聲，斯則人天等異萬類齊聞，上云眾生隨類各得解。二者隨前一一之音皆能獨遍，如目連不究其邊。二隨樂欲音，謂趣舉一一類音，能隨樂欲說種種法。上經云「如來於一語言中演說無邊契經海」，又云「佛以一妙音，周聞十方國。眾音悉具足，法雨皆充遍。」通證前之二義。三隨根解音，謂即上說中隨說一法大小各聞，故云隨其信解。寶積云：「佛以一音演說法，眾生各各隨所解。」四隨時音，謂即上大小之法，令聞不聞皆自在故，云不失時。亦兼隨聞一法欣憂不同。寶積云：「或有恐畏或歡喜。」上四多約即體之用，是圓音義。後六多約即用之體，顯一音義。謂五外隨緣叩，我無生滅。六內集緣成，何有主宰。七甚深者，欲言其一則萬類殊應，欲言其異一體無生。又欲言其一，隨一音中能具多音故，上云「一切眾生語言法，一言演說盡無餘。」欲言其異，即上多音唯令聞一故，下喻云「譬如天鼓發種種聲，懈怠諸天唯聞無常覺悟之音」，故甚深也。八純稱法界。九橫入無斷。十豎歸一極。此十圓融一味，是如來圓音。是知或謂無聲隨叩發響，或謂唯一直聲無宮商等異，皆大地之一塵耳。第二「佛子菩薩」下約喻廣說，中三：初結前生後、次徵、後釋。今初，收上十聲，要不出三，約相則廣無量、約體則無主宰、約用則有顯示。今並雙非，以顯中道，謂莫窮其邊故非量、隨機隨時有聞不聞故非無量，多緣集故非有主、純一法界生故非無主，當體無生故無能示、巧顯義理故非無示。更以四句明體用無礙，謂一以用從體，由體無不在故，能令上十類皆遍一切，非唯遍聲，亦遍一切時處、眾生如來法界等。雖復於色等皆遍，恒不雜亂。若不等遍則音非圓，若由等遍失其音曲則圓非音。今不壞曲而等遍、不動遍而差韻，方成圓音。二以體從用，其一一音皆具含真性。三用即體故上十類聲皆不可得，唯第一義，永離所執故。法螺恒震、妙音常寂，名寂靜音。如空谷響有而即虛，若不即虛，非但失於一音，亦不得圓融自在。四體即用故寂而恒宣，若天鼓無心而應一切，長風隨竅萬吹不同。若不遍同，非但失於能圓，亦非真一。梵音隨緣自在，名為如來圓音妙音，非是心識思量境界。第二徵意云：前言無量等，今何雙非？第三舉喻廣釋，其大意云：性相無礙體用相即，故約法難顯寄喻以明，十喻即為十段。段各有三，謂喻、合、結。今第一劫盡唱聲喻，喻前第六無主。喻中言法爾者，《俱舍》第二云「生無色界有二種因：一因力，謂近習及數習故；二業力，謂上界後報，業果欲至故。若生色界則有三因，謂加法爾力，但器壞時法爾有聲故。」然四種音非是一時，初二火劫，將壞欲界及初禪時，三即水災，壞二禪時。四即風災，欲壞三禪時。四聲各別，故非無生。但從緣生，故非有主。合中，明佛欲壞生死世間，亦有四聲說五乘法。 > Third, regarding the manifestation of physical speech actions, the prose has an opening presentation, an explanation, and a conclusion. Within the explanation there are three parts: first, explaining briefly in terms of the Dharma; second, explaining extensively by means of analogies; third, concluding comprehensively in terms of the Dharma. Earlier commentators also multiplied the first ten into the middle ten to make one hundred, and connected the latter ten to the preceding ten to make one thousand; this is also tenable. Now I offer another interpretation: the final conclusion may indeed comprehensively conclude the middle ten, and the middle ten specifically illustrate by analogy the initial ten, only slightly out of sequence. Now, on the first, the meaning of the round voice, I briefly open four gates: 1. recounting earlier views; 2. distinguishing contradictions; 3. reconciling and harmonizing; 4. correct explanation. The first three are not essential and are treated at length in a separate chapter; only the correct explanation of the text naturally embraces all subtle wonders. The text has ten voices to reveal the inexhaustible, each with the upper clause presenting it and the lower clause explaining it. First, the 'pervasive' \[voice\] is the voice that conforms to each class \[of beings\]. However, it has two meanings: first, in terms of its vast essence, there is no sound it does not reach; thus it says 'the pervasive, immeasurable voice.' This means that beings as different as humans, devas, and the myriad classes all hear it simultaneously; as stated above, 'Sentient beings each attain understanding according to their kind.' Second, each and every preceding sound can individually pervade everywhere, just as Maudgalyāyana could not fathom its limits. Second, the 'voice conforming to inclinations and desires' means that whenever any class-specific sound is raised, it can teach various Dharmas in accordance with what they like and desire. The preceding sūtra says: 'Within a single spoken word, the Tathāgata expounds an ocean of boundless sūtras'; it also says: 'With a single wondrous voice the Buddha is heard throughout the lands of the ten directions. All sounds are fully present, and the rain of Dharma completely pervades.' Both passages testify to the two preceding meanings. Third, the 'voice conforming to capacity and understanding' means that within the aforementioned exposition, whenever a single Dharma is spoken, the great and the small each hear it \[according to their capacity\]; hence it says 'in accordance with their faith and understanding.' The Ratnakūṭa says: 'The Buddha expounds the Dharma with a single voice, and sentient beings each understand it according to their capacity.' Fourth, the 'timely voice' means that with respect to the aforementioned great and small Dharmas, because making them heard or not heard is entirely sovereign, it is said 'not missing the proper time.' It also encompasses their differences in joy or sorrow upon hearing a single Dharma. The Ratnakūṭa says: 'Some feel fear, while others feel joy.' The above four mostly refer to the function that is identical to essence, which is the meaning of the round voice. The latter six mostly refer to the essence that is identical to function, revealing the meaning of the single voice. That is, fifth: externally it responds to conditioning impacts, yet my \[voice\] is without arising or cessation. Sixth: internally it is formed by a gathering of conditions, so how could there be a controlling agent? Seventh, 'profound': if one wishes to say it is one, myriad classes respond differently; if one wishes to say it is diverse, its single essence is unarisen. Furthermore, if one wishes to say it is one, within any single sound multiple sounds can be fully contained; hence it was stated above, 'The linguistic dharmas of all sentient beings are completely expounded without remainder in a single word.' If one wishes to say it is diverse, that very plurality of sounds causes only one to be heard; hence the analogy below states, 'Just as the heavenly drum produces various sounds, yet the indolent devas hear only the voice of impermanence that awakens them'; therefore it is profound. Eighth, purely matching the dharmadhātu. Ninth, horizontally entering without interruption. Tenth, vertically returning to the single ultimate. These ten are perfectly interpenetrating and of one flavor; this is the round voice of the Tathāgata. Hence we know that whether people claim there is no sound and that resonance merely issues upon impact, or claim there is only a single straight sound without the distinctions of musical pitches, these are each merely a single speck of dust of the great earth. Second, from 'Disciples of the Buddha, the bodhisattvas...' downward, is the extensive explanation by means of analogies, which has three parts: first, concluding the preceding and introducing what follows; next, raising the question; last, the explanation. Now, as for the first: gathering the above ten sounds, they do not exceed three \[aspects\]: in terms of marks, they are immeasurably vast; in terms of essence, they lack a controlling agent; in terms of function, they provide revelation. Now both pairs of extremes are negated to reveal the middle way: because its boundaries cannot be fathomed, it is not finite; because according to capacity and time it is heard by some and not heard by others, it is not infinite; because many conditions gather, it is not something possessing a master; because it is born of the purely unitary dharmadhātu, it is not masterless; because its intrinsic essence is unarisen, there is nothing capable of revealing; because it skillfully reveals meanings and principles, it is not without revelation. Furthermore, using four propositions to clarify the non-obstruction of essence and function: first, taking function from essence: because essence is nowhere absent, it can cause the above ten classes to all pervade everything; not only do they pervade sounds, but they also pervade all times, places, sentient beings, Tathāgatas, the dharmadhātu, and so forth. Although it also pervades forms and so on, it is always free of confusion. If it did not pervade equally, the voice would not be round; if by pervading equally it lost its tonal melody, what is round would not be a voice. Now, without destroying the melody it pervades equally, and without stirring its pervasiveness its rhythms vary; only then does it constitute the round voice. Second, taking essence from function: each and every sound fully contains the true nature. Third, function is essence: hence the above ten classes of sounds are all ungraspable, being solely the ultimate truth (paramārtha-satya), perpetually free of what is grasped. The Dharma-conch ever resounds, yet the wondrous voice is ever tranquil; it is called the tranquil voice. Like an echo in an empty valley, it exists and is immediately empty; if it were not immediately empty, not only would the single voice be lost, but perfect interpenetration and sovereignty could not be attained. Fourth, essence is function: hence being tranquil it ever proclaims, just as the heavenly drum has no mind yet responds to all, or as a vast wind entering cavities produces myriad different blowings. If it did not pervade identically, not only would it lose the capacity to be round, it would also not be truly one. The Brahmā voice is sovereign according to conditions; it is called the round voice and wondrous voice of the Tathāgata, not a realm of mental conceptualization and reckoning. Second, the intent of raising the question is: previously it was said to be immeasurable and so forth, so why now negate both sides? Third, presenting analogies to explain extensively: the general import is that nature and marks are unobstructed and essence and function are mutually identical; thus, since it is difficult to clarify in terms of the Dharma, it relies on analogies to illuminate it. The ten analogies constitute ten sections. Each section has three parts: the analogy, the correlation, and the conclusion. Now, the first analogy of the sound proclaimed at the end of a kalpa illustrates the sixth \[voice\] above, 'lacking a controlling agent.' Regarding the term 'natural law' (dharmatā) in the analogy, the second fascicle of the Abhidharmakośa states: 'There are two causes for being born into the formless realm: first, the power of causes, namely through contiguous practice and repeated cultivation; second, the power of karma, namely the subsequent retribution of the higher realms, because the karmic fruit is about to arrive. If born into the form realm, there are three causes, with the addition of the power of natural law, because when the receptacle world is destroyed, by natural law there is a sound.' However, the four kinds of sounds do not occur at the same time: the first two pertain to the fire kalpa, when the desire realm and the first dhyāna are about to be destroyed; the third is the water disaster, when the second dhyāna is destroyed; the fourth is the wind disaster, when the third dhyāna is about to be destroyed. The four sounds are each distinct, so they are not unarisen. But because they arise from conditions, they do not possess a controlling agent. In the correlation, it clarifies that when the Buddha wishes to destroy the world of birth and death, there are also four sounds that preach the Dharmas of the five vehicles. > — English (machine translation) (machine translation) - [Previous: 49.22](https://indike.org/pramana/in.bauddha.taisho.1735.49.22) - [Next: 49.24](https://indike.org/pramana/in.bauddha.taisho.1735.49.24) - [Up: 49](https://indike.org/pramana/in.bauddha.taisho.1735.49) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1735~en-mt.49.23) — English, machine translation --- Source: [https://indike.org/pramana/in.bauddha.taisho.1735.49.23](https://indike.org/pramana/in.bauddha.taisho.1735.49.23) · Pramāṇa