大方廣佛華嚴經隨疏演義鈔 24.46

24.46

疏「一梵音故」者，唯取五天梵音，意在一故；二即此一梵音稱性故遍；三此一梵音中即具一切音。故疏釋云「事理融故」。一梵音是事，事為理融，故一具一切。四「多法雨」者，隨前一音，即說四諦、十二因緣、六波羅蜜、因果等法。五隨說一法具多文辭，如四諦品說四諦法，遍周法界主伴無盡。六隨前一音一法，各同一切眾生之音，如百道風各吹多竅，競發異響。前第三一音具多，是佛音自具。今一具多，是隨一音外同物類。七隨一類音各遍一切處，多類皆爾。八唯宣稱性，融差別故。九能令萬類皆得見聞上之性淨。十隨聞大小益皆究竟。言「文處可見」者，上之八義句各一義，唯第九義具於三句。十亦一句，故十二句而有十義。疏「言影像者顯無方所」者，此句標，下別釋之。離其影像以為二喻，影取光影喻，故云光東影西等。然光影喻自有二意：一以若身若樹等以喻物機，日月之光以喻佛智，所見之影喻佛色形。如瞿師羅之短質，佛智對之為三尺之影；無邊身之長質，佛智對之為窮上界而有餘之影。今不取此義。二質喻法身，無二相故。光喻機感，隨其東西所感異故。影喻色形，隨機感光而東西故。今取此義，云無方所。二以像一種為鏡像喻，故云質對像生。無從無去，即無方所。「故此影像」下，雙結二喻無方所言，意明空耳。疏「言如空者不可取等故」者，等於四義。謂此偈中五義如空：一不可取，無物可取，智覽無性故。二無生，非從無之有故。三無起作，非新成故。四應物現前，無有一物不對空故，隨器大小孔隙之異故。五平等，十方虛空皆不可量，三際虛空同一相故。如來五義者，一離相故、二真常故、三湛寂故，上三寂然不動；四即感而遂通、五體相用等。佛佛相望，平等無二。

Regarding the commentary's phrase “Because of the single Brahmā sound”: First, it refers only to the Brahmā sound of the Five Indias, the intention resting on oneness; second, because this single Brahmā sound accords with nature, it is all-pervasive; third, this single Brahmā sound already contains within it all sounds. Hence the commentary explains: “Because phenomena and principle are interfused.” The single Brahmā sound is a phenomenon; because phenomena are interfused with principle, the one contains the all. Fourth, regarding “many rains of Dharma”: In accordance with that single prior sound, it expounds phenomena such as the four truths, the twelve links of dependent origination, the six pāramitās, and cause and effect. Fifth, according as any single phenomenon is expounded, it is equipped with numerous phrases and words, just as the Chapter on the Four Truths expounds the four noble truths pervading the dharmadhātu, with principal and attendant beings without end. Sixth, in accordance with the single prior sound and single phenomenon, each conforms to the sounds of all sentient beings, just as a hundred currents of wind each blow through many orifices, competing in uttering distinct sounds. The third point above—that one sound contains many—means that the Buddha's sound inherently possesses them within itself. Here, that the one contains many means that, in accordance with the single sound, it outwardly assimilates to the types of sentient beings. Seventh, in accordance with each category of sound, each pervasively reaches all places, and so too for the many categories. Eighth, it solely proclaims in accordance with nature, because it interfuses distinctions. Ninth, it can cause the myriad categories [of beings] to see and hear the pure nature above. Tenth, in accordance with what is heard, whether of great or small [capacity], the benefit is in each case ultimate. As for the statement “This can be seen in the passages of the text”: each of the above eight meanings corresponds to a single line, and only the ninth meaning encompasses three lines. The tenth is also one line; hence, twelve lines contain ten meanings. Regarding the commentary's statement “The mention of shadows and images reveals freedom from spatial location”: This line introduces the topic, and the text below explains it separately. It distinguishes shadows and images into two metaphors. “Shadow” adopts the metaphor of light and shadow; hence it says that when light is in the east, the shadow is in the west, and so forth. Yet the metaphor of light and shadow itself contains two senses: First, either a body or a tree is used to metaphorise the capacities of sentient beings, the light of the sun and moon is used to metaphorise the Buddha's wisdom, and the perceived shadow is used to metaphorise the Buddha's physical form. Just as, in response to Ghoṣila's short stature, the Buddha's wisdom faces him as a three-foot shadow; whereas in response to Anantakāya's tall stature, the Buddha's wisdom faces him as a shadow that reaches the summit of the realms and still exceeds it. The present text does not adopt this sense. Second, the physical substance metaphorises the dharmakāya, because it lacks dual characteristics. The light metaphorises the responsive capacity of beings, because the responses differ according to east and west. The shadow metaphorises the physical form, because it moves east or west according to the response of beings to the light. The present text adopts this sense, stating that it has no spatial location. Second, the single entity of the image is used for the metaphor of a reflection in a mirror; hence it says that facing the physical substance, the reflection arises. Having nowhere from which it comes and nowhere to which it goes, it has no spatial location. Below “Therefore this shadow and reflection”, it concludes both metaphors with the words “having no spatial location”, the meaning intending to illuminate emptiness. Regarding the commentary's statement “The mention of ‘like space’ refers to its being unobtainable, etc.”: “Etc.” covers four meanings. That is, within this verse, five meanings are like space: First, unobtainability: there is no thing to be obtained, because wisdom observes it to lack intrinsic nature. Second, non-arising: because it does not come from non-existence into existence. Third, absence of initiation or creation: because it is not newly produced. Fourth, manifesting before things in response to them: because there is no single thing that is not situated within space, according with differences in the size of vessels and their apertures. Fifth, equality: the empty space of the ten directions is immeasurable in all cases, and the empty space of the three time periods shares a single characteristic. As for the five meanings of the Tathāgata: First, freedom from characteristics; second, true permanence; third, serene quiescence—these three are quiescent and unmoving; fourth, responding wherever there is an impulse; fifth, equality of essence, characteristic, and function. Viewed from one Buddha to another, they are equal and non-dual.