大方廣佛華嚴經隨疏演義鈔 51.24

51.24

疏「今初以法師」下，辯其圓音。文分為五：一標數、二會他經、三隨難釋、四以義通攝、五別釋音聲。疏「即密跡」下，第二會他經。於中有四：一會同異、二會有無、三會通教旨、四會他經意。然《密跡經》即《大寶積經》中金剛力士會第三之三卷，當第十。爾時寂意菩薩復問金剛力士：「如來有幾事祕要？」答：「有三種，一曰身密、二曰意密、三曰口密。」口中說六十種音廣讚如來無思無想無言之言竟，即云「如來從口敷演，如一言詞出六十品，各異音聲。何謂六十？」釋曰：然經直列，今加次第。一吉祥音、二柔軟音、三可愛樂音、四悅意清淨音、五離垢音、六顯曜音、七微妙音、八明德音、九無亂音、十無憒音、十一師父音、十二無剛硬音、十三無麁獷音、十四善順音、十五安重音、十六身所吉利音、十七隨心隨時音、十八如如悅意音、十九天愛安想音、二十無熱惱音、二十一方正音、二十二識達音、二十三親近音、二十四意好音、二十五歡悅音、二十六和雅音、二十七曉了音、二十八精勤音、二十九和忍音、三十重了音、三十一其響去穢音、三十二應師子音、三十三龍嗚音、三十四好雨音、三十五海雷龍王音、三十六真陀羅伎音、三十七哀鸞音、三十八鷹暢音、三十九鶴嗚音、四十耆域音、四十一英鳥音、四十二雷震音、四十三不卒音、四十四不暴音、四十五普入響音、四十六去非時音、四十七無乏音、四十八無怯音、四十九悅豫音、五十通暢音、五十一戒禁音、五十二甘美音、五十三進行音、五十四廣普音、五十五具足音、五十六諸根無班音、五十七不輕疾音、五十八無住音、五十九響聲普入眾會音、六十宣諸德音。密跡金剛力士謂寂意菩薩言：「是為如來六十梵音。其如來音，普遍十方諸佛世界，悅可一切眾生心行。」釋曰：已具列六十，今經但四十五，缺於十五，次下當明。然《密跡經》但列不釋，《莊嚴論》第六亦引彼經而兼有釋。論偈云「菩薩自成就，如前義應知。聲有六十種，是說如來事。」長行釋云「如來有六十種不可思議音聲，如佛祕密經中說。寂靜慧如來具足六十種聲語，所謂潤澤、柔軟、可意、意樂、清淨，如是廣說（上是論釋引經，下釋云）。此中潤澤聲者，眾生善根能攝持故。柔軟聲者，現前聞法得樂觸故。可意聲者，由善義故。意樂聲者，由善字故。清淨聲者，無上出世後得故。無垢聲者，諸惑習氣不相應故。明亮聲者，字句易解故。善力聲者，具足功德，破諸外道惡邪見故。樂聞聲者，信順出離故。不絕聲者，一切外道無能斷故。調伏聲者，貪等煩惱能對治故。無刺聲者，制戒樂方便故。不澁聲者，令犯戒人得正念故。善調聲者，教化教授故。悅耳聲者，亂心對治故。身倚聲者，能引三摩提故。心了聲者，能引毘鉢舍那故。心喜聲者，善斷疑故。喜樂聲者，決定拔邪故。無熱惱聲者，信受不悔故。能持智聲者，成就聞因智依止故。能持解聲者，成就思因智依止故。不隱覆聲者，不惱而說故。可愛聲者，令得自利果故。渴仰聲者，已得果人深願樂故。教勅聲者，不思議法正說故。令解聲者，思議法正說故。相應聲者，不違聽故。有益聲者，如其所應教示導故。離重聲者，不虛說故。師子聲者，怖外道故。象王聲者，振大故。雷聲者，深遠故。龍聲者，令信受故。緊那羅聲者，歌音美妙故。迦陵頻伽聲者，韻清亮故。梵聲者，出遠去故。命命鳥聲者，初得吉祥，一切事成故。天王聲者，無敢違故。天鼓聲者，破魔邪故。離慢聲者，讚毀不高下故。入一切聲者，入毘伽羅論一切種相故。離不正聲者，憶不忘故。應時聲者，教化事一切時起故。無著聲者，不依利養故。不怖聲者，離慚羞故。歡喜聲者，聞無厭故。隨捨聲者，一切明處善巧入故。善友聲者，一切眾生離成就故。常流聲者，相續不斷故。嚴飾聲者，種種顯現故。滿足聲者，一音無量聲說法故。眾生根喜聲者，一語無量義顯現故。不毀呰聲者，如所立義信順故。不增減聲者，應時量說故。不躁急聲者，不疾疾說故。遍一切說聲者，遠近諸眾同依止故。一切種成就聲者，世間法義皆譬喻令解故。」上依論牒釋，故缺其二，與彼經亦少不次。其佛祕密經即《密迹經》。疏「然彼無」下，第二會有無（此一），乃是名變。論釋亦有，此缺十五。疏中但列其九，餘更缺六，應添：一耆婆；二英鳥；三雷震震與海雷龍王別故，此亦喻，故更添；四師父；五親近；六明德。方為六十。疏「又此所明」下，第三會通教旨，可知。疏「法有所本」下，第四會他經意，兼欲盡其論釋。疏「中間」下，第三隨難別釋。疏「然六十種」下，第四以義通收。疏「通言」下，第五別釋音聲。

In the commentary, the passage from “Now, first, by taking the Dharma master…” onward clarifies his perfect voice. The text is divided into five parts: first, marking the number; second, harmonising with other sūtras; third, explaining according to difficulties; fourth, subsuming comprehensively by principle; fifth, separately explaining the voice and sound.

In the commentary, from “Namely, the Guhyaka…” onward is the second part, harmonising with other sūtras. Therein are four sub-sections: first, harmonising agreements and differences; second, harmonising presence and absence; third, harmonising and integrating the doctrinal purports; fourth, harmonising the intention of the other sūtras.

Now, the Guhyakasūtra is the Assembly of the Vajradhara, fascicles three through three, corresponding to the tenth fascicle of the Mahāratnakūṭa-sūtra. At that time, the Bodhisattva Śāntamati again asked the Vajradhara: “How many kinds of secrets does the Tathāgata possess?” He answered: “There are three kinds: first, the bodily secret; second, the mental secret; third, the vocal secret.” After speaking of the sixty kinds of sounds within the vocal secret and extensively praising the Tathāgata's speech of non-thought, non-concept, and wordlessness, he then says: “As the Tathāgata expounds from his mouth, as from a single utterance sixty categories emerge, each with a distinct sound. What are the sixty?”

Explanation: The sūtra merely lists them; here their sequence is added: (1) auspicious sound, (2) soft and pliable sound, (3) lovely and delightful sound, (4) pleasing and pure sound, (5) free-from-defilement sound, (6) radiant and illuminating sound, (7) subtle and wondrous sound, (8) clear and virtuous sound, (9) undistracted sound, (10) unconfused sound, (11) lion-father sound, (12) non-rigid sound, (13) non-harsh sound, (14) well-compliant sound, (15) secure and grave sound, (16) bodily-beneficial sound, (17) following the mind and timely sound, (18) such-like pleasing sound, (19) heaven-cherished peaceful-thought sound, (20) free-from-fever sound, (21) upright and correct sound, (22) discerning and penetrating sound, (23) intimately approaching sound, (24) good-minded sound, (25) joyful and delighted sound, (26) harmonious and elegant sound, (27) clearly comprehending sound, (28) diligent and energetic sound, (29) harmonious and patient sound, (30) heavily illuminating sound, (31) echo-purging-defilement sound, (32) appropriate lion sound, (33) dragon-calling sound, (34) good-rain sound, (35) ocean-thunder dragon-king sound, (36) kinnara-music sound, (37) plaintive-luan sound, (38) eagle-soaring sound, (39) crane-calling sound, (40) Jīvaka sound, (41) heroic-bird sound, (42) thunder-clapping sound, (43) non-hasty sound, (44) non-violent sound, (45) universally entering reverberation sound, (46) dispelling unseasonal sound, (47) non-deficient sound, (48) non-timid sound, (49) joyful and pleased sound, (50) flowing and penetrating sound, (51) moral-restraint sound, (52) sweet-tasting sound, (53) progressive-practice sound, (54) broad and universal sound, (55) complete-endowment sound, (56) faculties-unimpaired sound, (57) not frivolous or hasty sound, (58) non-abiding sound, (59) reverberation universally entering the assemblies sound, (60) proclaiming-all-virtues sound.

The Guhyaka-Vajradhara said to the Bodhisattva Śāntamati: “These are the Tathāgata’s sixty Brahmā-sounds. The Tathāgata’s sounds universally permeate the Buddha-worlds of the ten directions, pleasing the mental dispositions of all sentient beings.”

Explanation: The sixty have already been listed in full; this sūtra has only forty-five, lacking fifteen, which will be clarified next below. However, the Guhyakasūtra merely lists them without explaining them; fascicle six of the Mahāyānasūtrālaṃkāra also cites that sūtra and provides an explanation as well. The treatise's verse says:

“The Bodhisattva’s personal attainment
Should be known according to the earlier meaning.
The sounds are of sixty kinds;
This expounds the affairs of the Tathāgata.”

The prose commentary explains: “The Tathāgata possesses sixty kinds of inconceivable voice and sound, as spoken in the Buddha-guhya-sūtra: ‘Śāntamati, the Tathāgata is fully endowed with sixty kinds of voice and speech: namely, moist and lubricating, soft and pliable, agreeable, delight-producing, pure, and so on, extensively expounded.’” (The above is the treatise’s commentary citing the sūtra; below it explains:) “Herein, ‘moist and lubricating sound’ is because it can gather and sustain the wholesome roots of sentient beings. ‘Soft and pliable sound’ is because upon hearing the Dharma directly present, one attains pleasant contact. ‘Agreeable sound’ is due to good meaning. ‘Delight-producing sound’ is due to good letters. ‘Pure sound’ is due to being subsequent to the supreme supramundane attainment. ‘Free-from-defilement sound’ is because it is unassociated with the afflictions and latencies. ‘Luminous and bright sound’ is because words and sentences are easy to understand. ‘Good-power sound’ is because it is fully endowed with merit and shatters the evil, wrong views of all non-Buddhists. ‘Delightful-to-hear sound’ is because it leads to faithful compliance with emancipation. ‘Non-ceasing sound’ is because none among all non-Buddhists can interrupt it. ‘Taming-and-subduing sound’ is because it can counteract the afflictions such as greed. ‘Thornless sound’ is because it provides comfortable upāyas for formulating precepts. ‘Non-astringent sound’ is because it causes precept-breakers to attain correct mindfulness. ‘Well-attuned sound’ is because of instruction and guidance. ‘Pleasing-to-the-ear sound’ is because it counteracts distracted minds. ‘Body-leaning sound’ is because it can induce samādhi. ‘Mind-understanding sound’ is because it can induce vipaśyanā. ‘Mind-gladdening sound’ is because it skillfully cuts off doubts. ‘Joyful and happy sound’ is because it decisively uproots what is wrong. ‘Free-from-fever sound’ is because one receives it with faith without regret. ‘Capable of holding wisdom sound’ is because it forms the support for wisdom based on hearing. ‘Capable of holding understanding sound’ is because it forms the support for wisdom based on reflection. ‘Non-concealing sound’ is because it is expounded without vexation. ‘Lovely sound’ is because it causes one to attain the fruit of self-benefit. ‘Thirstily yearning sound’ is because those who have already attained the fruit deeply wish for and delight in it. ‘Command-and-admonition sound’ is because it correctly expounds the inconceivable Dharma. ‘Causing-understanding sound’ is because it correctly expounds conceivable Dharma. ‘Harmonious and concordant sound’ is because it does not contradict what is heard. ‘Beneficial sound’ is because it teaches and guides according to what is appropriate. ‘Free-from-heaviness sound’ is because it is not spoken in vain. ‘Lion sound’ is because it terrifies non-Buddhists. ‘Elephant-king sound’ is because its shaking is great. ‘Thunder sound’ is because it is deep and far-reaching. ‘Dragon sound’ is because it causes one to faithfully accept it. ‘Kinnara sound’ is because the melody of its song is exquisite and wondrous. ‘Kalaviṅka sound’ is because its melody is clear and ringing. ‘Brahmā sound’ is because it goes forth into the distance. ‘Jīvañjīvaka-bird sound’ is because it first brings auspiciousness and all undertakings succeed. ‘Heavenly-king sound’ is because none dare transgress it. ‘Heavenly-drum sound’ is because it shatters demons and errant paths. ‘Free-from-arrogance sound’ is because praise and censure do not raise or lower it. ‘Entering-all-sounds sound’ is because it enters all specific characteristics of the Vyākaraṇa treatises. ‘Free-from-improper-sound sound’ is because it remembers without forgetting. ‘Timely sound’ is because activities of conversion arise at all times. ‘Non-attachment sound’ is because it does not rely on material gain or offerings. ‘Fearless sound’ is because it is free from shame. ‘Joyful sound’ is because hearing it never brings satiation. ‘Abandonment-concordant sound’ is because it skillfully enters all sciences. ‘Good-friend sound’ is because of emancipation and accomplishment for all sentient beings. ‘Constant-flowing sound’ is because it is continuously unbroken. ‘Adorning sound’ is because it makes various manifestations appear. ‘Fulfilling sound’ is because with one voice it expounds the Dharma in immeasurable sounds. ‘Sound-gladdening-sentient-beings’-faculties’ is because in one word immeasurable meanings are revealed. ‘Non-disparaging sound’ is because it faithfully complies with the established meaning. ‘Neither-increasing-nor-decreasing sound’ is because it speaks in accordance with the proper time and measure. ‘Non-impetuous sound’ is because it does not speak hastily. ‘Universally-speaking-to-all sound’ is because assemblies far and near equally rely on it. ‘Accomplished-in-all-ways sound’ is because through similes it causes understanding of both worldly and Dharma meanings.”

The above explanation tracks and glosses the treatise, and therefore it lacks two, and also slightly diverges in sequence from that sūtra. The Buddha-guhya-sūtra is precisely the Guhyakasūtra.

In the commentary, from “However, that text lacks…” onward is the second sub-section: harmonising presence and absence (this is one matter); it is merely a change of names. The treatise's commentary also contains them, but here fifteen are missing. The commentary only lists nine of them; the remaining six that are still lacking should be added: (1) Jīva; (2) heroic-bird; (3) thunder-clapping—because clapping is distinct from ocean-thunder dragon-king, and this is also a metaphor, hence it is further added; (4) lion-father; (5) intimately approaching; (6) clear and virtuous. Only then does it make sixty.

In the commentary, from “Furthermore, what is clarified here…” onward is the third sub-section: harmonising and integrating the doctrinal purports, which is understandable.

In the commentary, from “The Dharma has its source…” onward is the fourth sub-section: harmonising the intention of the other sūtras, and additionally intending to exhaust the explanations of that treatise.

In the commentary, from “In the middle…” onward is the third part: separately explaining according to difficulties.

In the commentary, from “However, the sixty kinds…” onward is the fourth part: subsuming comprehensively by principle.

In the commentary, from “Universally speaking…” onward is the fifth part: separately explaining the voice and sound.