大方廣佛華嚴經隨疏演義鈔 55.28

55.28

第五雙歎人法請。疏中有二：先敘意、後「文中」下釋文。前中先徵；後「示彼」下論釋。「豈可避之」，翻前多生疑惑。後「避之不說有多過」者，翻前於長夜中受諸衰惱，安能成就一切佛法。疏「書者是字相」等者，初舉論；後「以書記字」下，疏釋論。書即色法。字即是文，不相應行，故言「非正字體」。「言師子形者」，牒論解釋。然嘶字本從娑（上）字流出，即十二音中第四字。謂娑（上）、娑（平）、枲、嘶，蘇（上）、蘇（引三）、洗、鰓，蘇、騷、毿、索。今嘶字即第四字，梵語輕重今古小殊，大旨無異。若作十二梵字者，娑（上）、娑、枲、嘶，蘇（上）、蘇（引）、洗、鰓，蘇、騷、毿、索。疏「有云如呼師子」下，即《刊定記》釋「然噁字亦不似師子，又西方無此字。」疏「十四音」者，此下疏釋論，此譯帶古。然噁字合是第十四字。若準興善三藏譯《金剛頂瑜伽字母》云「一阿（上）、二阿（長）、三伊（上）、四伊（長）、五塢、六污、七𠴊𠴊（引去）、八力嚧（引）、九噎、十愛、十一污、十二奧（引）、十三暗、十四惡。」其里梨字，即《金剛頂》中𠴊𠴊力嚧字，各是二合，故成十四。其奧字云引者，更有三藏說十二字中，上六前短後長、下六前長後短，則奧字不合引，西方異同，故今具出。疏「謂有二字多字名」者，若一字名，不名為數。二字名三字名等，皆名為數。如色即一字名，末那即二字名，阿賴耶即三字名。言「必以多字成句」者，終無一字句故。說者語言義當色法，是則上書字數說，總是聲名句文共為教體。故此四事總攝一切能詮教法，皆用字母而為其本。疏「即迦佉等三十四字」者。若古三藏說，謂牙、齒、舌、喉、脣各有五音，及會音有九。牙音五者，即迦（上）、佉（上）、誐、伽（去引）、仰（鼻聲呼去）。齒音五者，左、蹉（上）、惹（才可）、酇（上）、孃（上）。舌音五者，謂吒（上）、咤（上）、拏（上）、荼（去）、拏（旎爽切，仍鼻聲呼）。喉音五者，多（上）、他、娜、馱、囊。脣音五者，謂跛、頗、麼、婆（去重）、莽（鼻聲呼之）。會音九者，野、囉、邏（上）、嚩（無可切）、捨、灑、娑（上）、賀、乞灑（二合）。已上三十四字足。若般若三藏云：前五句中，一句之內即有五音，如迦齒音，佉氣從喉出，誐字喉音，伽字胸藏音，仰字鼻音。其餘四句，準例皆然。疏「一一字中成十二字」者，謂將上阿（上）阿等十二字遍入三十四，如初迦字十二音，入便成迦（上）、迦、鷄（上）、鷄、俱、俱、計（上）、改、姑、哠、甘、伽（去）。入迦字既爾，入佉字等三十三字亦然。「復有二合三合乃至六合」者，如以囉字半體入迦字時，便成舸羅（二合）字，成十二字。言囉字半體者，囉字具足梵字者ra，此字是也。半體者[SD-D9D9]，此一半是也。若入迦字者，迦字梵書ka，此若入半體謂rka，此字是也。kra（即迦邏字）即云迦羅（二合，里下切，一）、柯羅（里迦切，二）、吉里（三）、吉梨（四）、吉魯（五）、姑盧（六）、吉禮（七）、吉犁（八）、古路（九）、吉澇（十）、吉濫（十一）、吉邏（來下切，十二）。若以迦佉字合娑字為遏塞迦，即三合字，成十二字。梵字樣若此ska。言四合者，遏悉怛邏。五合者，遏悉怛梨（上）也。言六合者，謂遏讖（上）彌（上）雉持也。但至六合，字已無邊。如一字王但有二合云部林，有三合云唵部林。此等諸義，故非正要，經有論有，故須略知耳。疏「梵天之書」者，謂大梵天王劫初時，作此書字以教眾生。「不同此方篆隷隨時」者，古書隨時有多名目，史籀為大篆，李斯為小篆，蔡邕為八分，程邈為隷書等，皆隨時有別。

Fifth, requesting by doubly praising both person and Dharma. In the commentary there are two parts: first, stating the purport; second, from 'in the text' onward, explaining the text. In the first part, there is first an interrogation, and second, from 'showing them' onward, the treatise's explanation. 'How could one avoid it?' overturns the previous generation of many doubts and perplexities. Next, 'avoiding it and not explaining it entails many faults' overturns the previous enduring of all decline and affliction throughout the long night; how could one accomplish all Buddha-dharmas? As for the commentary's 'writing is the characteristics of letters' and so forth: first it cites the treatise; next, from 'using writing to record letters' onward, the commentary explains the treatise. Writing is a material phenomenon (rūpa-dharma). Letters are syllables (vyañjana), non-associated formations (cittaviprayukta-saṃskāra); therefore it says, 'it is not the principal substance of letters.' Regarding 'the shape of a lion,' it adduces the treatise and explains it. Now, the syllable sī originally issues forth from the syllable sa (rising tone), which is the fourth syllable among the twelve vowels. Namely, sa (rising), sa (level), si, sī; su (rising), sū (prolonged, third), se, sai; so, sau, saṃ, saḥ. Now the syllable sī is the fourth syllable; in Sanskrit, lightness and heaviness differ slightly between ancient and modern times, but the general purport does not differ. If rendered as the twelve Sanskrit letters: sa (rising), sa, si, sī; su (rising), sū (prolonged), se, sai; so, sau, saṃ, saḥ. In the commentary, from 'some say it is like calling a lion' onward, it is the explanation in the Kanding ji: 'However, the syllable aḥ does not resemble a lion either, and moreover there is no such letter in the Western Regions.' As for the commentary's 'fourteen vowels': below this the commentary explains the treatise; this translation carries ancient [terminology]. However, the syllable aḥ ought to be the fourteenth syllable. According to the translation by Tripiṭaka Master [Amoghavajra] of Xingshan of the Vajraśekhara Yoga Alphabet, it says: 'First, a (rising); second, ā (long); third, i (rising); fourth, ī (long); fifth, u; sixth, ū; seventh, ṛ (prolonged, departing); eighth, ṝ (prolonged); ninth, e; tenth, ai; eleventh, o; twelfth, au (prolonged); thirteenth, aṃ; fourteenth, aḥ.' The letters ṛ and ṝ are the letters ṛ and ṝ in the Vajraśekhara; each being a conjunct, they thus make fourteen. As for the letter au being said to be prolonged: there is another Tripiṭaka master who says that among the twelve letters, the upper six are short in front and long behind, while the lower six are long in front and short behind; thus the letter au should not be prolonged. As there are differences and agreements in the Western Regions, they are now set forth in full. As for the commentary's 'meaning names of two syllables and multiple syllables': a single-syllable name is not called a count (number). Names of two syllables, names of three syllables, and so forth, are all called counts. For example, 'rūpa' is a single-syllable name, 'manas' is a two-syllable name, and 'ālaya' is a three-syllable name. Regarding 'necessarily using multiple syllables to form a phrase (pada)': this is because there is ultimately no single-syllable phrase. 'Speech' refers to spoken language, whose meaning corresponds to material form. Thus, the aforementioned writing, syllables, counts, and speech together—sound, name, phrase, and syllable—collectively constitute the substance of the teaching. Therefore, these four matters collectively subsume all expressive teachings, all taking the alphabet as their root. As for the commentary's 'namely the thirty-four letters beginning with ka and kha': according to an ancient Tripiṭaka master, the velars, palatals, retroflexes, dentals, and labials each have five sounds, and there are nine conjunct sounds. The five velar sounds are ka (rising), kha (rising), ga, gha (departing, prolonged), and ṅa (pronounced with nasal sound, departing). The five palatal sounds are ca, cha (rising), ja (cai-ke), jha (rising), and ña (rising). The five retroflex sounds are ṭa (rising), ṭha (rising), ḍa (rising), ḍha (departing), and ṇa (cut as ni-shuang, still pronounced with nasal sound). The five dental sounds are ta (rising), tha, da, dha, and na. The five labial sounds are pa, pha, ba, bha (departing, heavy), and ma (pronounced with nasal sound). The nine conjunct sounds are ya, ra, la (rising), va (cut as wu-ke), śa, ṣa, sa (rising), ha, and kṣa (conjunct of two). The above thirty-four letters are complete. If according to Tripiṭaka Master Prajña: within the former five classes, within a single class there are five sounds; for instance, ka is a palatal sound, the breath for kha issues from the throat, the letter ga is a guttural sound, the letter gha is a chest sound, and the letter ṅa is a nasal sound. The remaining four classes follow the same rule by analogy. As for the commentary's 'each single letter forms twelve letters': this means taking the above twelve letters, a (rising), ā, and so forth, and entering them everywhere into the thirty-four. For example, when the twelve vowels enter the initial letter ka, it forms ka (rising), kā, ki (rising), kī, ku, kū, ke (rising), kai, ko, kau, kaṃ, kaḥ (departing). Just as it enters the letter ka, entering the thirty-three letters such as kha is likewise so. Regarding 'there are further conjuncts of two, conjuncts of three, up to conjuncts of six': for example, when entering half the form of the letter ra into the letter ka, it then forms the conjunct letter kra, forming twelve letters. By 'half the form of the letter ra': the letter ra in complete Sanskrit script is 'ra'—this is the letter. The half form is […], this half of it. If it enters the letter ka: the Sanskrit writing of the letter ka is 'ka'; if it enters into half of it, it is called 'rka'—this is the letter. kra (that is, the syllable ka-la) is: kra (conjunct of two, cut as li-xia; 1), krā (cut as li-jia; 2), kri (3), krī (4), kru (5), krū (6), kre (7), krai (8), kro (9), krau (10), kraṃ (11), kraḥ (cut as lai-xia; 12). If one combines the letters ka and kha with the letter sa to make aska, it is a conjunct of three, forming twelve letters. The Sanskrit glyph is like this: ska. A conjunct of four is astra. A conjunct of five is astrī (rising). A conjunct of six is akṣmyjhe. Once reaching six conjuncts, the letters are already boundless. For instance, the Single-Syllable Wheel-Turning King has a conjunct of two called bhrūṃ, and has a conjunct of three called oṃ bhrūṃ. Meanings such as these are not essential; but since they exist in the sūtras and exist in the treatises, one must briefly know them. As for the commentary's 'writing of the god Brahmā': it means that the Great Brahmā King at the beginning of the kalpa created these written letters to instruct sentient beings. As for 'unlike the seal and clerical scripts of this land, which changed with the times': ancient writings in this land had many names according to the times: Shi Zhou created the Great Seal script, Li Si created the Small Seal script, Cai Yong created the bafen script, Cheng Miao created the clerical script, and so forth, all having differences according to the times.