無量壽經義疏 2.2.3

2.2.3

When the mind of wisdom rests securely in phenomena, it is called 'forbearance' (kṣānti). Forbearance is differentiated into three according to its depth; next, their three names are listed. Comprehending through sounds and knowing that sound is like an echo is called 'the forbearance of the resonance of sounds' (ghoṣānugā kṣānti), which belongs to the third ground and below. Relinquishing designations and advancing toward reality is called 'the compliant forbearance' (anulomikī kṣānti), which belongs to the fourth, fifth, and sixth grounds. Realizing reality and transcending characteristics is called 'the forbearance of the non-arising of phenomena' (anutpattikadharmakṣānti), which belongs to the seventh ground and above. Below, it explains the reasons why sentient beings attain forbearance. 'All through the majestic spiritual power of Amitāyus' means that through the present mighty power of that Tathāgata, they attain the three forbearances. 'The power of the fundamental vow,' and so forth, means that through the power of his past fundamental vow, they attain the three forbearances. The fundamental vow is the general; the remaining four are the particulars. 'The fulfilled vow' means that the mind of the vow is complete. 'The lucid vow' means that the seeking mind is prominent. 'The steadfast vow' means that conditions cannot destroy it. 'The ultimate vow' means that it terminates in non-retrogression. Because of these vows, all who are born in that land attain the three forbearances. Previously, the trees were explained; next, the tree of the place of awakening (bodhimaṇḍa) is specifically explained. Below, comprehensively considering it, [the text] makes a comparison to show its superiority, particularly displaying the superiority of the sounds from within the tree. The text is clear and can be understood. The preceding explained the trees; second from here below, it explains its instrumental music. 'There is also natural instrumental music of ten thousand kinds' generally introduces it. 'Moreover, the sounds of that music are never other than the Dharma,' and so forth, displays the excellence of its sounds. 'In the worlds of the ten directions,' and so forth, indicates the superiority of its sounds, surpassing all sounds in the worlds of the ten directions. Third from here below, it explains matters such as its lecture halls and palaces. 'The lecture halls, vihāras, palaces, and pavilions are all formed of the seven treasures' explains their essential characteristics. 'Further, real pearls,' and so forth, explains their adornments. Fourth from here below, it explains the characteristics of the ponds. Therein, it first discerns the characteristics of the ponds, and afterward explains their emitting sounds. In discerning the characteristics of the ponds, the text specifically has four parts: First, it explains the dimensions. The ponds in that land are either ten yojanas, twenty or thirty, up to a hundred thousand yojanas in length and breadth. Second, it explains the characteristics of the water. It possesses the eight virtues: clear, not foul-smelling, light, cold, soft, delicious, refreshing when drunk, and harmless after drinking; these are the eight. Pure clarity belongs to the sense-sphere of form; not foul-smelling belongs to the sense-sphere of smell; soft, cold, and supple, these three belong to the sense-sphere of touch. Delicious belongs to the sense-sphere of taste. Refreshing when drunk and harmless after drinking, these two belong to the sense-sphere of mental phenomena. These eight are the functional potencies of the water, and are therefore called 'virtues' (potencies); they are the good qualities of the water, and are therefore called 'virtues' (qualities). In the text, it first says, 'The water of eight virtues is serene and brimming full,' generally bringing them forth. The word 'pure' is the clarity among the eight. The phrase 'fragrant and clean' is the fragrance among the eight. 'Tasting like amṛta' is the deliciousness among the eight. Third, 'yellow gold,' and so forth, explains the characteristics of the adornments of the various jewels. Fourth, 'the bodhisattvas and śrāvakas enter therein,' and so forth, indicates the characteristics of their unobstructed utility. Therein are five phrases: first, depths and shallows are unobstructed; second, cold and warmth are temperate; third, it refreshes the spirit and dispels defilements; fourth, it is pure without flaw or blemish; fifth, its swirling streams flow together with appropriate speed and slowness. The preceding explained the ponds; below, it explains the emission of sounds. Therein are four parts: First, it expounds immeasurable, natural, exquisite sounds, which directly explains the emission of sounds. Second, 'according to what is appropriate,' and so forth, means it skillfully responds to beings so that they hear various fruits. Therein is first the general, next the particular, and afterward the conclusion. Third, 'in accordance with pure detachment,' and so forth, explains the ability to give rise to wholesome roots. 'In accordance with the true meaning of pure detachment and tranquil extinction' accords with nirvāṇa. 'In accordance with the powers and fearlessnesses of the Three Jewels,' and so forth, accords with bodhi. These preceding ones accord with the fruit. 'In accordance with the superknowledges, wisdom, and the paths traversed by bodhisattvas and śrāvakas' accords with the cause. Fourth, 'there are no three lower realms,' and so forth, explains the ability to produce joy. 'There are no three lower realms,' and so forth, explains the absence of suffering. 'There is only natural,' and so forth, explains the presence of joy. 'Therefore,' and below, concludes with praise to show its superiority. The four sections above collectively constitute the third part, explaining its land. Fourth from here below, it discerns its people. Therein are four parts: First, it explains the exquisite direct retribution of those newly reborn from other directions; second, 'the palaces they dwell in,' and below, explains the excellence of their dependent retribution; third, 'those bodhisattvas,' and below, explains the exquisite direct retribution of the former residents; fourth, 'the clothing of those devas and humans,' and below, explains the excellence of their dependent retribution. In the first part, 'endowed with pure physical forms' explains the excellence of their bodies. 'All exquisite voices' explains the excellence of their speech. 'Spiritual superknowledges and virtues' explains the excellence of their minds. In the second section, 'the palaces they dwell in, their clothing, and such matters are like those of the Sixth Heaven' means the superiority of their requisites. 'If they wish to eat,' and so forth, means the superiority of their utility, discussed for now in terms of food. 'That Buddha's land is pure, tranquil,' and so forth, is a general praise to show its superiority. Next, [it is] secondary only to the unconditioned path of nirvāṇa. 'Nihuan' (泥洹) and 'niepan' (涅槃) are originally one name, but differ in phonetic transmission. In the third part on the excellence of the formerly resident sentient beings, 'those śrāvakas, bodhisattvas, devas, and humans possess lofty and bright wisdom, and thoroughly penetrating spiritual superknowledges' explains the superiority of their virtues. 'All of one,' and below, indicates the excellence of their bodies. Therein, it first says, 'They are all of one kind, without different features, but merely following [the conventions of] other directions are there the designations of devas and humans,' explaining that their bodies are equal. 'Their countenance is upright,' and below, explains the distinction of their bodies. 'Their countenance is upright, transcendent, and rare in the world' directly distinguishes their superiority based on their characteristics. 'The Buddha told [Ānanda],' and below, calculates and compares to reveal their superiority. In the comparison there are five levels: first, comparing a poor person to a petty king (millet-scattering king); second, comparing a petty king to a wheel-turning king (cakravartin); third, comparing a wheel-turning king to the king of the Trāyastriṃśa heaven; fourth, comparing the king of the Trāyastriṃśa heaven to the king of Paranirmitavaśavartin; fifth, comparing the king of the Paranirmitavaśavartin heaven to all the devas and humans of Amitāyus's land, who ultimately cannot be equaled. In the first comparison, the text specifically has three parts: First, the Buddha compares the poor person to the petty king, asking Ānanda in turn. Second, Ānanda responds properly. 'Even if this person were beside a sovereign king,' there is no comparison, a hundred thousand million times beyond calculation, directly explaining that the poor person does not equal the sovereign king. 'Why is this so?,' and below, explains the reason why that poor person falls short: it is because in past lives he had no wholesome roots, as the text clearly shows. 'Why is an earthly sovereign king,' and below, explains why that sovereign king excels: it is because in past lives he cultivated wholesome roots, which can also be understood from the text. Third, the Tathāgata confirms it. The remaining four comparisons are clear in the text and easy to understand. In the fourth part, re-explaining the excellence of the dependent retribution, it first explains that all the clothing, food, drink, and so forth in that land match their bodies. 'Or of one jewel,' and below, demonstrates their excellence based on particulars.