大般涅槃經義記 1.70

1.70

下諸眾中恒數漸增，其例皆爾。「諸優婆塞」，標別其眾，此云近住，近善而居，亦名善宿男，懷善而住，名為善宿，又亦名為清信士也。二「受持」下略歎其德，「受持五戒」明離重過，「威儀具足」彰離輕罪。五戒是其在家正行，故偏歎之。三「其名」下列其名字。四「深樂」已下廣歎其德。於中初歎護煩惱行，「亦欲樂」下歎護小乘行。護煩惱中，初總、次別、後總結之。「深樂觀察諸對治門」是其總也。此下所觀皆能治過，故名治門。「所謂」下別治門無量，今此略舉六種門矣。初「苦、樂」等是八修門，觀生死法無常苦等，觀涅槃法常樂淨等。二「實、不實」者，是二諦門，真諦為實、世諦不實。三「歸、非歸」，是忻厭門，歸向三寶名為歸依，背離邪法名非歸依，亦可趣向出世涅槃名為歸依，連背生死名非歸依。四「生、非生」者，是假實門，五陰非生，所成假人名為眾生。五「恒、非恒」等是因果門，恒與非恒是其果門，涅槃是恒、生死非恒；「安與非安」是因行門，善行是安、惡行非安。亦可無漏聖行是安、有漏非安。六「為、無為」等是四諦門，為、無為者是其苦諦，有為是苦，色法、心法、非色心法是有為也。無為非苦，相對故來，虛空、數滅、非數滅等是無為也。「斷」者是集，可斷名斷，「不斷」非集，相對故來。「涅槃」是滅，「非涅槃」者相對故來。「增上」是道，以殊勝故，「非增上」者相對故來。

In the assemblies below, the count of Gaṅgās gradually increases; this is the pattern throughout. "All the upāsakas" marks and identifies the assembly. This [Sanskrit term] translates as "dwelling close"—dwelling close to goodness; they are also called "men who lodge well"—holding goodness within and dwelling there is called "lodging well"; and they are also called "pure, faithful gentlemen." Second, from "receiving and upholding" downward briefly praises their virtues: "receiving and upholding the five precepts" clarifies leaving behind heavy transgressions; "complete in bodily deportment" shows leaving behind minor infractions. The five precepts are the correct practice of the laity, and are therefore specially praised. Third, from "their names..." downward lists their names. Fourth, from "deeply delighting" onward extensively praises their virtues. Therein, it first praises the practice of warding off afflictions; from "also desiring and delighting" downward it praises the practice of warding off the Hīnayāna. Within warding off afflictions, it first speaks generally, next specifically, and then concludes generally. "Deeply delighting in contemplating the various gates of antidotes" is the general part. The contemplations below are all able to remedy faults, and are thus called "gates of antidotes." From "that is to say" downward is the specific: the gates of antidotes are immeasurable, and here it briefly presents six kinds of gates. First, "suffering and bliss" and so forth are the eight gates of cultivation, contemplating the dharmas of birth-and-death as impermanent, suffering, and so forth, and contemplating the dharmas of nirvāṇa as permanent, blissful, pure, and so forth. Second, "the real and the unreal" is the gate of the two truths: the ultimate truth is real, and the conventional truth is unreal. Third, "refuge and non-refuge" is the gate of aspiration and aversion: taking refuge in the Three Jewels is called refuge; turning one's back on heterodox dharmas is called non-refuge. It may also be that heading toward supramundane nirvāṇa is called refuge, and turning one's back on birth-and-death is called non-refuge. Fourth, "birth and non-birth" is the gate of the provisional and the real: the five aggregates are non-birth, and the provisional person constituted by them is called a "sentient being." Fifth, "constant and non-constant" and so forth is the gate of cause and effect: constant and non-constant is its gate of fruit, nirvāṇa being constant and birth-and-death being non-constant; "secure and insecure" is the gate of causal practice, wholesome practice being secure and unwholesome practice being insecure; it can also be that untainted noble practice is secure, and tainted [practice] is insecure. Sixth, "conditioned and unconditioned" and so forth is the gate of the four truths: conditioned and unconditioned is the truth of suffering; the conditioned is suffering, and material dharmas, mental dharmas, and dharmas neither material nor mental are conditioned. The unconditioned is not suffering, brought in by way of contrast; space, analytical cessation, non-analytical cessation, and so forth are unconditioned. "Abandonment" is the truth of origin: what can be abandoned is called abandonment; "non-abandonment" is not the truth of origin, brought in by way of contrast. "Nirvāṇa" is the truth of cessation; "non-nirvāṇa" is brought in by way of contrast. "Preponderant" is the path, because it is superior; "non-preponderant" is brought in by way of contrast.