大般涅槃經疏 12.13

12.13

前鳥喻俱游，橫論一時；今月喻隱顯，竪論前後。先橫次竪，自成次第。又俱游是自行隱顯，是適宜自行化他，復成次第。河西云：三品皆是一真應意，此乃一塗。問答既三，意寧一耶？自有兩問一答、一問兩答、一問一答。河西云：只是一句，餘之二句推文可解。今云：其問既異，答亦不同。前問共行，以鳥喻答之；今對三光以立三問，以月喻答之。然其問中非獨問月，備問三光。月取虧盈、日用長短、星以吉凶，雖有少殊，同況隱顯。在先答月，故以標品。私謂：月攝日星，故月題品。又名異義同，故月義便。梁武勅學士撰天地義，有三：一宣夜、二周髀、三靈憲。宣夜久廢不傳，諸學士推理不得。周髀者，是周公問殷齊論天地義，云：天如圓繖，邊下中高，為蓋天義。日月橫行，同於佛法。靈憲即是渾天義也。張衡作渾天圖云：日如雞子黃，天如雞子白。日從東出漸漸西沒，復從土下入地東出繞天地轉，故言日出扶桑、日入濛氾。日月竪行，《長阿含》及《樓炭》云「日月天子果報與四王同，壽五百歲。」舊云：二百五十。日形縱廣五十由旬，月形四十九由旬。星小者不減三由旬，方百二十里。日城為兩寶所成，二分火精、二分金精。月為二寶所成，二分瑠璃精、二分白銀精。星唯一寶所成，謂水精。繞須彌山，照四天下。《樓炭》第五云「劫初未有三光，眾生福力，感亂風吹火精、黃金二寶作日。日天子所居城郭七重，東西二千里，南北高下亦然，周圍八千。又亂風吹二寶瑠璃、白銀作月天子所居，其城七重，東西一千九百六十里，南北高下亦然，周圍七千八百四十里。又亂風吹水精作星天子所居，皆大風持，猶如浮雲右轉而行，大者周圍七百二十里，中者四百八十里，小者一百二十里。月以三事故缺減：一者角行；二、侍臣形服如瑠璃色在於月前；三、以日有六十光照之故減。有三事故增：一、月正行故增；二、十五日處正殿，侍臣不當前故增；三、日所放六十光照、月皆不受是故增滿。」此品正答云何如日月太白與歲星，既具答三光而以月喻當名者，如向分別。一者月在中，從中題品。又月有虧盈譬隱顯易見，有月譬文多，從易從多，以用題品。古來云：品後明日出時眾露悉除十行六字，屬〈菩薩品〉，出經者誤。招提云：非誤，只是歎經力用之文。興皇：不定，或屬前品、或屬後品。觀師云：屬前。今分為二：先答問、二結歎。經初約三光分為三段，用答三問。就月為六：一出沒、二虧盈、三大小、四善惡、五長短、六樂厭。初明出沒中，先譬、後合，如文。從「善男子如此滿月」下，次明虧盈，亦先譬、後合。《長阿含》云「從十六日去黑衣侍臣，初一日一兩上侍，至三十日諸臣併上，故稍稍虧。從月一日諸臣漸下，至十五日諸臣都下，故稍稍滿。」二云：日天子放六十種光，奪月故虧。若月天子處正殿後，光對日天，是故盛滿。三云：從月初一出白銀面，至十五日銀面全現、瑠璃全隱、從十六日出瑠璃面，至三十日瑠璃全現、白銀全隱。因須彌山者，為五風所吹，自然運轉。一持風、二住風、三動風、四轉風、五行風。世云六月一食者，書云：正由運行相遇，六月一周，陰陽相御，故有此食。經云：修羅所為。三「復次譬如滿月」者，明大小，先譬、次合。初譬中云鍑口者，關西謂釜為鍑，關東謂鍑為釜。四「復次如羅睺」去，是明善惡，亦明制戒。文為三：一制止、二輕重、三如來教戒，皆有譬合。五「復次如人見月」去，是明長短，亦有譬合。譬中諸天須臾見食者，此據四天王同見此月，忉利身光不須日月。六「復次譬如明月」下，是明樂厭，先譬、次合。文云「眾生若有貪恚愚癡，則不得稱為樂見者。為是眾生不樂見月？為是其月不樂見耶？」解言兩意。一云：直由三毒眾生不樂見月。二云：月名不樂見，如作盜人自名其月為不樂見。「復次譬如日出」去，是第二舉日，亦先譬、次合。三時異者，佛法無秋，故言三時。二云：佛法有秋，經言「秋耕為上」，又云「過夏名秋，秋雨連霔。」《金光明》云「三三本攝足滿四時，律明三時為簡賊住。」今言三時非簡賊住，為春秋同，不分為二。合譬有兩：初以如來壽命合、次以經教合，可尋。譬如眾星者，第三舉星喻，文為三：一舉眾星、二舉陰暗、三舉彗星，皆先譬後合。前二可見。第三譬中言黑月者，《優婆塞戒經》云「十六日至三十日名為黑月。」六卷云「支斗星」，梁武翻為惡相星，或作歲音、或作戍音，形如埽帚。世人或呼為刁、或呼為麻，謂其作除故布新之怪，即如辟支佛出無佛世。

The previous parable of the birds [flying] together treats [matters] horizontally, as occurring at the same time; the present parable of the moon's waning and waxing treats [them] vertically, in terms of sequence. Horizontally first and vertically next naturally forms a sequence. Furthermore, [flying] together represents one's own practice, while waning and waxing represent adapting to circumstances in transforming others as well as one's own practice, which again constitutes a sequence. Héxī states: "All three chapters share the single intention of the true and responsive [bodies]." This is merely one approach. Since there are three sets of questions and answers, how could their intent be singular? There can naturally be two questions and one answer, one question and two answers, or one question and one answer. Héxī says: "It is merely a single phrase; the remaining two phrases can be understood by examining the text." Now I say: since the questions differ, the answers are also not identical. The previous question concerned proceeding together, and it was answered with the parable of the birds; now, three questions are formulated in relation to the three luminaries, and they are answered with the parable of the moon. Yet in that questioning, it is not only about the moon; it fully asks about the three luminaries. The moon is taken for its waning and waxing; the sun is used for its length [of day]; the stars are used for auspiciousness and misfortune. Although there are slight differences, they all alike illustrate concealment and manifestation. Since the moon is answered first, the chapter is titled after it. Personally, I hold that the moon subsumes the sun and stars, and so the moon titles the chapter. Moreover, while the names differ, the meaning is identical; therefore, using the moon's meaning is convenient. Emperor Wu of Liang commanded the scholars to compose [treatises on] the theories of heaven and earth, of which there were three: first, Xuānyè; second, Zhōubì; third, Língxiàn. Xuānyè has long been defunct and not transmitted; the scholars could not deduce its principles. Zhōubì refers to the Duke of Zhou questioning Yin Qi on the theories of heaven and earth, saying: "Heaven is like a round parasol, lower at the edges and higher in the center," which is the theory of covering heaven (gàitiān). The sun and moon travel horizontally, which accords with the Buddha's teachings. Língxiàn is precisely the theory of the celestial sphere (hùntiān). Zhang Heng made a diagram of the celestial sphere, saying: "The sun is like the yolk of an egg, and heaven is like the egg white. The sun rises from the east and gradually sets in the west, then passes underground into the earth and rises again in the east, revolving around heaven and earth; thus it is said that the sun rises from Fúsāng and enters Mèngfàn." [In this view,] the sun and moon travel vertically. The Dīrghāgama and the Lóutàn [jīng] state: "The retributive fruition of the deva-princes of the sun and moon is identical to that of the Four Heavenly Kings; their lifespan is five hundred years." An old [commentary] says: "Two hundred and fifty." The sun's form is fifty yojanas in length and breadth; the moon's form is forty-nine yojanas. The smallest of stars is not less than three yojanas, being a square of one hundred and twenty li. The sun's citadel is formed of two jewels: two parts essence of fire and two parts essence of gold. The moon is formed of two jewels: two parts essence of vaiḍūrya and two parts essence of white silver. The stars are formed of only one jewel, namely crystal. They revolve around Mount Sumeru, illuminating the four continents. The fifth scroll of the Lóutàn states: "At the beginning of the kalpa, there were not yet the three luminaries. Through the power of sentient beings' merit, chaotic winds were induced to blow upon the two jewels, the essence of fire and yellow gold, creating the sun. The city walls where the deva-prince of the sun dwells are sevenfold: two thousand li east to west, the same north to south and high to low, with a circumference of eight thousand. Furthermore, chaotic winds blew upon the two jewels, vaiḍūrya and white silver, creating the dwelling of the deva-prince of the moon: its city is sevenfold, one thousand nine hundred and sixty li east to west, the same north to south and high to low, with a circumference of seven thousand eight hundred and forty li. Furthermore, chaotic winds blew upon crystal, creating the dwellings of the deva-princes of the stars; all are upheld by great winds, revolving to the right like floating clouds. The large ones have a circumference of seven hundred and twenty li, the medium ones four hundred and eighty li, and the small ones one hundred and twenty li. The moon wanes due to three causes: first, it moves diagonally; second, attendants whose forms and clothing are the color of vaiḍūrya stand before the moon; third, it wanes because the sun shines upon it with sixty rays of light. It waxes due to three causes: first, it waxes because the moon moves straight; second, on the fifteenth day it occupies the main hall and the attendants do not stand before it, so it waxes; third, the sixty rays of light emitted by the sun shine upon it, but the moon does not receive any of them, and for this reason it waxes to fullness." This chapter directly answers, "Why are you like the sun, moon, Venus, and Jupiter?" Since it fully answers concerning the three luminaries yet takes the parable of the moon as its title, it is as distinguished above. First, the moon is in the middle, and the chapter is titled after the middle one. Moreover, the moon has waning and waxing, which illustrates concealment and manifestation clearly, and the passages on the moon parable are numerous; following what is clear and what is numerous, it is used to title the chapter. Ancients said: "The ten lines and six characters at the end of the chapter concerning 'when the sun rises, all the morning dew is dispelled' belong to the 'Bodhisattva Chapter', and the redactor of the sūtra erred." Zhāotí said: "It is not an error; it is simply a passage praising the power and function of the sūtra." Xīnghuáng [said]: "It is indeterminate: it may belong to the preceding chapter, or to the subsequent chapter." Master Guān said: "It belongs to the preceding [chapter]." Now I divide [the chapter] into two: first, answering the questions; second, the concluding praise. At the beginning of the sūtra, it is divided into three sections corresponding to the three luminaries, used to answer the three questions. Regarding the moon, there are six [points]: first, rising and setting; second, waning and waxing; third, large and small; fourth, good and bad; fifth, long and short; sixth, delight and aversion. In the first, on rising and setting, there is first the parable and next the application, as in the text. From "Good sons, just as this full moon" downward, it next explains waning and waxing, which also has first the parable and next the application. The Dīrghāgama states: "From the sixteenth day onward, the dark-clad attendants attend upon it, with one or two ascending on the first day, and by the thirtieth day all the ministers have ascended together; therefore it gradually wanes. From the first day of the [waxing] month, the ministers gradually descend, and by the fifteenth day all the ministers have descended; therefore it gradually waxes." A second [theory] says: "The deva-prince of the sun emits sixty kinds of light, which eclipse the moon, causing it to wane. When the deva-prince of the moon occupies the main hall, his light directly confronts the sun deva, and for this reason it is radiant and full." A third [theory] says: "From the first day of the month, the white-silver face emerges, and by the fifteenth day the silver face is fully displayed and the vaiḍūrya is fully concealed; from the sixteenth day, the vaiḍūrya face emerges, and by the thirtieth day the vaiḍūrya is fully displayed and the white silver is fully concealed." That it circles Mount Sumeru is because it is blown by five winds and naturally revolves: first, the holding wind; second, the staying wind; third, the moving wind; fourth, the turning wind; fifth, the blowing wind. The worldly saying that there is an eclipse every six months is explained in secular books: "It is precisely because their movements intersect; completing a cycle in six months, yin and yang control each other, and so this eclipse occurs." The sūtra states: "It is caused by asuras." Third, "Furthermore, for example, just as the full moon" clarifies large and small, with first the parable and next the application. In the first parable, the phrase "the mouth of a cauldron (fù)": west of the pass, they call a cauldron (fǔ) a fù, while east of the pass, they call a fù a fǔ. Fourth, "Furthermore, just as Rāhu" onward clarifies good and bad, and also clarifies the establishing of precepts. The text has three [parts]: first, prohibition; second, light and heavy; third, the Tathāgata's disciplinary instructions; all have parables and applications. Fifth, "Furthermore, just as when people see the moon" onward clarifies long and short, and also has a parable and application. In the parable, the devas' seeing an eclipse for a mere moment is based on the Four Heavenly Kings seeing this moon together; the bodily radiance of [the devas of] Trāyastriṃśa has no need for the sun and moon. Sixth, "Furthermore, just as the bright moon" downward clarifies delight and aversion, with first the parable and next the application. The text says: "If sentient beings have greed, anger, and delusion, they cannot be called those who take delight in seeing it. Is it that sentient beings do not delight in seeing the moon? Or is it that the moon is not delighted to be seen?" The explanation offers two senses. One says: simply because of the three poisons, sentient beings do not delight in seeing the moon. The second says: the moon is called "not delighted to be seen" [in the sense that] thieves themselves describe that moon as not delightful to see. "Furthermore, for example, just as when the sun rises" onward is the second, raising the sun, which also has first the parable and next the application. That the three seasons differ is because the Buddha's Dharma has no autumn, and so three seasons are spoken of. A second [view] says: the Buddha's Dharma does have autumn, for the sūtra says "autumn plowing is supreme," and also says "passing beyond summer is called autumn, when autumn rains pour continuously." The Suvarṇaprabhāsa says: "Three times three originally subsume and complete the four seasons; the Vinaya clarifies three seasons to distinguish the dwelling of thieves." Now, speaking of three seasons is not to distinguish the dwelling of thieves, but because spring and autumn are identical and not divided into two. The application of the parable has two parts: first, applying it to the Tathāgata's lifespan; second, applying it to the scriptural teachings, which can be looked up. "Just as the multitude of stars" is the third, raising the parable of the stars; the text has three parts: first, raising the multitude of stars; second, raising darkness; third, raising comets; all have first the parable and then the application. The first two can be seen. In the third parable, the term "dark fortnight (kṛṣṇapakṣa)": the Upāsaka-śīla Sūtra states, "From the sixteenth day to the thirtieth day is called the dark fortnight." The six-fascicle [version] calls it the "branch-dipper star (zhīdǒu xīng)"; Emperor Wu of Liang translated it as the "star of evil portents"; it is pronounced either like suì or like shù, and its shape is like a broom. Worldly people sometimes call it diāo or má, considering it an omen that dispels the old and establishes the new, which is just like a pratyekabuddha appearing in a world without a buddha.