大般涅槃經疏 12.5

12.5

文中為三：一略標字本、二廣明字義、三領解述成。初文先總標，異論呪術皆是佛說。有二解。一云：根本皆在佛法之中。三寶、四諦、涅槃四德，悉是佛法名教。長者去後，劫掠群牛外道偷之，安其己典。二云：是佛方便之說，如《清淨法行經》云「迦葉為老子，儒童為顏回，光淨為孔子。」若如前解佛則認歸，若如後解方便施與，若開一切文字皆佛正法則非認非與（云云）。「迦葉白」下，第二廣明字義。有二番問答。初問如文。「佛言」下，如來重答，為三：初明文理之本。「持諸記論」下，二別明字本。「凡夫人」下，三明學半得悟滿法。「迦葉復白」下，第二番騰問請答。問如文。「善男子十四音」下，如來答，為三：一通明諸字；二別釋半滿；三結得失，亦是明無字之義。初又四：一以音隨字，即是明音；二以字隨音，即是明字；三音字所因；四音字利益。初文音隨字者，十四音也，「是十四音」去是也。古來六解，大為二塗：前四解襌、後二解複。一、宗師云：書缺二字，師不能通，故無兩音，止有十二。二、招提足悉曇二字。三、梁武足涅槃二字，引經云：所言字者名曰涅槃。四、開善云：於十二字中止取十字，除後庵痾，謂是餘聲故。經釋炮音，便云於十四音是究竟義，更取下魯、留、盧、樓四音足為十四插著中心，謂阿阿伊伊憂憂魯留盧樓咽[黑*(企-止+ㄎ)]等。五、莊嚴複解。前十二為六音，後五五相隨。又取後三三相對中四字耶囉和賒，足前五成六，足上成十二。取羅沙娑訶羅為一遲音，魯留盧樓為一速音，是為十四。六、冶城云：前兩兩相隨有六，次五五相隨有五，後三三相隨有三，合成十四音。觀師云：古來六解，次第彈之。初云書缺二字者，外道師不解，反啟問太子，太子自知。今說涅槃，豈不安二字？猶言書缺。彈招提者，悉曇通是外國十四音之總名，豈得將總足別？彈梁武者，涅槃亦云槃利涅隷槃那，此則六字；亦云般涅槃那，此則四字。何故止取兩字足之？彈開善者，除庵痾兩字，足魯留盧樓四字；若魯留盧樓是音者，何不在音次第而在字後安之？彈莊嚴者，經文現云十四音，何時云以字足音？音字兩異，何得相混？莊嚴不成，冶城亦壞。又河西以前十二即是十二音，取後四字合為二音；古經本云梨樓梨樓，即是四字為二音，足前為十四。又梵本言字不言音，今十二字或十六字，隨世所用。又一解云：初十二是音，後迦佉下是字。又一解云：初十二字有三事，一字、二語、三音。因此字以為言論端首，然後方及餘字，故言字本。初半字者，世法名半字，佛性名滿字。又以九部為半字，大乘為滿字。又云：梵本無半滿之言，但以事未成為半、成就為滿。興皇有半邊相足，無牽申等滿（云云）。河西云：十二字喻之如飯，後二十五字喻之如羹。後九字攝持諸句，如守門人亦如瓔珞。後九字亦字亦音。魯留下之二字，童蒙所不習學。「吸氣舌根」，是第三明諸字所因皆有差別，故迦佉等是舌本聲，多他等是舌上聲，吒侘等是舌頭聲，波頗等是脣間聲，遮車等是齒間聲，故言皆因舌齒差別。「如是字義」下，第四明字之利益。前舉字義，後明佛性云不如是。「又半字」下，第二別釋半滿，為三：先法、次譬、三合。「何等名」下，第三更明無字之義，亦是得失。後番領解、述成，如文。

In the text there are three [sections]: first, briefly indicating the root of letters; second, broadly explaining the meaning of letters; third, expressing understanding and narrating confirmation. The first passage first generally indicates that heterodox treatises and mantras are all spoken by the Buddha. There are two explanations. The first says: Their root is entirely within the Buddhadharma. The Three Jewels, the Four [Noble] Truths, and the four virtues of nirvāṇa are all the nominal teachings of the Buddhadharma. After the elder departed, non-Buddhists who plundered the herds of cows stole them and placed them into their own scriptures. The second says: These are the Buddha's expedient teachings, as the Scripture of the Practice of the Pure Dharma says, "Kāśyapa was Laozi, Ruotong was Yan Hui, and Guangjing was Confucius." If [understood] according to the former explanation, the Buddha claims them back; if according to the latter explanation, they were given as expedients. If one discloses that all letters are the Buddha's true Dharma, then it is neither claiming nor giving, and so forth. From "Kāśyapa said" downward is the second [section], broadly explaining the meaning of letters. There are two rounds of questions and answers. The first question is as in the text. From "The Buddha said" downward, the Tathāgata answers again, which has three parts: first, explaining the root of the text and principle; from "holding various treatises" downward, second, specifically explaining the root of letters; from "ordinary persons" downward, third, explaining that by learning the half-letters one comes to awaken to the full teaching. From "Kāśyapa said again" downward is the second round, raising the question to request an answer. The question is as in the text. From "Good sons, the fourteen sounds" downward, the Tathāgata answers, which has three parts: first, generally explaining the various letters; second, specifically explaining the half and the full; third, concluding with benefits and detriments, which also clarifies the meaning of "no letters". The first part also has four: 1. sounds following letters, which explains the sounds; 2. letters following sounds, which explains the letters; 3. the causes of sounds and letters; 4. the benefits of sounds and letters. In the first passage, "sounds following letters" refers to the fourteen sounds; from "these fourteen sounds" onward is this. Since antiquity there have been six explanations, broadly falling into two paths: the first four explain [them as] single [vowels], and the latter two explain [them as] compound [syllables]. 1. The Lineage Master says: Two letters were missing from the text, and the teacher could not understand them, so there were no two sounds and only twelve. 2. Zhaoti added the two characters "siddhaṃ". 3. Emperor Wu of Liang added the two characters "nirvāṇa", citing the sūtra: "That which is called 'letters' is named nirvāṇa." 4. Kāishàn says: Among the twelve letters, he takes only ten, removing the final aṃ and aḥ, considering them to be residual sounds. When the sūtra explains the vocalic sounds, it immediately says that among the fourteen sounds this is the ultimate meaning; he further takes the four sounds below—ṛ, ṝ, ḷ, ḹ—to make up the fourteen, inserting them into the middle, referring to a, ā, i, ī, u, ū, ṛ, ṝ, ḷ, ḹ, e, ai, and so forth. 5. Zhuāngyán gives a compound explanation: the previous twelve form six sounds, followed by five pairs of five. Further taking four letters from the later three pairs of three—ya, ra, va, śa—adding them to the previous five makes six, which added to the above makes twelve. Taking [the group] ṣa, sa, ha, la as one slow sound, and ṛ, ṝ, ḷ, ḹ as one fast sound, this makes fourteen. 6. Yěchéng says: The first two-by-two correspondences have six, the next five-by-five correspondences have five, and the subsequent three-by-three correspondences have three, combining to make fourteen sounds. Master Guān says: We refute the six ancient explanations in order. The first says that two letters were missing from the text: the non-Buddhist teacher did not understand, and conversely asked the prince, while the prince knew on his own. Now when expounding nirvāṇa, how could he fail to insert the two letters, still saying that the text was deficient? Refuting Zhaoti: Siddhaṃ is generally the collective name for the fourteen sounds in foreign countries; how can one take the general to supplement the specific? Refuting Emperor Wu of Liang: Nirvāṇa is also rendered as parinirvāṇa, which is six characters; it is also rendered as parinirvāṇa, which is four characters. Why take only two characters to supplement it? Refuting Kāishàn: He removes the two characters aṃ and aḥ and supplements them with the four characters ṛ, ṝ, ḷ, ḹ; if ṛ, ṝ, ḷ, ḹ are sounds, why are they not in the sequence of sounds but placed after the letters? Refuting Zhuāngyán: The sūtra text clearly says "fourteen sounds"; when did it say that letters supplement sounds? Sounds and letters are two different things; how can they be confounded? If Zhuāngyán fails, Yěchéng also collapses. Furthermore, Héxī holds that the first twelve are simply the twelve sounds, and taking the latter four characters combines them into two sounds; the ancient sūtra manuscripts had [the transliterations], which is four characters for two sounds, supplementing the previous to make fourteen. Furthermore, the Sanskrit texts speak of letters and do not speak of sounds; now there are twelve letters or sixteen letters, according to worldly usage. Another explanation says: The first twelve are sounds, and from ka, kha downward are letters. Another explanation says: The first twelve letters have three aspects: first, the letter; second, speech; third, the sound. Relying on these letters to serve as the beginning of discourse, only then does one reach the remaining letters; hence they are called the root of letters. Regarding the initial "half-letters": worldly dharmas are called half-letters, and the buddhadhātu is called full letters. Also, the ninefold canon is taken as half-letters, and the Mahāyāna as full letters. It is also said: The Sanskrit text has no words for "half" and "full"; it is merely that when a matter is not yet completed it is "half", and when completed it is "full". Xīnghuáng speaks of completing one half-side, without pulling or extending into a full [fruit], and so forth. Héxī says: The twelve letters are compared to rice, and the subsequent twenty-five letters are compared to soup. The subsequent nine letters encompass and uphold the phrases, like a gatekeeper or like a necklace. The subsequent nine letters are both letters and sounds. The two letters below ṛ and ṝ are not studied by young beginners. "Inhaling breath at the root of the tongue": this is the third [part], explaining that the origins of the various letters all have distinctions, so ka, kha, etc., are sounds from the root of the tongue; ta, tha, etc., are sounds on the tongue; ṭa, ṭha, etc., are sounds at the tip of the tongue; pa, pha, etc., are sounds between the lips; ca, cha, etc., are sounds between the teeth; therefore it says they are all distinguished by the tongue and teeth. From "Such meaning of letters" downward is the fourth [part], explaining the benefits of letters. It first presents the meaning of letters, and then clarifies that the buddhadhātu is not like this. From "Again, the half-letters" downward is the second [section], specifically explaining the half and the full, which has three parts: first, the Dharma; next, a parable; third, the application. From "What is called" downward is the third [section], further explaining the meaning of "no letters", which is also the benefits and detriments. The subsequent round of expressing understanding and narrating confirmation is as in the text.