維摩經略疏垂裕記 6.74

6.74

二、訶不觀心念此。「如身子教二弟子」者，以彼小乘觀門差機，以例今文為大說小。《涅槃》云「我昔住於波羅奈國。時舍利弗教二弟子，一觀白骨、一令數息。經歷多年皆不得定。即生邪見，言：『無涅槃無漏之法。若其有者，我應得之。』我於爾時見是比丘生此邪心，訶舍利弗：『汝不善教。云何為二弟子顛倒說法。汝二弟子其性各異，一主浣衣、一是金師。金師之子應教數息，浣衣之子應教觀骨。汝以錯教，令生惡邪。』我於爾時為是二人如應說法，皆得阿羅漢。」「大乘真實」等者，琉璃堅固以喻大實，水精不堅以喻小虛。琉璃，具云吠琉璃，此云不遠，謂西域有山，去波羅奈不遠。此寶出彼，故以名之。其性至堅，人力煙焰不能毀壞。古字但作流離，後人加玉。左大仲《吳都賦》曰「致遠流離與珂[王*戍]」，音邃注云「流離、珂[王*戍]，皆寶名。」

Second, reproaching him for not observing the thought in their minds. Regarding "Like Śāriputra teaching his two disciples", this takes that Hīnayāna contemplation method's mismatch of capacity as an analogy for the present text's preaching the small to those fit for the great. The Nirvāṇa Sūtra says: "Formerly, when I lived in the country of Vārāṇasī, at that time Śāriputra taught two disciples: one he instructed to contemplate white bones, and one he had count breaths. Passing through many years, neither obtained concentration. Thereupon they gave rise to wrong views, saying: 'There is no nirvāṇa, no outflow-free dharma. If there were, I should have attained it.' At that time, seeing that these monks had given rise to this evil thought, I reproached Śāriputra: 'You do not teach well. Why do you preach Dharma upside down to two disciples? Your two disciples differ in nature: one is a washerman, and one is a goldsmith. The son of the goldsmith should be taught counting breaths; the son of the washerman should be taught contemplating bones. Because you taught them mistakenly, you caused them to give rise to wicked evil.' At that time, I preached the Dharma to these two men as was appropriate, and both attained arhatship." Regarding "The Mahāyāna is true and real, etc.", the hardness of vaiḍūrya is used to illustrate the reality of the great; the fragility of crystal is used to illustrate the vanity of the small. Vaiḍūrya, fully called vaiḍūrya, is translated here as "not far", meaning that in the Western Regions there is a mountain not far from Vārāṇasī. This jewel comes from there, so it is named after it. Its nature is extremely hard; human power, smoke, and flames cannot destroy it. The ancient character was simply written liuli, and later people added the jade radical. Zuo Dachong's 'Rhapsody on the Wu Capital' says: 'They bring from afar liuli and kechong' (pronounced sui); the commentary says: 'Liuli and kechong are both names of jewels.'