肇論新疏 3.129

3.129

顯無住也。初四句喻說，後六句法喻皆通。谷鏡皆喻無名之體。對鏡之質、呼谷之人，皆喻能感之機。若響若像皆喻於應。於中像喻應身、響喻說法。感之而來謂之有餘，來實非來，雖對之而不知所從，不住有餘也。感謝而往謂之無餘，往實非往，欲隨之而不知所向，不住無餘也。喻意可知。動，即有也。隱，即無也。機見去來，聖無所住，故云動而等。出幽下，釋成出無入有、棄有入無，變化權宜理非常準。無名之道，譬月印空，虧盈不遷、出入常湛。

This reveals non-abiding. The first four sentences speak through metaphor; the later six sentences apply to both principle and metaphor. The valley and mirror both serve as metaphors for the nameless substance. The form facing the mirror and the person calling into the valley both serve as metaphors for the capacity capable of eliciting an evocative resonance. The echo and the image both serve as metaphors for the response. Within this, the image serves as a metaphor for the response body, and the echo serves as a metaphor for teaching the Dharma. Coming through evocative resonance is called [nirvāṇa] with remainder; coming is not truly coming, so although facing it one does not know where it comes from—this is not abiding in [nirvāṇa] with remainder. Departing when the resonance fades is called [nirvāṇa] without remainder; departing is not truly departing, so when seeking to follow it one does not know where it goes—this is not abiding in [nirvāṇa] without remainder. The meaning of the metaphor can be understood. 'Moving' is existence. 'Hidden' is non-existence. The capacities perceive coming and going, while the sage abides nowhere; hence it says 'moving, it becomes ever more...' and so forth. From 'Emerging from obscurity...' onward, it explains the emerging from non-existence to enter existence, and casting off existence to enter non-existence; transformations and expedients are by principle not fixed standards. The nameless Way is like the moon imprinted in the sky; waxing and waning without changing, emerging and disappearing while ever clear.