[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Buddhist Literature](https://indike.org/pramana/in.bauddha) › [Taishō Tripiṭaka (Chinese Buddhist canon)](https://indike.org/pramana/in.bauddha.taisho) › [止觀輔行傳弘決](https://indike.org/pramana/in.bauddha.taisho.1912) › 1.57 # 止觀輔行傳弘決 1.57 止觀輔行傳弘決 1.57 - **Language:** Classical Chinese ### [1.57](https://indike.org/pramana/in.bauddha.taisho.1912.1.57) 次圓位中秖是三諦三德，初顯初開入初住位。「一住一切住」者，初住之中具一切位，如阿字門具足一切諸佛功德。功德雖多不出三德，故云「一切究竟」等也。圓莊嚴中有法譬合，法中還以一心三諦為所莊嚴，一心三觀為能莊嚴。至此位時外用自在，故云「莊嚴」。正受空功德、出說假功德、雙入出不入出中功德，中有雙遮雙照故也。對德及用，比說可知。根謂六根、塵謂六塵、方謂十方，物謂隨塵各有種類。「正報」等者，經文廣約男女身等。方塵物等，即是依報。次譬文者，中譬雙入出，旦譬起出說，夕譬入正受，夜半譬不入出。故《長阿含經》二十二云「閻浮提日中，弗婆提日沒，瞿耶尼日出，欝單越夜半。」經文次第四方遍說。彼經又云「閻浮為東，于逮為西。閻浮為西，瞿耶為東。瞿耶為西，單越為東。單越為西，于逮為東。以由日月轉故，皆為日出之處為東。」今但以四方見異為譬。合中言「亦如是」者，應具將上三諦三觀等來合此中。建立中言「盲瞽」者，盲秖是瞽，失光生盲皆名為盲。《玉篇》云「無目曰瞽。」又云「有瞳無䀕曰瞽。䀕字（直忍切）。有目無瞳曰瞍。又塗令失光亦名為瞽，故自古令習樂者塗令失光。」今以無緣者不納教光，心眼如瞽。「故舉龍王為譬」等者，《說文》云「龍者能幽能明、能大能小，春分登天，秋分潛淵。」《管子》曰「欲小如蠶子，欲大滿天地。」此俗典說，未能盡於龍之功用，今依《華嚴》，娑竭羅龍王凡有所雨，竪遍六天、橫亘四域。經中廣明始自金剛終至他化。「四域」者，人四洲也。「六天」者，欲六天也。即譬六位，已破無明見第一義，故名為天。四十位為四，等覺、妙覺為二。若從因說，應從住前乃至等覺。法身說法尚令等覺斷最後品，況初住耶？此中應以本迹高下四句釋之。四域譬四機四門四悉等得益不同，故知六番唯頓、四機通漸，明此位人具二建立，通譬被物機見不等。亘者，通度也。《方言》云「竟也。」「興雲」等者，經云「龍王示現自在時，從金剛際至他化，興雲周遍四天下，其雲種種莊嚴色（已下私略）。」 > Next, the perfect stage is simply the three truths and three virtues; first revealed and first opened, one enters the stage of the first abode. "One abode is all abodes" means that within the first abode all stages are complete, just as the letter \*A\* gate contains all merits of the buddhas. Although the merits are manifold, they do not go beyond the three virtues; hence it says "all are ultimate" and so forth. In the perfect adornment, there are the doctrine, the metaphor, and the synthesis. In the doctrine, the three truths in a single mind are taken as that which is adorned, and the threefold contemplation in a single mind is taken as that which adorns. When reaching this stage, external functions are unimpeded; hence it is called "adornment." True reception is the merit of emptiness; arising to expound is the merit of provisionality; both entering and emerging, or neither entering nor emerging, is the merit of the middle, because within the middle there are both double negation and double affirmation. By matching them with virtues and functions, they can be understood by comparison. Sense faculties refer to the six sense faculties; dust refers to the six sense objects; directions refer to the ten directions; things refer to the varieties corresponding to each dust. "Direct reward" and so forth: the sūtra text broadly relates to male and female bodies and the like. Directions, dust, and things are the environmental reward. Next, in the metaphorical text, midday is a metaphor for both entering and emerging; dawn is a metaphor for arising and emerging to preach; dusk is a metaphor for entering true reception; midnight is a metaphor for neither entering nor emerging. Thus the twenty-second fascicle of the \*Dīrgha-āgama\* says: "When it is midday in Jambudvīpa, the sun sets in Pūrvavideha, the sun rises in Aparagodānīya, and it is midnight in Uttarakuru." The sūtra text explains them in turn, pervading the four directions. That sūtra also says: "Jambudvīpa is the east, and Videha is the west. Jambudvīpa is the west, and Godānīya is the east. Godānīya is the west, and Kuru is the east. Kuru is the west, and Videha is the east. Because of the revolution of the sun and moon, wherever the sun rises is considered east." Here it merely uses the differing views of the four directions as a metaphor. In the synthesis, "it is also like this" means one should take the three truths, the threefold contemplation, and so forth from above to synthesize with this. In "establishing," "blind and sightless": blind simply means sightless; both losing sight and being born blind are called blind. The \*Yupian\* says: "Having no eyes is called sightless." It also says: "Having pupils without brightness is called sightless." The character for brightness is pronounced \*zhirèn\*. "Having eyes without pupils is called blind. Furthermore, smearing \[the eyes\] to cause the loss of sight is also called sightless; thus, since ancient times, those who practiced music were smeared to make them lose their sight." Here, because those without conditions do not receive the light of the teaching, the eye of the mind is as if sightless. "Therefore, taking the dragon king as a metaphor" and so forth: the \*Shuowen\* says: "The dragon can be hidden and can be manifest, can be large and can be small; at the vernal equinox it ascends to heaven, and at the autumnal equinox it dives into the abyss." \*Guanzi\* says: "Wishing to be small, it is like a silkworm egg; wishing to be large, it fills heaven and earth." These are worldly records, which cannot exhaust the efficacy and function of the dragon; now, relying on the \*Avataṃsaka\*, whenever the dragon king Sāgara makes rain, vertically it pervades the six heavens, and horizontally it extends across the four realms. The sūtra broadly explains it from the diamond realm at the start down to the Paranirmita-vaśavartin \[heaven\] at the end. "Four realms" are the four continents of humans. "Six heavens" are the six heavens of desire. They serve as a metaphor for the six stages; having already shattered ignorance and seen the supreme truth, they are called heavens. The forty stages make four, and equal awakening and marvelous awakening make two. If spoken of from the cause, it should be from prior to the abodes up to equal awakening. If the preaching of the dharma-body still causes equal awakening to sever the final grade \[of delusion\], how much more so the first abode? Here, one should explain it with the four propositions of high and low regarding original ground and traces. The four realms serve as a metaphor for the differing benefits gained by the four types of capacities, four gates, four siddhāntas, and so forth; thus one knows that the six rounds are purely sudden, while the four capacities encompass the gradual, showing that a person at this stage is endowed with both kinds of establishment, comprehensively serving as a metaphor for the unequal capacities and views among beings addressed. \*Gèn\* means to pass across; the \*Fangyan\* says: "It means completely." In "raising clouds" and so forth, the sūtra says: "When the dragon king manifests sovereignty, from the diamond realm to the Paranirmita, he raises clouds pervading the four continents, the clouds having various adorned colors (the remainder is omitted below)." > — English (machine translation) (machine translation) - [Previous: 1.56](https://indike.org/pramana/in.bauddha.taisho.1912.1.56) - [Next: 1.58](https://indike.org/pramana/in.bauddha.taisho.1912.1.58) - [Up: 1](https://indike.org/pramana/in.bauddha.taisho.1912.1) ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.bauddha.taisho.1912~en-mt.1.57) — English, machine translation ## Linked texts (1) - [翻譯名義集](https://indike.org/pramana/in.bauddha.taisho.2131.2.30) — 法雲, Classical Chinese --- Source: [https://indike.org/pramana/in.bauddha.taisho.1912.1.57](https://indike.org/pramana/in.bauddha.taisho.1912.1.57) · Pramāṇa