止觀輔行傳弘決 1.69

1.69

次從「若競至無聞」者，明說法意，有法、譬、合。初文法者，如上所引二途相資，無得偏競而生僻難。此明失由，由執競也。次「離說」去，示無說理。雖云無說，須有所依。次「大悲」去，正明說意。一以凡師大悲利物故說、二以眾生惑重根鈍須說。既不遇聖，依凡準教，以大悲心遺著而說。次「如月」去，舉譬也。真常性月隱煩惱山，煩惱非一故名為重。圓音教風息化歸寂，寂理無礙猶如太虛。四依弘教如動樹舉扇，故假三文示真常理。理不可示，大悲力熏，使因文比知，知風識月。《說文》云「月者，闕也。有盈有虧，故名為闕。」故可以譬理有半有滿。《廣雅》云「鏡月扇月。」次從「今人」下，合也。滅後稟教，故云「今人」。親承梵音以慧內照，故云「玄覽」。今人意鈍，非直玄照而知，故云「則難」。假文助意，文有所據，令意不惑，故云「則易」。從「若封文」去，令破封情，達文成觀。若執文生過，則以文為境。文即法界，何封之有？知文非文，空觀也；達一切文，假觀也；非文不文，中觀也。能觀此文三智具足，故云「得一切解」。次從「為此」下，結通前難。三種通為實相之門，實相是一、三文能達，故三即是達一之門，云何難言皆不可說？「已略說緣起」者，章安序竟，即自結之。

Next, from 'If one contends up to without hearing', it clarifies the intent of expounding the Dharma, having the dharma, the simile, and the synthesis. In the first text, the dharma: as cited above, the two paths support each other; do not biasedly contend and give rise to perverse objections. This clarifies the source of error, which stems from grasping and contention. Next, from 'apart from exposition' onward, it demonstrates the principle of non-exposition. Although it speaks of non-exposition, there must be that on which it relies. Next, from 'great compassion' onward, it directly clarifies the intent of exposition: first, because ordinary teachers benefit beings with great compassion, they expound; second, because sentient beings have heavy delusions and dull faculties, it must be expounded. Since they do not encounter the sage, they rely on ordinary beings and conform to the teachings, expounding with a mind of great compassion that abandons attachment. Next, from 'like the moon' onward, it raises a simile. The moon of true, permanent nature is hidden behind mountains of afflictions; afflictions are not single, hence called 'layered'. The doctrinal wind of the perfect voice rests its transformation and returns to tranquility; the tranquil principle is unobstructed, just like empty space. The four reliances propagating the teachings are like shaking trees or raising fans; therefore they use the three texts to show the true, permanent principle. The principle cannot be shown, but perfumed by the power of great compassion, it causes one to know by comparison through the text, knowing the wind and discerning the moon. The Shuowen says: 'The moon is that which wanes; it waxes and wanes, hence it is called waning.' Therefore it can serve as a simile for principle having the partial and the full. The Guangya says: 'mirror-moon and fan-moon.' Next, from 'People today' downward is the synthesis. Receiving the teaching after the [Buddha's] passing, they are called 'people today'. Personally receiving the Sanskrit sound and illuminating inwardly with wisdom is called 'profound viewing'. The minds of people today are dull; they do not know through direct, profound illumination, hence it says 'then it is difficult'. Using texts to assist the mind, the text has something to rely upon, keeping the mind from confusion, hence it says 'then it is easy'. From 'If one clings to the text' onward, it causes one to break through the sentiment of clinginess and master the text to accomplish contemplation. If one clings to the text and gives rise to faults, then one takes the text as an object. The text is itself the dharma-dhātu; what clinging could there be? Knowing that the text is non-text is the contemplation of emptiness; mastering all texts is the contemplation of provisionality; neither text nor non-text is the contemplation of the middle. Being able to contemplate this text, the three wisdoms are fully possessed; hence it says 'attains all understanding'. Next, from 'For this reason' downward, it concludes by resolving the previous objection. The three kinds are universally the gates to the true mark; the true mark is one, and the three texts can reach it. Thus the three are the gates to reaching the one; why make the objection that all are ineffable? Regarding 'Having briefly explained the origins', Zhang'an's preface being finished, he concludes it himself.