釋鑑稽古略續集 2.66

2.66

御制字說　僧多捨俗。惟立字為名何也。以其法殊人主之教故也。邇來有僧。用三字為名。曰玘曰太曰璞。且玘玉之至精者也。太無上之巨也。璞實而不虛。混而未鑿。斯三字之用果如是乎。若是則仁者體之。又何為而不可哉。今僧用斯三字。理道深長機根淺露者。莫可探其趣。若遇良工。必由雕琢而方見其形也。昔如來璞太虛。混厚坤故。發問於未判。孰雕琢而使澄清。列無量之象於穹壤。七曜運行其間。布海嶽於鴻龐。百川東注。此由大樸而至穹窿。果理之使然。氣質之變焉。吾聞混沌靜久。今僧捨俗認璞。必釋教之然哉。

The Imperial "Explanation of the Style Name" stated:
"Monks mostly cast off the secular world; why is it that they establish a style name alone as their appellation? Because their Dharma differs from the teachings of sovereign rulers. Recently there was a monk who used three characters for his name, called 'Ji', 'Tai', and 'Pu'. Furthermore, ji is the finest of jade; tai is the utmost in greatness; and pu is solid and not hollow, uncarved and undifferentiated. Is the use of these three characters truly like this? If so, when a benevolent man embodies it, how could it not be acceptable? Now that a monk uses these three characters, their principle and way are deep and far-reaching, such that those of shallow and exposed faculties cannot fathom their import. If they encounter a skilled craftsman, their form will only be seen through carving and polishing. In antiquity, the Tathāgata's pu and tai were empty, blending with the thick earth; hence he posed a question before differentiation arose: 'Who carved and polished it to make it pure and clear?' Boundless phenomena were arrayed across heaven and earth, the seven celestial luminaries moving among them; the seas and peaks were spread across vastness, and a hundred streams flowed eastward. This proceeds from great simplicity to the celestial vault; is it truly caused by principle, or is it the transformation of material force? I have heard that chaos remained quiet for long. Now that this monk has renounced the secular world to recognize simplicity, it must indeed be due to the Śākya teaching!"