續高僧傳 30.27

30.27

論曰。自古諸傳多略後科。晉氏南遷方關名實。然則利物之廣在務為高。忍界所尊惟聲通解。且自聲之為傳。其流雜焉。即世常行。罕歸探索。今為未悟。試揚攉而論之。爰始經師為德本實以聲糅文。將使聽者神開因聲以從迴向。頃世皆捐其旨。鄭衛彌流。以哀婉為入神用騰擲為清舉。致使淫音婉孌嬌哢頻繁。世重同迷尠宗為得。故聲唄相涉雅正全乖縱有刪治而為時廢。物希貪附利涉便行。未曉聞者悟迷且貴一時傾耳。斯並歸宗女眾。僧頗兼之。而越墜堅貞殊虧雅素。得惟隨俗失在戲論。且復彫訛將絕宗匠者希。昔演三千今無一契。將非沿世遷貿固得行藏有儀乎。道達之任當今務先。意在寫情疎通玄理。本寔開物事屬知機。不必誦傳由乖筌悟。故佛世高例。則身子為其言初。審非斯人。則雜藏陳其殃咎。統其朗拔終歸慧門。法師說法之功。律師知律之用。今且隨相分位。約務終篇俗有無施不可又陳無備一人。道則不輕未學。亦開降外須博。是以前傳所敘。殷勤四能即用以觀。誠如弘例何以明耶。若夫聲學既豐。則溫詞雅贍才辯橫逸。則慧發隣幾。必履此蹤。則軌躅成於明道。如乖此位。則濫罔翳於玄津。但為世接五昏人纏九惱。俗利日隆而道弘頗躓。所以坐列朝宰。或面對文人。學搆疎蕪時陳鄙俚。褒獎帝德乃類阿衡。讚美寒微翻同旒冕。如陳滿月。則曰聖子歸門。悉略璋弧豈聞床几。若敘閨室。則誦窈窕從容。能令子女奔逃尊卑動色。僧倫為其掩耳。士俗莫不寒心。非惟謂福徒施亦使信情萎萃。又有逞衒脣吻搖鼓無慚。艶飾園庭閏光犬馬。斯並學非師授。詞假他傳。勇果前聞無思箴艾。遂即重輕同迹。真誤混流。顏厚既增。彌深癡滯。寧謂道達。豈並然耶。至如善權之對晤儲兩。千紙不弊其繁華真觀之拔難程神。百句彌開其邪信。故得存亡定其尊考。佳嚴審其郊邑。詞調流便奕奕難窮。引挽倫綜愜當情事。能令倨傲折體儒素解頤便識信牢強頌聲載路。今且略明機舉。則得人開悟如此。有背斯言。則來誚掩化如彼。輒試論矣。臨機難哉。唄匿之作沿世相驅。轉革舊章多弘新勢。討覈原始共委漁山。或指東阿昔遺。乍陳竟陵冥授。未詳古述且敘由來。豈非聲乖久布之象。唯信口傳在人為高畢固難准大約。其體例甚眾焉至如梵之為用。則集眾行香。取其靜攝專仰也。考其名實。梵者淨也。寔惟天音。色界諸天來覲佛者。皆陳讚頌。經有其事祖而習之。故存本因詔聲為梵。然彼天音未必同此。故東川諸梵。聲唱尤多。其中高者。則新聲助哀般遮掘勢之類也。地分鄭魏。聲亦參差然其大途不爽常習。江表關中巨細天隔。豈非吳越志揚俗好浮綺。致使音頌所尚惟以纖婉為工。秦壤雍梁音詞雄遠。至於詠歌所被。皆用深高為勝。然則處事難常。未可相奪。若都集道俗。或傾郭大齋。行香長梵。則秦聲為得。五眾常禮七貴恒興。開發經講。則吳音抑在其次。豈不以清夜良辰昏漠相阻。故以清聲雅調駭發沈情。京輔常傳。則有大小兩梵。金陵昔挵。亦傳長短兩引。事屬當機不無其美。劍南隴右其風體秦。雖或盈虧不足論評。故知神州一境聲類既各不同。印度之與諸蕃。詠頌居然自別。義非以此唐梵用擬天聲。敢惟妄測斷可知矣唄匿之作頗涉前科。至於寄事。置布仍別梵設發引為功。唄匿終於散席。尋唄匿也亦本天音。唐翻為靜。深得其理。謂眾將散。恐涉亂緣。故以唄約令無逸也。然靜唄為義。豈局送終。善始者多。慎終誠寡。故隨因起誡。而不無通議。頌讚之設其流寔繁。江淮之境偏饒此翫。彫飾文綺糅以聲華。隨卷稱揚任契便搆。然其聲多艶逸翳覆文詞。聽者但聞飛哢。竟迷是何筌目。關河晉魏兼而重之。但以言出非文。雅稱呈拙。且其聲約詞豐。易聽而開深信。惟彼南服文聲若林。向若節之中和。理必諧諸幽遠。隨墮難泝返亦希焉。至如生嚴之詠佛緣。五言結韻。則百藏宗為師轄。遠運之讚淨土。四字成章。則七部欽為風素。斯並無聲。以廁其本。故得列代傳之。或者問曰。向敘諸讚唄績由聲。余聞非聲無以達心。非聲不颺玄理。故歌詠頌法以為音樂。斯言何哉。必有此陳。未聞前喻。義須鎔裁節約得使文質相勝。詞過其實。世該所非。聲覆法本。佛有弘約。何得掩清音而希激楚。忽雅眾而冒昏夫。斯誠恥也。京輦會坐有聲聞法事者。多以俗人為之。通問所從無由委者。昌然行事謂有常宗。並盛德之昔流。未可排斥。至於聖哲彝訓。通別兩序。以命章述經。敘聖人法。諸頌以標首。雖復序頌文別。而開發義同。古聖垂範於教端。今賢祖承於事表。世遠莫測。其面斯推。想得其蹤。信有依焉。固非誕妄。且大集叢鬧昏雜波騰。卒欲正理何由可靜。未若高颺洪音歸依三寶。忽聞駭耳莫不傾心。斯亦發萌草創開信之奇略也。世有法事號曰落花。通引皂素開大施門。打剎唱舉抽撤泉貝。別請設坐廣說施緣。或建立塔寺。或繕造僧務。隨物讚祝其紛若花。士女觀聽擲錢如雨。至如解髮百數數別。異詞陳願若星羅。結句皆合韻。聲無暫停。語無重述。斯實利口之銛奇。一期之走捷也。餘則界得僧得。其徒復弘。尋常達嚫。科要易悉。故不廣也。若夫適化無方陶甄不一。知微詎幾達信誰焉。然則堅信終乎我亡。知微極乎想滅。自斯階降漸次不倫。達化以識變為明。通法以濫委為闇。故身子謬說無昇悟入。眾首妄悔畢為譏訶。自餘下凡諒難圖矣。且道開物悟。信乎說道之功。既非會正何能審觀。止可登機之務以意商量。接俗之能存乎此舉。猶應執文信度。懲革者希。擬人以倫。固當非咎。悠哉遐想。通斯意焉。終南大一山沙門京兆釋道宣。敢告法屬曰。竊以。法流所被非人不弘。頃世澆離多乖名實。後學奔競未志尋籌。致混篇章凋殘者眾。自梁已後。僧史荒蕪。追討英猷罕有徽緒。豈非綴緝寡鮮聞見遂沈。高行明德湮埋難紀。輒不涯揆且掇在言。至於傳述固𮓪嘉績。猶賢絕墜無聞於世。所以江表陳統瓊晃琰皭之疇。河北高都融琛散魏之侶。英聲冐於天漢。盛行動於人心。並可楷模。俱從物故。嘗以暇日遍訪京賢。名尚不聞何論景行。撫心之痛自積由來。相成之規意言道合。仰託周訪務盡搜揚。勿謂繁多致乖弘略。世之三史。卷餘四百。尚有師尋。豈喻釋門三五帙也。故當微有操行可用師模。即須綴筆更廣其類。豈不光聞僧海舟徑聖蹤則釋門道勝顧思齊之有日俗流上達增景仰於生常邪。輒舒傳末。冀期神之有據耳。

The treatise says: Since antiquity, the various biographies have mostly omitted the latter categories. It was only when the Jin moved south that names and realities began to be distinguished. That being so, the breadth of benefiting beings lies in taking high responsibility for one's task. In the Sahā world, what is venerated is none other than sound to facilitate understanding. Moreover, ever since sound has been handed down, its currents have become mixed; though practiced constantly in the world, its source is rarely investigated. Now, for the benefit of those not yet awakened, I will attempt to sketch and discuss it in broad strokes. At first, the essential virtue of the scriptural reciters was fundamentally to blend text with sound, with the intention of causing listeners' spirits to awaken and turn toward dedication by means of the sound. In recent generations, however, people have discarded its true purport: the music of Zheng and Wei has spread widely, taking mournful sweetness for the sublime and using dramatic ascents and falls for lofty performance. This has brought about licentious sounds, seductive tunes, and frequent coquettish trills. The world values and shares in this confusion, and few take what is truly correct as the standard. Thus, when sound and bhāṇā intertwine, proper elegance is completely lost; even if there is editing and regulation, it is discarded by the times. People hope to attach themselves greedily to gain, and when it is expedient, they put it into practice, heedless of whether the listeners awaken or remain deluded, valuing only the momentary turning of ears. These practices are all taken as standard by the assembly of women, and monks have also adopted much of them, yet this violates and damages firm integrity and greatly diminishes refined purity. Their gain is merely complying with vulgar customs; their loss lies in frivolous discourse. Furthermore, as ornamentation and corruption are about to reach their end, master craftsmen have become scarce. In the past, three thousand tunes were expounded; today, not a single one hits the mark. Is this not because, as customs shift through the ages, conduct and concealment inevitably preserve their forms? The duty of leading and guiding [the assembly] is of prime urgency today. Its intention lies in expressing emotion and dredging open the profound principles. Its basis is fundamentally to open up living beings, and its matter pertains to knowing the right opportunity. It does not require reciting what has merely been passed down, which goes against the distinction between the fish-trap and the realization. Therefore, in the high precedents of the Buddha's era, Śāriputra was the first to speak; but if it was not such a person, the Miscellaneous Piṭaka set forth the blame and disaster incurred. Looking comprehensively at those of clear preeminence, they ultimately belong to the gate of wisdom: the merit of a dharmabhāṇaka in preaching the Dharma, or the function of a vinayadhara in knowing the Vinaya. Now, provisionally distinguishing ranks according to appearances and limiting tasks to conclude this section, worldly life holds that 'nothing is impossible to apply' and also says 'no single person is fully equipped'; in the Way, one does not look down on the unlearned, but for subverting external [views] one must indeed be broad. Thus, as set forth in the previous biographies, the four abilities were diligently expounded, and one may view them accordingly. Truly, as with the great models, how else can this be clarified? If one's study of sound is abundant, then with warm words and elegant fullness, and with talent and eloquence overflowing, wisdom will arise close to the opportune moment. If one surely follows these tracks, the footprints will result in clarifying the Way. If one goes against this station, deception and confusion will obscure the profound ford. But because the world encounters the five taints and people are bound by the nine afflictions, worldly profits increase daily while the propagation of the Way stumbles greatly. For this reason, whether seated alongside court ministers or face-to-face with men of letters, their learned compositions are coarse and weed-choked, frequently presenting the vulgar and base. Praising the virtues of the emperor, they liken him to Yi Yin; extolling the poor and humble, they invert it to match the royal crown. If they speak of a full month, they say, 'A holy child has returned to our gate,' entirely omitting the jade tally and wooden bow, and how could bed and table even be mentioned? If they describe the women's chambers, they recite 'modest, quiet, and leisurely,' which can cause sons and daughters to flee in shame and high and low to be visibly perturbed. The monastic order covers its ears for them; literati and commoners alike feel a chill at heart. Not only is the said merit applied in vain, but the heart of faith also withers and decays. There are also those who flaunt their lips and tongue, agitating and drumming without shame, lavishly adorning gardens and courtyards, and brightening horses and hounds. All of these have not received learning from a master, and their words are borrowed from others' transmissions. Brazen in what they previously heard, they give no thought to acupuncture and moxa. Consequently, the heavy and the light tread the same path, and truth and error flow together in confusion. As their brazenness increases, their folly and stagnation deepen all the more. Could this be called leading and guiding? How could it be so? By contrast, as when Shanquan conversed with the Heir Apparent, a thousand sheets of paper could not exhaust his splendid eloquence; or when Zhenguan resolved difficulties and manifested his spirit, a hundred phrases further opened the minds of those with wrong faith. Thus, whether for the living or the dead, they determined ancestral respect; for the fine and solemn, they investigated regions and cities. Their phrasing flowed conveniently, ceaselessly and inexhaustibly; their citations and arrangements properly matched both sentiments and circumstances. They could cause the arrogant to bend their bodies and the Confucian scholars to break into smiles, whereupon one recognized their steadfast faith and praises resounded throughout the roads. Now, briefly clarifying the raising of opportunities: gaining awakening for people is like this; going against these words: incurring censure and obscuring transformation is like that. I have ventured to discuss this: dealing with the moment is difficult indeed! The composition of bhāṇā has been driven along with the generations: changing and innovating old regulations, it mostly advances new modes. Investigating its origins, all trace it to Fisher Mountain; some point to the past legacy of Dong'e, while others suddenly mention Jingling's mysterious transmission. Not yet knowing the ancient accounts, let us first relate its provenance. Is it not that the sounds go against the ancient patterns of widespread distribution, relying solely on oral transmission, with human execution regarded as paramount, so that ultimately it is difficult to determine standards, and its stylistic forms are exceedingly numerous? As for the use of brahma [chanting], it gathers the assembly and circulates incense, taking quiet restraint and dedicated reverence as its aim. Examining its name and reality: brahma means pure. It is truly a heavenly sound. When the devas of the form realm come to behold the Buddha, they all present eulogies and praises. The sūtras contain such matters, and patriarchs practiced them. Therefore, preserving the original cause, the sound was called brahma. However, those heavenly sounds are not necessarily identical to this. Hence, in the eastern lands, the brahma sounds and recitations are especially numerous. Among the elevated ones are those such as the 'new sound to assist sorrow' and the 'pañca gesture.' Regions are divided between Zheng and Wei, and sounds are likewise varied, yet their great path does not depart from habitual practice. The separation between the south and Guanzhong is as vast as heaven and earth. Is it not that the ambitions of Wu and Yue are expansive and their customs fond of superficial elegance, so that what is esteemed in tone and hymn takes delicate sweetness as skillful; whereas the Qin lands, Yong and Liang, have tones and words that are heroic and distant, so that when it comes to the reach of singing, they all take depth and loftiness as supreme? That being so, circumstances are difficult to keep constant and cannot be mutually exclusive. If monastic and lay are gathered together, or if an entire city participates in a great vegetarian feast, then for circulating incense and the long brahma chanting, the Qin sound is fitting. For the regular rites of the five assemblies, the constant revival of the seven nobles, or the opening of scriptural lectures, the Wu sound is arguably second. Is it not because on clear nights and auspicious mornings, darkness and obscurity obstruct one another, so that clear sounds and elegant melodies are used to awaken and stir submerged emotions? In the transmissions regular to the capital region, there are two brahma chants, large and small; in Jinling of old, they also transmitted two preludes, long and short. These pertain to matching the occasion and are not without their beauty. In Jiannan and Longyou, the style and form follow Qin; though there may be surpluses or deficiencies, they are not worth evaluating. Thus we know that even within the single realm of the Divine Land, the types of sounds are already distinct; India and the various barbarian lands naturally have their own separate hymns and praises. By principle, one cannot use these Tang and brahma sounds to imitate the voices of heaven; any bold conjecture is surely plain to see. The composition of bhāṇā touches somewhat upon the preceding category. As for its application, the arrangements are nevertheless distinct: brahma is instituted for its efficacy in initiating and leading, while bhāṇā concludes when the assembly disperses. Inquiring into bhāṇā, it too originally stems from the heavenly voice. In Tang, it is translated as 'quiet,' which deeply captures its principle: when the assembly is about to disperse, fearing that chaotic conditions may arise, bhāṇā is used to restrain them so they do not fall into negligence. Yet does the meaning of quiet bhāṇā apply only to seeing people off at the end? Many begin well, but those who are cautious at the end are truly few. Thus, one raises admonitions according to circumstances, and there is no lack of general discussion. The setting forth of hymns and eulogies has indeed a vast flow. The regions of the Jiang and Huai are particularly rich in this pastime: carving and adorning fine texts, interweaving them with vocal splendor, praising and extolling in accordance with the fascicles, composing them as the occasion fits. Yet their sounds are mostly voluptuous and unrestrained, obscuring and covering the literary words. The listeners hear only fluttering chirps and are ultimately lost as to what trap or sign is being used. The regions of Guanhe, Jin, and Wei value both, but because the words spoken are not ornate, their refined style appears clumsy. Moreover, their sound is restrained and the words abundant, easy to listen to and opening up deep faith. Only in those southern lands are literary texts and sounds like a forest. If they had restrained them with moderation, the principles would surely have harmonized with the profound and distant; but following degradation, it is hard to swim upstream, and returning is likewise rare. As for Shengyan's singing of the Buddha's conditions, with rhymes formed in five-character lines, all the hundred collections took it as a model and guide; and Yuanyun's praise of the Pure Land, with four characters making a stanza, was admired by the seven groups as refined style. These all had no tunes to intermix with their source, and thus were able to be transmitted through successive generations. Someone asked: 'The various hymns and bhāṇās set forth above derived their achievements from sound. I have heard that without sound there is no way to reach the mind, and without sound one cannot give voice to the profound principle. Therefore, singing and praising the Dharma are made into music. What of these words?' If there must be such an assertion, you have not heard the earlier metaphor. In principle, one must shape, trim, and restrain, ensuring that substance and ornament properly balance. When words exceed reality, it is universally condemned in the world; when sound obscures the basis of the Dharma, the Buddha had broad prohibitions. How can one cover clear tones and seek sharp sorrows, neglecting the refined assembly and braving ignorant men? This is truly shameful. Among the gatherings in the capital where sounds are heard in Dharma services, they are mostly performed by laypersons. When asked whence this comes, there is no way to know in detail. They brazenly carry out their affairs, claiming to have a constant tradition, all stemming from the past flow of flourishing virtue, and thus cannot be entirely rejected. As for the regular teachings of sages and worthies, there are both general and particular prefaces to open chapters and recount scriptures, narrating the Dharma of sages; and various verses serve as the head. Although prefaces and verses differ in wording, their meaning in revealing and awakening is the same. The ancient sages left models at the beginning of the teachings, and the worthies of today inherit them on the surface of affairs. The times being remote, they cannot be fathomed, but from their appearance this can be inferred. Imagining that one grasps their traces, they indeed have a basis and are certainly not wild falsehoods. Furthermore, in great gatherings where confusion and noise surge like waves, if one abruptly wishes to set forth correct principles, how could it become quiet? It is not as good as raising a great sound to take refuge in the Triratna; suddenly hearing it and startling the ears, there is no one who does not turn their heart. This too is a marvelous strategy for initiating and opening faith in the beginning. In the world there is a Dharma service called 'Scattered Flowers,' which generally draws together monastics and laypersons and opens the gate of great giving. Striking the staff and chanting calls, they draw forth coins and shells; specially inviting [masters] to set up seats, they broadly expound the causes of giving, either erecting stupas and monasteries or repairing monastic affairs. Praising and blessing according to the donations, they scatter like flowers; men and women watching and listening toss coins like rain. As for loosening the hair, hundreds of people do so, each with different words, stating vows spread out like stars, their concluding phrases all rhyming, their voices not pausing for a moment, and their words never repeated. This is truly the sharp marvel of fluent mouths, a fleeting dexterity. As for the rest, such as boundary gains and saṅgha gains, their disciples are again numerous. Ordinary dakṣiṇā and essential rules are easy to know, and therefore I do not treat them broadly. Now, adapting to transformation has no single method, and molding beings is not uniform: how many can perceive the subtle, and who can penetrate faith? That being so, firm faith ends with the demise of the self, and knowing the subtle culminates in the cessation of ideation. From this, the steps descend in succession without irregularity. Penetrating transformation uses recognizing change as illumination; comprehending the Dharma uses indiscriminate confusion as darkness. Therefore, Śāriputra's mistaken preaching did not lead to an ascent into realization, and the assembly leader's erroneous repentance ultimately incurred mockery. As for the remaining ordinary mortals, they are truly hard to calculate. Moreover, that the Way opens the awakening of beings is truly the merit of expounding the Way. Not yet having converged with correctness, how could one observe with precision? One can only weigh according to intention the requirements of the immediate occasion; the ability to receive the common people rests upon this practice. Yet one should still maintain textual authority and trust regulations, for those who discipline and reform are few. Measuring people by their peers surely incurs no blame. How distant my thoughts are, understanding this intention! Śramaṇa Daoxuan, from Dayi Mountain in Zhongnan in Jingzhao, dares to address the members of the Dharma, saying: I humbly believe that where the flow of Dharma reaches, without people it cannot be expanded. In recent times, frivolity and decay have largely distorted names and realities; later students compete eagerly without aspiring to seek and calculate, causing texts to become disordered and many to wither away. Since the Liang dynasty, monastic histories have been desolate and weed-covered; in pursuing heroic plans, rarely has there been a glorious succession. Is it not that compilation has been scarce, so that what was heard and seen has sunken away, and eminent conduct and luminous virtue have been buried and become difficult to record? Venturing without measuring my limits, I have provisionally gathered what was said. As for transmission and narration, it certainly lacks fine achievements, yet it is better than having them severed and lost without being heard in the world. For this reason, the likes of Tong, Qiong, Huang, Yan, and Jiao of Chen in Jiangbiao, and the companions of Rong, Chen, San, and Wei of Gaodu in Hebei, whose heroic reputations reached the Milky Way and whose flourishing practices moved human hearts, could all serve as models, yet all have passed away. I once, on a day of leisure, inquired everywhere among the worthies of the capital, but even their names were unheard—how much less their exalted conduct! The pain clutching my heart has naturally accumulated over time; our shared rules of mutual support are in accord in thought, word, and way. Respectfully relying on thorough inquiries, I have striven to search out and bring them to light. Do not say that their great abundance goes against a grand overview. In the world's Three Histories, with over four hundred fascicles, there are still masters who consult them; how can this be compared to the mere three or five wrappers of the Śākya gate? Therefore, wherever there is the slightest conduct that may serve as a model for a master, one must set brush to paper and further expand its category. How could this not make its fame shine across the sea of the Saṅgha, serving as a boat and path to the holy traces, so that the supremacy of the Way of the Śākya gate will bring about days when people look upon and seek to emulate it, while the upper reaches of the secular stream will increase their veneration in daily life? I venture to lay this out at the end of the biographies, hoping that my spirit will have a firm basis.