諸經要集 4.39

4.39

夫褒述之志。寄在詠歌之文。詠歌之文。依乎聲響。故詠歌巧則褒述之志申。聲響妙則詠歌之文暢。言詞待聲。相資之理也。尋西方之有唄。猶東國之有讚。讚者從文以結章。唄者短偈以流頌。比其事義。名異實同。是故經言。以微妙音聲。歌讚於佛德。斯之謂也。昔釋尊入定。琴歌震於石室。婆提颺唄。清響徹於淨居。覺世至音。固無得而稱矣。至于末代。修習極有明驗。是以陳思精想。感魚山之梵唱。帛橋誓願。通大士之妙音。藥練勤行。受法韻於幽祇。文宣勵誠。發夢響於齋室。並能寫氣天宮。摹聲淨剎。抑揚詞契。吐納節文。斯亦神應之顯徵。學者之明範也。原夫經音為懿。妙出自然。製用可修。而研響非習。蓋所以炳發道聲移易俗聽。當使清而不弱。雄而不猛。流而不越。凝而不滯。趣發祇鷲之風。韻結霄漢之氣。遠聽則汪洋以峻雅。近屬則從容以和肅。此其大致也。經稱深遠雷音。其在茲乎。若夫稱讚聯齋。眾集永久。夜緩晚遲。香銷燭揜。睡蓋覆其六情。嬾結纏其四體。於是擇妙響以升座。選勝聲以啟軸。宮商唄發動。玉振金反折。四飛哀悅七眾。同迦陵之聲。等神鸞之響。能使寐魂更開。惰情還肅。滿堂驚耳。列席歡心。當爾之時。乃知經聲之為貴矣。

The intent of eulogizing and narrating is lodged in the texts of chants and songs. The texts of chants and songs rely upon vocal sounds. Therefore, when chants and songs are skillful, the intent of eulogizing and narrating is expressed; when vocal sounds are wondrous, the texts of chants and songs flow smoothly. Words depend on sounds: this is the principle of mutual reliance. Examining the West, its use of pāṭha (bei) is like the East's use of praises (zan). A praise follows the text to form a composition; a pāṭha uses short verses to let eulogies flow forth. Comparing their matters and meanings, the names differ but the reality is the same. For this reason, the sūtras say: "To sing and praise the Buddha's virtues with subtle and wondrous sounds"—this is what it refers to. In the past, when the Śākya Venerable entered concentration, the harp song vibrated in the stone cave; when Bhaddiya raised his chant, the pure echoes reached the Pure Abodes. The supreme sounds that awaken the world can surely never be adequately praised! Coming down to the final age, cultivating and practicing them has had clear efficacy. Thus the concentrated contemplation of the Prince of Chensi was moved by the Sanskrit chanting at Mount Yu; the vow of Bai Qiao connected with the wondrous voice of the Great Being; Yaolian's diligent practice received Dharma melodies from dark deities; Emperor Wenxuan's spurred sincerity brought forth dream echoes in his fasting chamber. All of them were able to express the atmosphere of celestial palaces and emulate the sounds of pure realms, modulating phrasing and melodies, and intoning rhythmic cadence. These are also evident proofs of divine response and clear models for students. Tracing the origin of sūtra sounds to their excellence: their wondrousness arises from spontaneity. Composition and application can be cultivated, but the refinement of resonance is not mere practice. It is that by which the voice of the Way shines forth, transforming worldly hearing. It should be made pure yet not weak, heroic yet not ferocious, flowing yet not excessive, collected yet not stagnant; evoking the style of Jetavana and Vulture Peak, weaving a cadence with the aura of the heavens. Heard from afar, it is vast, lofty, and elegant; attended up close, it is relaxed, harmonious, and reverent. This is its broad outline. When sūtras speak of the "deep and far-reaching thunderous voice," is it not precisely this? As for hymns and praises strung through a retreat: when the assembly gathers for a long time, the night drags on, late hours approach, the incense is burnt out, and candles are shrouded, the cover of sleep overspreads their six senses, and the knot of indolence entangles their four limbs. Thereupon, selecting wondrous resonances, [the chanter] ascends the seat; choosing sublime sounds, he unrolls the scroll. When the musical notes of the chant are sounded, jade vibrates and metal reverberates, flying in all directions to sadden and delight the sevenfold assembly, matching the voice of the kalaviṅka and equaling the cry of the divine luan-phoenix. It can reawaken sleeping souls and restore reverent discipline to indolent minds. The entire hall is startled to attention; those seated in rows are gladdened in heart. At that very moment, one recognizes how precious the sound of sūtras is!