一切經音義 1.6

1.6

昔者素王設教。著十翼而通陰陽。玄帝談經。演二篇而明道德。豈若能仁出代獨步迦維。會三乘於鷲峯。轉四輪於鹿苑。繇是有半滿之字。敷貫散之花。因緇客而西至。驅白馬以東邁。是知不無不有掩蔽邪徒。即色即空甄明正道。於是慧雲蓄潤。垂靉靆而蔭群氓。法雨含滋。散空濛而霑眾草。斯之功利不可勝言。大矣哉。覺皇之為教也。若乃書之貝葉編諸海藏。結集由飲光之心。文義宣慶喜之口。流傳此土七百餘年。至於文字或難偏傍有誤。書籍之所不載。聲韻之所未聞。或俗體無憑。或梵言存本。不有音義誠難究諸。欲使坐得明師立聞精誼。就學無勞於負笈。請益詎假於摳衣。所以一十二音宣于涅槃奧典。四十二字載乎花嚴真經（十二音是翻梵字之聲勢也。舊云十四音誤也。又有三十四字名為字母。每字以十二音翻之。遂成四百八字。共相乘轉成一十八章名曰悉談。如新涅盤經音義中廣明矣）。故曰無離文字解脫也。暨國朝初有沙門玄應。孤標生知獨運先覺。明唐梵異語。識古今奇字。撰一切經音義一部。凡二十五卷。可以貽諸後進光彼先賢。作彼岸之津梁。涉法門之鍵鑰。次有沙門慧苑。撰新譯華嚴音義二卷。竝編於開元釋教錄。然以後譯經論及先所未音者。至於披讀講解。文謬誼乖得失疑滯。寡聞孤陋莫有微通。多見強識罕能盡究。然而自慠之輩。恥下問而不求。匿好之流。𠫤深知而不答。則聖言有阻能無悲焉。有大興善寺慧琳法師者。姓裴氏。疎勒國人也。則大廣智不空三藏之弟子矣。內精密教。入於總持之門。外究墨流。研乎文字之粹。印度聲明之妙。支那音韻之精。既瓶受於先師。亦泉瀉於後學。鞮譯迴綴參於上首。師掇其闕遺歎其病惑。覽茲群經纂彼詁訓。然則古來音反多以傍紐而為雙聲。始自𦨕虔元無定旨。吳音與秦音莫辯。清韻與濁韻難明。至如武與綿為雙聲。企以智為疊韻。若斯之類蓋所不取。近有元庭堅韻英。及張𭟺考聲切韻。今之所音取則於此。大略以七家字書釋誼（七書謂玉篇。說文。字林。字統。古今正字。文字典說。開元文字音義）七書不該百氏咸討。又訓解之末兼辯六書。庶因此而識彼。聞一以知十。師二十餘載。傍求典籍。備討經論。孜孜不倦。修緝為務。以建中末年剏製。至元和二祀方就。凡一百軸。具釋眾經。始於大般若。終於護命法。總一千三百部。五千七百餘卷。舊兩家音義合而次之。標名為異（兩家謂玄應慧苑等）浩然如海吞眾流以成深。晈兮若鏡照群物以無勌。元和十二年二月三十日。絕筆於西明寺焉。審以頗好文字擇善從之。許為不請之師。自媿未成之器。因啟其卷乃告厥功。謬以微才敘之云爾。

In antiquity, the Uncrowned King established teachings, authoring the 'Ten Wings' to penetrate yin and yang; the Dark Emperor expounded scripture, discoursing on the two sections to illumine the Dao and Virtue. How could they compare to Śākyamuni appearing in the world, walking alone in Kapilavastu, gathering the three vehicles at Gṛdhrakūṭa, and turning the four wheels at Mṛgadāva? From this there were the characters of half and full, and the scattering and stringing together of flowers. Carried by the black-robed monks they arrived from the west, driving the white horse as they journeyed eastward. Thus one knows that neither non-being nor being shrouds false factions, while form being empty and emptiness being form clarifies the right path. Thereupon clouds of wisdom gathered moisture, drooping in dense banks to shade the populace; the Dharma rain contained nourishment, scattering misty droplets to moisten all plants. The benefits of this cannot be fully recounted. Great indeed is the teaching of the Sovereign of Enlightenment! As for being written on palm leaves and compiled in the ocean-like canon, the compilation originated from the mind of Kāśyapa, while the textual meaning was proclaimed by the mouth of Ānanda. Transmitted to this land for more than seven hundred years, when it comes to characters, some are difficult and their components erroneous; some are not recorded in secular writings, and their phonetics are unheard of. Either colloquial forms lack basis, or the original Sanskrit forms are retained. Without sounds and meanings, it is truly difficult to investigate them thoroughly. One wished that people might acquire an enlightened teacher while seated, and instantly hear subtle doctrine; that in pursuing study they need not labor carrying book boxes, and in seeking further instruction they need not trouble lifting their robes. Therefore, the twelve vowels were proclaimed in the profound scripture of the Mahāparinirvāṇa, and the forty-two characters were recorded in the true sūtra of the Avataṃsaka. (The twelve vowels represent the phonetic values used in transcribing Sanskrit letters. The old assertion of fourteen vowels is an error. There are also thirty-four consonants known as mātṛkā. Transcribing each consonant through the twelve vowels produces 408 syllables, which combine and mutate into eighteen chapters called siddham, as detailed in the Sounds and Meanings of the New Nirvāṇa-sūtra.) Therefore it is said: 'Without abandoning characters, liberation is attained.' Coming to the beginning of the dynastic court, there was the śramaṇa Xuanying, who stood out with innate knowledge and uniquely exercised prior awakening. He understood the disparate languages of Tang and Sanskrit, and recognized unusual characters ancient and modern, composing a copy of the Sounds and Meanings of the Whole Canon in twenty-five fascicles altogether. It could be bequeathed to later learners and reflect glory upon previous worthies, serving as a ford and bridge to the other shore, and a key to accessing the Dharma gate. Next there was the śramaṇa Huiyuan, who composed two fascicles of the Sounds and Meanings of the Newly Translated Avataṃsaka; both were compiled into the Kaiyuan shijiao lu. However, with respect to the scriptures and treatises translated later, as well as those not previously glossed in sound, when it came to perusal and exposition, textual errors and interpretive discrepancies, gains, losses, doubts, and bottlenecks remained; those of limited hearing and narrow learning possessed not even a slight understanding, while those of broad learning and strong memory could rarely plumb them to the end. Nevertheless, the haughty were ashamed to ask their inferiors and sought nothing, while the hoarders of learning begrudged their deep knowledge and would not reply. When the holy words were thus obstructed, could one not be grieved? There is Dharma Master Huilin of Daxingshan Monastery, whose secular surname is Pei, a native of Kashgar. He was a disciple of the Great Broad Wisdom, Tripiṭaka Master Amoghavajra. Internally he mastered the esoteric teaching, entering the gate of dhāraṇī; externally he investigated the ink-flowing arts, delving into the finest essence of characters. The subtleties of Indian śabdavidyā and the refinements of Chinese phonology were received like water poured from the flask of his late master, and flowed like a spring to later students. In translating, transcribing, and compiling, he took part among the foremost. The Master plucked out what was missing, lamented what was corrupt and confusing, surveyed these various scriptures, and gathered those glosses and commentaries. However, ancient sound fanqie spellings mostly relied on adjacent initial shifts to make alliteration; starting from Shen Qian, there was originally no fixed standard. Wu pronunciation and Qin pronunciation were indistinguishable; clear rhymes and turbid rhymes were hard to clarify. As when wu and mian were taken as alliterative, or qi and zhi were taken as a rhyming binome—such examples are simply not adopted here. Recently there have been Yuan Tingjian's Yunying and Zhang Jian's Kaosheng qieyun; the present glosses take these as their model. Broadly speaking, explanations of meaning are based on the character books of seven schools (the seven books refer to Yupian, Shuowen jiezi, Zilin, Zitong, Gujin zhengzi, Wenzidian shuo, and Kaiyuan wenzi yinyi). What the seven books do not encompass, the hundred masters are fully consulted for. Furthermore, at the end of the glosses, the six categories of Chinese characters are additionally distinguished, hoping that through this one may recognize that, and by hearing one thing know ten. For more than twenty years, the Master sought far and wide among classics and writings, thoroughly investigating scriptures and treatises, untiring and diligent, making compilation his work. Begun in the final year of the Jianzhong reign-period, it was only completed in the second year of Yuanhe. In total there are one hundred scrolls, fully explaining the various scriptures. Beginning with the Mahāprajñāpāramitā and ending with the Humin fa, it encompasses altogether 1,300 works in more than 5,700 fascicles. The sounds and meanings of the previous two masters were combined and ordered, with their headings distinguished (the two masters refer to Xuanying, Huiyuan, and others). Vast as the sea swallowing all streams to achieve depth, clear as a mirror reflecting all things without weariness, on the thirtieth day of the second month of the twelfth year of Yuanhe, he put down his brush at Ximing Monastery. I, Shen, having a modest fondness for characters, choose what is good and follow it; he permitted me as an uninvited master, while I felt ashamed of being an unpolished vessel. Opening his scrolls, he announced his achievement, and I have erroneously used my slight talent to write this preface.