一切經音義 21.273

21.273

阿耨多羅三藐三菩提（耨奴沃反。藐字案梵本應音云彌略反。阿此云無也。耨多羅上也。三藐正也。三遍也等也。菩提覺也。總應言無上正等覺也。耨字古來經論中多作耨音奴搆反。案梵語耨音同此方入聲殊無去聲之勢。故字冝從示不應從耒。此乃古今鈔寫之無識非潤色之紕謬。藐字本音摸角彌紹二反此土既無彌略之字。故假藐字而用之耳）。

Anuttarasamyaksaṃbodhi (*anouduoluo sanmiao sanputi*; *nou* has the *fanqie* onset *nu* and rhyme *wo*; for the character *miao*, checking the Sanskrit text, its sound should correspond to the *fanqie* onset *mi* and rhyme *lüe*; *a* here means un- [*an-*]; *nouduoluo* [*uttara*] means superior; *sanmiao* [*samyak*] means correct; *san* [*sam-*] means complete and equal; *puti* [*bodhi*] means awakening. In total it should be rendered as unsurpassable, complete, perfect awakening. From antiquity in sūtras and treatises, *nou* has often been written as *nou* with the *fanqie* onset *nu* and rhyme *gou*. In Sanskrit, the sound of *nu* corresponds to the entering tone in this land and has no falling tone tendency whatsoever; therefore, the character ought to follow the altar radical [示] rather than the plow radical [耒]. This is due to the ignorance of copyists past and present, not a flaw in stylistic polish. The original sounds of *miao* are *fanqie* onsets *mo* and rhyme *jiao*, or *mi* and rhyme *shao*; since this land lacks a character pronounced *mi-lüe*, *miao* was borrowed and used).