翻譯名義集 4.103

4.103

【唄（蒲介）匿】或梵唄，此云止。若準律文，唄匿。如法出要律儀云：「如此欝鞞國語，翻為止斷也。又云止息，由是外緣已止已斷，爾時寂靜，任為法事也。或婆陟，訛也。梵音婆（蒲賀）師，此云讚歎，梵天之音。」《善見》云：「聽汝作唄。」唄，言說之詞也。《法苑》云：「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。《婆沙》億耳，以三契聲頌所解法，佛讚善哉。《珠林》齊僧辯，能作梵契等。」《音義》云：「契之一字，猶言一節一科也。《弘明集》頌經三契，道安法師集契梵音。《佛道論衡》云：『陳思王幼含珪章，十歲能文，每讀經文，流連嗟玩，以為至道之宗極也。遂製轉讀七聲，昇降曲折之響，世之諷誦，咸憲章焉。嘗游魚山，忽聞空中梵天之響，清颺哀婉，其聲動心。獨聽良久，而侍御莫聞。植深感神理，彌悟法應，乃摹其聲節，為梵唄，撰文。』」

[Bhaiṣajya / Bhāṇa (唄匿)] Also called fanbai (Sanskrit chanting); here translated as "stopping." According to the Vinaya text, it is baini. The Rufa chuyao lüyi says: "In the language of the country of Udyāna, this is translated as 'stopping and severing.' It also means 'quelling,' because external conditions have already been stopped and severed, and being tranquil at that time, one may properly conduct Dharma rites. Alternatively, pozhi is an error. The Sanskrit sound is bhāṣā (婆師), which here means 'praise,' the sound of Brahmā." The Samantapāsādikā says: "I permit you to perform chanting (bai)." Bai is the expression of speech. The Fayuan [zhulin] says: "Seeking chanting (bai) in the Western Regions is like having eulogies (zan) in the Eastern Land. Eulogies weave passages based on written text; chanting spreads praise in short verses. Comparing their function and meaning, the names differ but the reality is the same. In the Mahāvibhāṣā, Śroṇa praised the Dharma he understood in three stanzas of chant, and the Buddha praised him: 'Well done!' The Zhulin records that Sengbian of the Qi dynasty was skilled at making Sanskrit chants, and so on." The Yinyi says: "The single character qi ('stanza' / 'chant') is like saying a section or a rubric. The Hongming ji mentions chanting sūtras in three stanzas; Dharma Master Dao'an compiled chants of Sanskrit tones. The Fodao lunheng says: 'King Si of Chen (Cao Zhi) embraced literary excellence from his youth and could compose texts at age ten. Whenever he read sūtra texts, he lingered with sighs of appreciation, taking them as the supreme culmination of the ultimate Way. He then created seven tones for chanting, with rising, falling, and undulating melodies, which the world's recitation took as a standard. Once, wandering on Mount Yu, he suddenly heard the sounds of Brahmā in the sky, clear, lingering, plaintive, and gentle, moving the heart. He listened alone for a long time, while his attendants heard nothing. Zhi was deeply moved by the spiritual principle, realizing all the more the response of the Dharma; he then modeled his melodies and rhythm on it, creating Sanskrit chanting and composing texts.'"