翻譯名義集 7.28

7.28

【犍（巨寒）椎（音地）】《聲論》翻為磬，亦翻鐘。《資持》云：「若諸律論，並作犍槌，或作犍椎。今須音槌為地。又羯磨疏中，直云犍地，未見椎字呼為地也。後世無知，因茲一誤。至於鈔文，一宗祖教，凡犍槌字，並改為稚，直呼為地。請尋古本，及大藏經律，考之，方知其謬。今須依律論，并作犍槌。至呼召時，自從《聲論》。」《增一》云：「阿難升講堂擊犍椎者，此是如來信鼓也。」《五分》云：「諸比丘布薩時，不時集，妨行道。佛言：『當唱時至，若打犍椎，若打鼓吹螺，使舊住沙彌淨人打，不得多，應打三通。若唱二時至，亦使沙彌淨人唱，住處多，不得遍聞，應高處唱。猶不知集，更相語知。若無沙彌，比丘亦得打。』」《事鈔》云：「若尋常所行，生椎之始，必漸發聲，漸希漸大，乃至聲盡，方打一通。佛在世時，但有三下，故《五分》云打三通也。後因他請，方有長打。然欲初鳴時，當依經論，建心標為，必有感徵。應至鐘所，禮三寶訖，具儀立念：『我鳴此鐘者，為召十方僧眾，有得聞者，並皆雲集，共同和利。又諸惡趣，受苦眾生，令得停息。』故《付法藏傳》中，罽膩吒王以大殺害故，死入千頭魚中，劍輪繞身而轉，隨斫隨生。羅漢為僧維那，依時打鐘。若聞鐘聲，劍輪在空。如是因緣，遣信白令長打，使我苦息。過七日已，受苦即息。江南上元縣一民，時疾暴死，心氣尚煖。凡三日復甦，乃誤勾也。自言至一殿庭間，忽見先主被五木縲械甚嚴，民大駭，竊問曰：『主何至於斯耶？』主曰：『吾為宋齊丘所誤，殺和州降者千餘人，以冤訴囚此。』主問其民曰：『汝何至斯耶？』其民具道誤勾之事。主聞其民却得生還，喜且泣曰：『吾仗汝歸，語嗣君，凡寺觀鳴鐘，當延之令永。吾受苦，惟聞鐘則暫休，或能為吾造一鐘尤善。』民曰：『我下民耳，無緣得見。設見之，胡以為驗？』主沈慮曰：『吾在位，嘗與于闐國交聘，遺吾一玉瑞天王。吾愛之，嘗置於髻，受百官朝。一日如廁，忘取之，因感頭痛。夢神謂我曰：「玉天王寘於佛塔，或佛體中，則當愈。」吾因獨引一匠，𢹂於瓦棺寺，鑿佛左膝以藏之，香泥自封。無一人知者，汝以此事可驗。』民既還家，不敢輒已，遂乞見主具白之，果曰冥寞何憑？民具以玉天王之事陳之。主親詣瓦棺，剖佛膝果得之，感泣慟躄，遂立造一鐘於清涼寺，鐫其上云：『薦烈祖孝高皇帝脫幽出厄，以玉像建塔，葬於蔣山（智興鳴鐘事出《法苑》）。』」《增一》云：「若打鐘時，一切惡道諸苦，並得停止。」應法師準《尼鈔》云：「時至應臂吒犍槌。」應師釋云：「梵語臂吒，此云打；梵語犍槌，此云所打之木，或檀或桐，此無正翻，彼無鐘磬故也。」《音義指歸》斥云：「祇如梵王鑄祇桓寺金鐘。又迦葉結集，撾（陟瓜切，椎也）銅犍槌，豈無鐘耶？但天竺未知有磬。」《五分律》云：「隨有瓦木銅鐵鳴者，皆名犍地。」又律中集僧有七種法：一量影，二破竹作聲，三作煙，四吹貝，五打鼓，六打犍槌，七唱諸大德布薩說戒時到。《事鈔》明入堂法，應在門外，偏袒右肩，斂手當心，攝恭敬意，擬堂內僧，并同佛想，緣覺羅漢想。何以故？三乘同法食故。次欲入堂，若門西坐者，從戶外旁門西頰，先舉左脚，定心而入。若出門者，還從西頰，先舉右脚而出。若在門東坐者，反上可知，不得門內交過。若欲坐時，以衣自蔽，勿露形醜。須知五法：一須慈敬，重法尊人；二應自卑下，如拭塵巾；三應知坐起，俯仰得時；四在彼僧中，不為雜語；五不可忍事，應作默然。凡徒眾威儀，事在嚴整清潔，軌行可觀，則生世善心，天龍叶贊。《華嚴》云：「具足受持威儀教法，是故能令僧寶不斷。」《智論》云：「佛法弟子，同住和合。一者賢聖說法，二者賢聖默然。準此處眾，唯施二事，不得雜說世論，類於污家俳說（俳戲也）。又貴靜攝，不在喧亂。誦經說法，必須知時。」《成論》云：「雖是法語，說不應時，名為綺語。」後裔住持，願遵斯式。

【Ghaṇṭā】 The *Śabda-śāstra* translates it as chime, and also translates it as bell. The *Zichi* says: "As for the various vinayas and treatises, they all write *jiantui* (犍槌) or *jiantui* (犍椎). Now the character *tui* (槌) must be pronounced *di* (地). Furthermore, in the *Karma Commentary*, it is simply called *jiandi* (犍地); I have never seen the character *tui* (椎) pronounced as *di*. Later generations were ignorant, and through this a single mistake arose. Coming down to the text of the *Chao*, the patriarchal teachings of a whole school, whenever the word *jiantui* (犍槌) appears, it was altered to *zhi* (稚), simply pronouncing it as *di*. Please consult the ancient editions and the scriptures and vinayas of the Tripiṭaka to examine it, and only then will one know its error. Now one must follow the vinayas and treatises, all writing *jiantui* (犍槌). As for calling and summoning, naturally follow the *Śabda-śāstra*." The *Ekottarika-āgama* says: "When Ānanda ascended the lecture hall to strike the *jiantui*, this was the Tathāgata's drum of faith." The *Mahīśāsaka-vinaya* says: "When the bhikṣus observed the poṣadha, they did not gather on time, hindering their practice of the Path. The Buddha said: 'One should announce that the time has arrived, whether by striking the *jiantui*, beating the drum, or blowing the conch. Let resident novices or pure attendants strike it; it must not be many, but should be struck three rounds. If one announces that the second time has arrived, one should also have a novice or pure attendant announce it; if the dwellings are many and it cannot be heard everywhere, one should announce it from a high place. If they still do not know to assemble, they should inform one another. If there is no novice, a bhikṣu may also strike it.'" The *Shishi chao* says: "As for what is ordinarily done, the beginning of sounding the mallet must start softly, gradually becoming sparser and louder, until the sound ends, at which point one round is struck. When the Buddha was in the world, there were only three strokes; thus the *Mahīśāsaka-vinaya* says to strike three rounds. Later, due to requests by others, long striking arose. However, when intending to strike it initially, one should rely on the sūtras and treatises to establish the mind and mark the purpose, and there will surely be an effective response. One should approach the bell, bow to the Three Jewels, and with full deportment generate the thought: 'My ringing this bell is to summon the saṅgha of the ten directions; may those who hear it all gather like clouds and together attain harmony and benefit. Furthermore, may the sentient beings suffering in the miserable destinies be granted respite.' Therefore, in the *Fu fazang zhuan*, King Kaniṣka, because of great slaughter, fell upon death into a thousand-headed fish, with sword-wheels rotating around his body, reviving as soon as he was cut down. An arhat serving as the saṅgha's karmadāna struck the bell on time. Whenever the sound of the bell was heard, the sword-wheels halted in the air. For this reason, he sent an emissary to request that they strike it continuously, so that my suffering might cease. After seven days had passed, his suffering ceased. A commoner of Shangyuan County in Jiangnan died suddenly of an illness, but his chest remained warm. After three days he revived; it was a mistaken summons. He recounted that he reached a palace courtyard and suddenly saw the former ruler heavily bound in the five wooden fetters. The commoner was terrified and quietly asked: 'How did my lord come to this?' The lord replied: 'I was misled by Song Qiqiu into slaughtering over a thousand who surrendered at Hezhou, and on account of their grievances and appeals I am imprisoned here.' The lord asked the commoner: 'How did you come here?' The commoner recounted in full the affair of the mistaken summons. Hearing that the commoner could return alive, the lord said with both joy and tears: 'I rely on you to return and tell my heir: wherever monasteries and temples ring bells, they should prolong them to last long. In my suffering, only when hearing the bell do I get temporary rest; or if he could cast a bell for me, that would be even better.' The commoner said: 'I am only a lowly subject, with no access to see him. Even if I saw him, what proof could I offer?' The lord pondered deeply and said: 'While on the throne, I once exchanged envoys with the kingdom of Khotan, and they presented me with an auspicious jade heavenly king. I treasured it and often placed it in my topknot when receiving the court of the hundred officials. One day I went to the privy and forgot to remove it, and consequently contracted a headache. A spirit told me in a dream: "If the jade heavenly king is placed in a Buddhist stūpa or inside a Buddha's body, you will recover." I then privately took a craftsman to the Waguan Monastery, hollowed out the left knee of the Buddha to conceal it, and personally sealed it with fragrant clay. Not a single person knows of this; you may use this matter as proof.' When the commoner returned home, he dared not let it drop, and so begged an audience with the ruler to report it all. As expected, the ruler asked what proof there was from the netherworld. The commoner related the matter of the jade heavenly king in detail. The ruler went in person to Waguan Monastery, opened the Buddha's knee, and indeed found it. Moved to tears and beating his breast in grief, he immediately had a bell cast at Qingliang Monastery, engraving upon it: 'Dedicated to Liezu, Emperor Xiaogao, to release him from obscurity and deliver him from distress; a stūpa was erected with the jade image, buried at Mount Jiang.' (The story of Zhixing ringing the bell comes from the *Fayuan*.) The *Ekottarika-āgama* says: 'When the bell is struck, all the sufferings of all the evil paths are halted.' Master Ying, basing himself on the *Nishi chao*, says: 'When the time arrives, one should strike (*piṭa*) the *jiantui*.' Master Ying explains: 'The Sanskrit *piṭa* means "to strike" here; the Sanskrit *ghaṇṭā* means "the wood that is struck" here, either sandalwood or tung tree. There is no direct translation here, because they have neither bells nor chimes.' The *Yinyi zhigui* refutes this, saying: 'As for Brahmā casting a golden bell for the Jetavana Monastery, and Kāśyapa striking a copper *jiantui* at the council, how could there be no bells? It is only that India did not know of stone chimes.' The *Mahīśāsaka-vinaya* says: 'Whatever sounds from clay, wood, copper, or iron is called a *ghaṇṭā*.' Moreover, in the Vinaya there are seven methods for assembling the saṅgha: first, measuring shadows; second, splitting bamboo to make a sound; third, making smoke; fourth, blowing the conch; fifth, beating the drum; sixth, striking the *jiantui*; seventh, chanting that the time has arrived for the venerable ones to observe the poṣadha and recite the precepts. The *Shishi chao* clarifies the method for entering the hall: one should remain outside the door, bare the right shoulder, clasp hands before the chest, collect a reverent mind, and regard the monks inside the hall as identical to the Buddha, pratyekabuddhas, and arhats. Why? Because the three vehicles share the same food of the Dharma. Next, when wishing to enter the hall, if sitting west of the door, one enters from outside the door along the western jamb, lifting the left foot first, entering with a settled mind. If going out the door, one likewise follows the western jamb, lifting the right foot first to exit. If sitting east of the door, the opposite of the above is understood; one must not cross paths inside the door. When wishing to sit, one covers oneself with one's robe, not exposing physical unseemliness. One must know five dharmas: first, one must be compassionate and respectful, esteeming the Dharma and honoring others; second, one should humble oneself like a rag for wiping dust; third, one should know when to sit and rise, carrying oneself in accordance with the proper time; fourth, among those monks, one does not engage in idle chatter; fifth, regarding intolerable matters, one should remain silent. As for the deportment of the assembly, the matter lies in strict order, cleanliness, and observable conduct; then the worldly good mind will arise, and gods and dragons will assist and praise. The *Avataṃsaka* says: 'Fully maintaining the teachings on deportment, one is therefore able to keep the jewel of the Saṅgha unbroken.' The *Mahāprajñāpāramitā-śāstra* says: 'Disciples of the Buddha's Dharma abide together in harmony: first, by the noble and sagely expounding the Dharma; second, by the noble and sagely observing silence.' According to this, when dwelling in the assembly, one only practices these two matters; one must not engage in miscellaneous worldly talk, resembling defiled households and theatrical banter (a play is an entertainment). Furthermore, one values quiet restraint, not noise and disturbance. In chanting sūtras and expounding the Dharma, one must know the proper time.' The *Satyasiddhi-śāstra* says: 'Even if it is Dharma talk, if spoken out of season, it is called frivolous speech.' May future abbots follow this model.