目次Contents
永嘉證道歌Song of Realizing the WaySong of Realizing the Way
一首歌，二百六十七句，七言為主，雜以六言，起句「君不見」〔T48 0395c09〕三字全篇只用一次。它不像經，不像論，也不像銘；它像一個人站在路口，把自己走過的路、認得的人、被罵過的話、見過的珠，一口氣唱出來。唱到末尾，他說「未了吾今為君訣」〔T48 0396c28〕——你還沒明白，我現在替你說破。
這首歌最難的地方，是它開口就說「不除妄想不求真」〔T48 0395c09〕。妄想不除，真不求，那修什麼？歌的回答藏在下一句：「無明實性即佛性。幻化空身即法身。」〔T48 0395c10〕妄想沒有另一個體可除，真沒有另一個地方可求。往後所有的話——頓覺、貧道、謗如甘露、行亦禪坐亦禪、一超直入、一月普現一切水、傳燈六代、末法師子、入海算沙、二比丘犯重——都是這一句的注腳。
本編以歌一單元、楊億〈無相大師行狀〉一單元為二單元，各立五層。歌的白話依二十四個自然段，一段一段對譯，不以句式機械切；考據以宋人《證道歌註》為逐文之鏡，逐段附錨，注家之名諸錄不合，並錄不判；義疏分十二節走一遍，承衍節錄註文；心要只跟著那個「口稱貧」的窮和尚看一遍。行狀所記曹谿一宿覺的對話，自有其義疏與心要。
讀它，不必先懂禪。先聽那個人在唱什麼；聽到「亦無人亦無佛」〔T48 0396c23〕，就夠了。
One song, two hundred and sixty-seven lines, mostly of seven characters with some of six; its opening words, “have you not seen,” appear only once in the whole piece. It is not like a sūtra, not like a treatise, not like an inscription; it is like a man standing at a crossroads singing out in one breath the road he has walked, the people he has known, the abuse he has taken, the jewel he has seen. At the end he says “if you have not understood, I now settle it for you”—you have not yet understood, so I will now break it open.
The hardest thing about this song is that it opens by saying “neither removing deluded thoughts nor seeking the true.” If deluded thoughts are not removed and the true not sought, what is there to practice? The song’s answer is in the next line: “the real nature of ignorance is buddha-nature; the empty body of illusion is the dharma-body.” Deluded thought has no separate substance to remove; the true has no separate place to be sought. Everything that follows—sudden awakening, the poor man of the Way, slander drunk as sweet dew, walking is Chan and sitting is Chan, entering straight in with one leap, one moon appearing in all waters, six generations passing on the lamp, the lion of the final age, counting sand in the sea, the two monks who broke the grave precepts—is a note on that one line.
This edition takes the song as one unit and Yang Yi’s Account of the Conduct of Great Master Wuxiang as a second, each with its five layers. The plain reading of the song follows twenty-four natural sections, rendered section by section rather than cut mechanically by line form; the apparatus takes the Song-period Commentary on the Song of Realizing the Way as its line-by-line mirror, anchored section by section, with the discrepancies among the records as to the commentator’s name set side by side and left unjudged; the exposition walks the song in twelve parts, with the commentary in its closing section; the essentials follow only the monk who “says with his mouth that he is poor.” The conversation of the one-night awakening at Caoxi recorded in the account has its own exposition and essentials.
You need not understand Chan first to read it. First hear what the man is singing; when you reach “there is no person and no buddha,” that is enough.
一、本歌與底本範圍
《永嘉證道歌》，大正藏第四十八冊第二〇一四號，一卷。卷端署「唐慎水沙門玄覺撰」〔T48 0395c08〕；歌正文一百零七行，二百六十七句，一千八百一十三字，尾題「永嘉證道歌〔終〕」〔T48 0396c29〕。歌後附楊億〈無相大師行狀〉三百四十三字〔T48 0397a03〕，記玄覺生平與曹谿一宿覺之事。大正藏卷末校記十九條，以【甲】本及底本【大】互校。
本編以此一漢文流為底本；《景德傳燈錄》卷三十所收全文〔T51n2076 0460a14〕為對勘本，異文並錄不判。
二、二單元與段落
本帙二單元：歌一單元；行狀作者層自立，另為一單元，比照同庫起信論之序。歌的白話依歌意分二十四個自然段，一段一段對譯；段界得落於一行之內的句首。「君不見」全歌只一見，不成機械切點；段界是本編的讀法，不是歌的自標。行狀散文，依文意分四段。
三、歌的三條線
一是「不除妄想不求真」〔T48 0395c09〕：妄想與真沒有二體，所以頓覺、不施功、取不得捨不得。二是「身貧道不貧」〔T48 0395c27〕：窮和尚口稱貧，心藏無價珍，珠換了三個名字——摩尼珠、如意珠、如意珠——從人不識到我今解此。三是「有人問我解何宗。報道摩訶般若力。」〔T48 0396b15〕：慧劍、戒珠、心鏡、法幢，都是般若一法的別名；傳燈二十八代、達磨六代，歌把自己放進這條線。
四、《證道歌註》一面古鏡
本編以 X63n1241《證道歌註》為逐文之鏡：逐句牒文，散文釋義。卷端署『侍者德最集·浮梁參學慧光錄』，卷內序題與尾題又有「梵天琪和尚」「妙空佛海和尚」之名，經錄作宋彥琪註；諸錄不合，考據並錄，義疏不以注家之名為主語。另以 X65n1292 為對勘鏡，X65n1291 之頌入古德拈頌，X65n1293 誌錄。行狀所記與傳燈錄玄覺章、宋高僧傳之異同，考據並錄。
五、守住的界線
底本之字不改；異文並錄不判；逐字引文用雙角引號並附頁錨，今語提挈用單角引號；義疏正文不以注家之名為主語，註文歸末節承衍；心要不掛注家名，只引歌與行狀的逐字；梵形唯取註所出者，不作現代還原；不引現代註本，不引現代學者。
I. The Song and the Scope of the Base Text
The Song of Realizing the Way of Yongjia, Taishō volume 48, number 2014, one fascicle. The head of the text reads “composed by the śramaṇa Xuanjue of Shenshui, of the Tang”; the body of the song runs to one hundred and seven lines, two hundred and sixty-seven verses, one thousand eight hundred and thirteen characters, closing with “Here ends the Song of Realizing the Way of Yongjia.” Appended after the song is Yang Yi’s Account of the Conduct of Great Master Wuxiang, three hundred and forty-three characters, recording Xuanjue’s life and the one-night awakening at Caoxi. The Taishō edition appends nineteen collation notes, collating the witness marked 【甲】 and the base edition against each other.
This edition takes this single Chinese stream as its base text; the full text preserved in fascicle thirty of the Record of the Transmission of the Lamp serves as collation text, its variants recorded side by side without adjudication.
II. Two Units and the Sections
This edition has two units: the song is one; the account, being of another author’s hand, stands as a unit of its own, after the precedent of the preface unit in the Awakening of Faith edition in this library. The plain reading of the song follows twenty-four natural sections according to the sense, rendered section by section; a section boundary may fall at the start of a verse within a line. “Have you not seen” occurs only once in the song and cannot serve as a mechanical cut; the sections are this edition’s reading, not the song’s own marking. The account is prose, divided into four sections by sense.
III. Three Threads in the Song
The first is “neither removing deluded thoughts nor seeking the true”: deluded thought and the true are not two substances, and so there is sudden awakening, no effort applied, nothing to take and nothing to reject. The second is “the body is poor, the Way is not poor”: the poor monk says with his mouth that he is poor, and hides in his heart a priceless treasure—a jewel that changes its name three times, the maṇi jewel, the wish-fulfilling jewel, the wish-fulfilling jewel again—from “people do not recognize it” to “I now explain it.” The third is “someone asks me what school I understand; I answer: the power of mahāprajñā”: the sword of wisdom, the jewel of the precepts, the mind-mirror, the dharma-banner are all other names for the one dharma of prajñā; through twenty-eight generations of the lamp and the six generations after Bodhidharma, the song places itself in that line.
IV. The Commentary on the Song of Realizing the Way as Old Mirror
This edition takes X63n1241, the Commentary on the Song of Realizing the Way, as its line-by-line mirror: it cites each verse and glosses it in prose. Its head reads “compiled by the attendant Dezui, recorded by Huiguang, a student from Fuliang”; within the volume the preface title and the closing title also carry the names “the Venerable Qi of Fantian” and “the Venerable Miaokong Fohai,” and the catalogue assigns it to Yanqi of the Song. The records do not agree; the apparatus sets them side by side, and the exposition does not take any commentator’s name as its subject. X65n1292 serves as a collation mirror; the verses of X65n1291 enter the old masters’ verse-citations; X65n1293 is recorded. Where the account differs from the chapter on Xuanjue in the Transmission of the Lamp and from the Song Biographies of Eminent Monks, the apparatus records both.
V. The Lines Held
The characters of the base text are not altered; variants are recorded side by side without adjudication; verbatim quotations stand in double corner brackets with page anchors, and paraphrase in single corner brackets; the body of the exposition does not take a commentator’s name as its subject, and the commentary is kept to the final section, Carrying Forward; the essentials name no commentator and quote only the song and the account verbatim; Sanskrit forms are given only where the commentary gives them, and are not reconstructed from modern editions; no modern commentary and no modern scholar is cited.
讀法How to read
一、先選入口
第一次讀，先讀歌的原典與白話：二十四段，一口氣讀完。行狀短，可以放在歌之前讀，先認識那個人；也可以放在歌之後讀，看他是怎麼走到曹谿的。義疏分十二節，第二遍讀；考據最後查。心要二篇各自獨立：歌的心要只跟著「口稱貧」的和尚，行狀的心要只看「返太速乎」〔T48 0397a17〕一句。
二、歌的二十四段讀法
義疏把二十四段併成十二節：閒道人（段一、二）；放四大與摩尼珠（三、四）；身貧道不貧（五）；謗與忍（六）；行亦禪坐亦禪（七、八）；衣鉢與心鏡（九、十）；撥空、取捨與慧劍（十一、十二）；一月普現一切水（十三、十四）；摩訶般若與傳燈（十五、十六）；末法、師子兒、圓頓（十七至十九）；入海算沙與執指為月（二十至二十二）；二比丘與如意珠（二十三、二十四）。段界見考據第一目之附表。
三、三條主題讀路
珠的讀路——摩尼珠〔T48 0395c22〕、如意珠〔T48 0396a20〕、如意珠〔T48 0396c22〕，三見；看它從「人不識」到「既能解此」到「我今解此」。
二次師子吼讀路——〔T48 0396a07〕對謗者，〔T48 0396c16〕對犯重者；看同一聲吼，兩次對著誰。
異文讀路——對照考據第十目：傳燈錄本「訣」作「決」，「阿鼻業」「三祇劫」二處對調，十九條校記中五條底本依【大】。並錄不判，讀者可以自己判。
四、五層怎麼用
原典照底本，每行一偈；白話一自然段一段；考據十目，第四目逐段牒《證道歌註》；義疏以歌為主語，註歸末節；心要另起一線。行狀五層同式，但其義疏與心要只講行狀，不借歌的義理代之。
I. Choose a Way In
On a first reading, read the base text and plain reading of the song: twenty-four sections, straight through. The account is short and may be read before the song, to meet the man first, or after it, to see how he came to Caoxi. The exposition, in twelve parts, is for the second reading; the apparatus is consulted last. The two essentials each stand alone: the song’s follows only the monk who “says with his mouth that he is poor”; the account’s looks only at the single question “are you not returning too fast?”
II. Reading the Song in Twenty-Four Sections
The exposition gathers the twenty-four sections into twelve parts: the man of the Way at leisure (sections 1–2); letting go of the four elements and the maṇi jewel (3–4); poor in body, not poor in the Way (5); slander and patience (6); walking is Chan, sitting is Chan (7–8); robe and bowl, and the mind-mirror (9–10); dismissing emptiness, taking and rejecting, and the sword of wisdom (11–12); one moon appears in all waters (13–14); mahāprajñā and the transmission of the lamp (15–16); the final age, the lion cubs, the perfect and sudden (17–19); counting sand in the sea and taking the finger for the moon (20–22); the two monks and the wish-fulfilling jewel (23–24). The section boundaries are tabulated in the first topic of the apparatus.
III. Three Thematic Paths
The path of the jewel—the maṇi jewel, the wish-fulfilling jewel, the wish-fulfilling jewel again: three appearances, from “people do not recognize it” to “once one can understand this” to “I now explain this.”
The path of the two lion’s roars—the first toward those who slander, the second toward those who have broken the grave precepts; one roar, twice, and see whom it faces each time.
The path of variants—set the tenth topic of the apparatus beside the text: the Transmission of the Lamp recension reads “settle” with a different character, exchanges “the karma of Avīci” and “three incalculable kalpas” between two places, and in five of the nineteen collation notes the base text follows the base edition rather than the witness. All recorded without adjudication; the reader may judge.
IV. How to Use the Five Layers
The base text follows the canon, one verse-line per line; the plain reading renders one natural section per paragraph; the apparatus has ten topics, the fourth citing the Commentary on the Song of Realizing the Way section by section; the exposition takes the song as its subject and keeps the commentary to its final section; the essentials open a separate thread. The account has the same five layers, but its exposition and essentials speak only of the account, and do not borrow the song’s meaning to stand in for it.
凡例Conventions
一、底本、範圍與行狀
底本為《大正新脩大藏經》T48n2014。歌自首題「永嘉證道歌」〔T48 0395c06〕與署「唐慎水沙門玄覺撰」〔T48 0395c08〕起，至尾題「永嘉證道歌〔終〕」〔T48 0396c29〕止；其後楊億〈無相大師行狀〉〔T48 0397a03〕至「並盛行於世云爾」〔T48 0397a24〕止。校記十九條不混入正文。底本文字照錄，不據鏡註或對勘本改字。
二、二單元與五層分工
歌一單元，行狀一單元（作者層自立；單元號只是標籤，行狀在歌之後）。五層：
原典——照錄底本，每 <l> 行一行，保留題、署、尾題與頁錨。
白話——歌依二十四個自然段一段一段逐句對譯，段界得落於行內句首；行狀逐句，依文意分段。
考據——十目：九目同淨土軸諸帙，第十目『偈式·異文』記句式、校記與對勘本之異；第四目逐段牒《證道歌註》。
義疏——以歌（或行狀）為主語；歌分十二節，行狀分四節；末節『承衍』錄註文或諸錄之異同。
心要——另起一線，不掛注家名，只引底本逐字。
三、白話、義疏與心要
白話先守原句，不以註義滲入歌文；補出的主語只能顯明原義。義疏每一項實質義理回到歌的字句或具名古註；歌沒有說明之處照實說。義疏正文不以注家之名為主語，註文歸末節。行狀之義疏與心要只講行狀。心要與義疏保持不同的教學角色。
四、考據十目
①科判定位（無古疏科判，記自然段界與傳燈錄收錄之位）；②異譯對勘（無異譯，記傳燈錄為對勘本）；③經論宗依（歌語與經論成句之同文，逐字附全式錨）；④本段釋要（《證道歌註》逐段，逐字附錨；注家名之諸錄不合於欄首一次並錄）；⑤諸家異釋（X65n1292 等並錄不判）；⑥術語（首見名相，釋義唯取註）；⑦譬喻·修辭（含古德拈頌）；⑧徵引承衍；⑨校本定位（校記十九條）；⑩偈式·異文。某目無材料時明說其無。
五、逐字引文與頁錨
雙角引號只放逐字引文；單角引號只作今語提挈。歌有句讀，引歌句時照底本之句讀；引註與對勘本時照各本。頁錨取所引首字所在之藏本行界：底本短式〔T48 0395c09〕，註與他本全式〔X63n1241 0261b10〕〔T51n2076 0460a14〕。
六、一面古鏡與對勘鏡
《證道歌註》X63n1241 為逐文之鏡，唯鏡用，不另譯；X65n1292 對勘鏡入第五目；X65n1291 頌入第七目古德拈頌；X65n1293 誌錄。《景德傳燈錄》卷三十為對勘本。鏡可以照歌，不取代歌。
七、歧異與存疑
底本與傳燈錄本之異文、校記十九條（其中五條底本依【大】）、「訣」「決」之異，依第九、十目實錄，並錄不判。注家名：卷端署『侍者德最集·浮梁參學慧光錄』，卷內序尾又見「梵天琪和尚」「妙空佛海和尚」，經錄作『宋彥琪註』；並錄不判。證道歌與永嘉集之分合、玄覺入曹谿之因緣、行狀「魏靜」與他書「魏靖」之名，依行狀、傳燈錄、宋高僧傳所載並錄。
八、梵形、引據與語言
梵形只依註所出者（摩訶、般若）作注音之助；註未出者保留漢音，不以現代校本重構。引據以歌、行狀、註、對勘本與古德拈提為限，不引現代註本，不引現代學者。中文使用現代漢文與全形標點；英文姊妹本以英語自然成文。歌、註、今譯三種聲音須可分辨。
I. Base Text, Scope, and the Account
The base text is the Taishō Shinshū Daizōkyō, T48n2014. The song runs from the title “Song of Realizing the Way of Yongjia” and the attribution “composed by the śramaṇa Xuanjue of Shenshui, of the Tang” to the closing title “Here ends the Song of Realizing the Way of Yongjia”; after it, Yang Yi’s Account of the Conduct of Great Master Wuxiang runs to “both circulated widely in the world.” The nineteen collation notes are not merged into the body. The characters of the base text are reproduced as they stand and are never altered on the authority of the mirror commentary or the collation text.
II. Two Units and the Division of the Five Layers
The song is one unit; the account is another, of its own author’s hand (its unit number is only a label; the account follows the song). The five layers:
Base text—the base text reproduced as it stands, one verse-line per line, with title, attribution, closing title, and page anchors kept.
Plain reading—the song rendered line by line in twenty-four natural sections, one section per paragraph, a boundary allowed at the start of a verse within a line; the account rendered sentence by sentence, in sections by sense.
Apparatus—ten topics: nine as in the editions of the Pure Land axis, and a tenth, “Verse Form and Variant Readings,” recording line form, collation notes, and the collation text’s variants; the fourth topic cites the Commentary on the Song of Realizing the Way section by section.
Exposition—takes the song (or the account) as its subject; twelve parts for the song, four for the account; a final “Carrying Forward” records the commentary or the differences among the records.
Essentials—a separate thread, naming no commentator, quoting only the base text verbatim.
III. Plain Reading, Exposition, and Essentials
The plain reading keeps first to the original line and does not let the commentary’s meaning seep into the song’s words; a subject supplied for readability may only make the original meaning plain. Every substantive point in the exposition returns to the song’s words or to a named old commentary; where the song explains nothing, the exposition says so. The body of the exposition does not take a commentator’s name as its subject; the commentary belongs to the final section. The exposition and essentials of the account speak only of the account. The essentials keep a teaching role distinct from the exposition’s.
IV. The Ten Topics of the Apparatus
(1) Doctrinal-outline placement (no old outline; the natural sections and the position in the Transmission of the Lamp); (2) collation with the alternate translations (none; the Transmission of the Lamp recorded as collation text); (3) scriptural and treatise grounding (sentences of the song that coincide with sūtra or treatise, each with a full-form anchor); (4) essentials of the commentary on this passage (the Commentary on the Song of Realizing the Way section by section, each with its anchor; the discrepancies as to the commentator’s name set side by side once at the head of the topic); (5) divergent readings of the commentators (X65n1292 and others, recorded without adjudication); (6) terms (first occurrences, glossed only from the commentary); (7) similes and rhetoric (including the old masters’ verse-citations); (8) citation and carrying forward; (9) placement among the recensions (the nineteen collation notes); (10) verse form and variant readings. Where a topic has no material, it says so.
V. Verbatim Quotation and Page Anchors
Double corner brackets hold only verbatim quotation; single corner brackets hold only paraphrase. The song is punctuated, and its lines are quoted with the punctuation of the base text; the commentary and the collation text are quoted with the punctuation of their own recensions. The page anchor is the canon line on which the first character of the quotation stands: short form for the base text, 〔T48 0395c09〕, full form for the commentary and other texts, 〔X63n1241 0261b10〕 or 〔T51n2076 0460a14〕.
VI. One Old Mirror and the Collation Mirrors
The Commentary on the Song of Realizing the Way, X63n1241, is the line-by-line mirror, used as mirror only and not translated separately; X65n1292 is a collation mirror in the fifth topic; the verses of X65n1291 enter the old masters’ verse-citations in the seventh topic; X65n1293 is recorded. Fascicle thirty of the Record of the Transmission of the Lamp is the collation text. A mirror may light up the song; it does not take its place.
VII. Divergences and Open Questions
The variants between the base text and the Transmission of the Lamp recension, the nineteen collation notes (in five of which the base text follows the base edition), and the two readings of the song’s final character “settle” are recorded as they stand in the ninth and tenth topics, without adjudication. As to the commentator’s name: the head of the commentary reads “compiled by the attendant Dezui, recorded by Huiguang, a student from Fuliang,” the preface and closing title within the volume carry “the Venerable Qi of Fantian” and “the Venerable Miaokong Fohai,” and the catalogue reads “commentary by Yanqi of the Song”; all are recorded, none judged. Whether the Song of Realizing the Way and the Yongjia Collection are one work or two, the occasion of Xuanjue’s journey to Caoxi, and the two spellings of the name Wei Jing in the account and elsewhere are recorded as the account, the Transmission of the Lamp, and the Song Biographies of Eminent Monks give them.
VIII. Sanskrit Forms, Sources, and Language
Sanskrit forms are given only where the commentary gives them (mahā, prajñā), as an aid to pronunciation; where the commentary gives none, the Chinese transliteration is kept and not reconstructed from a modern edition. Sources are limited to the song, the account, the commentary, the collation text, and the old masters’ citations; no modern commentary and no modern scholar is cited. The Chinese uses modern Chinese with full-width punctuation; the English sister edition reads as natural English. Three voices—the song, the commentary, and the present translation—must remain distinguishable.
譯者Translator
一、卷端署撰
底本卷端署「唐慎水沙門玄覺撰」〔T48 0395c08〕。歌後楊億〈無相大師行狀〉記玄覺永嘉人，姓戴，精天台旨，往曹谿見六祖，一宿而覺，歸溫江，號真覺大師；其著作「目為永嘉集。及證道歌一首。」〔T48 0397a24〕。傳燈錄玄覺章與宋高僧傳所記，與行狀互有同異，考據並錄。
二、一面古鏡與諸注
本編以《證道歌註》X63n1241 為逐文之鏡。此註卷端署『侍者德最集·浮梁參學慧光錄』，卷內序題作「梵天琪和尚註」，另有「妙空佛海和尚」之序，經錄作宋彥琪註；一註而三名，本編並錄，義疏不以其名為主語，正文稱「註」。另有 X65n1292 之註、X65n1291 法泉之頌、X65n1293 之註，各依其體入考據之目。《景德傳燈錄》卷三十所收全文為對勘本。
三、本編譯注者
釋慧鏡（Shi Huijing）譯注。歌與行狀各四層及卷首諸篇，皆自底本與上列諸本起草；每一引文回到所引之本逐字核對，頁錨回到所引首字所在之行。一切義理之判為譯者之判，不假註家之名。
譯者 釋慧鏡。AI 於指月計畫各端之角色，總說維護於 waken.org/methodology。
I. The Attribution at the Head
The head of the base text reads “composed by the śramaṇa Xuanjue of Shenshui, of the Tang.” Yang Yi’s Account of the Conduct of Great Master Wuxiang, appended after the song, records that Xuanjue was a native of Yongjia, surnamed Dai, expert in the purport of Tiantai; that he went to Caoxi to see the Sixth Patriarch, awakened in a single night, returned to Wenjiang, and was called Great Master Zhenjue; and that his writings were “titled the Yongjia Collection; together with the Song of Realizing the Way, in one piece.” The chapter on Xuanjue in the Transmission of the Lamp and the Song Biographies of Eminent Monks agree and differ with the account in places; the apparatus records both.
II. One Old Mirror and the Several Commentaries
This edition takes the Commentary on the Song of Realizing the Way, X63n1241, as its line-by-line mirror. Its head reads “compiled by the attendant Dezui, recorded by Huiguang, a student from Fuliang”; within the volume the preface title reads “commentary by the Venerable Qi of Fantian,” and there is also a preface by “the Venerable Miaokong Fohai”; the catalogue assigns it to Yanqi of the Song. One commentary, three names: this edition records all three, the exposition does not take any of them as its subject, and the body refers simply to “the commentary.” There are also the commentary X65n1292, the verses of Fayuan in X65n1291, and the commentary X65n1293, each entering the apparatus according to its kind. The full text in fascicle thirty of the Record of the Transmission of the Lamp is the collation text.
III. The Translator and Annotator of This Edition
Translated and annotated by Shi Huijing. The four layers of the song and of the account and the front matter were all drafted from the base text and the sources named above; every quotation was checked verbatim against its source, and every page anchor against the line on which the quoted passage begins. Every judgment of meaning is the translator’s own, and borrows no commentator’s name.
Translator · Shi Huijing. The full statement of AI's role across the 指月 project is maintained at waken.org/methodology.
書目Bibliography
一、本編底本
- 《永嘉證道歌》 一卷 · 卷端署唐慎水沙門玄覺撰 · T48n2014。歌自
0395c06首題至0396c29尾題，一百零七行二百六十七句；後附楊億〈無相大師行狀〉0397a03至0397a25；大正校記十九條。
本編二個原典單元與所有歌句、行狀頁錨皆回到此一漢文流。
二、對勘本
- 《景德傳燈錄》卷三十『銘記箴歌』 · T51n2076（
0460a14「永嘉真覺大師證道歌」全文；異文並錄；該本「訣」作「決」）。
三、承衍古鏡
- 《證道歌註》 一卷 · X63n1241（逐文之鏡；卷端署侍者德最集、浮梁參學慧光錄；卷內序題「梵天琪和尚註」，另「妙空佛海和尚」序；經錄作宋彥琪註，並錄不判）。
註唯鏡用，不另譯。引用時附頁錨；正文稱「註」。
四、古德拈提與後出見證
- 《證道歌註》 · X65n1292（對勘鏡；經錄作宋知訥述）。
- 《證道歌頌》 · X65n1291（法泉繼頌；入古德拈頌）。
- 《證道歌註》 · X65n1293（誌錄；經錄作元永盛述）。
- 《景德傳燈錄》卷五 · T51n2076（
0241b12玄覺章；『著證道歌一首…目為永嘉集』）。 - 《宋高僧傳》 · T50n2061（
0758b16玄覺傳；『號永嘉集』而全書無「證道歌」之名）。 - 《宗鏡錄》 · T48n2016（
0670a11引「有人問我解何宗」）。 - 《續傳燈錄》 · T51n2077（
0598a29引「有人問我解何宗」）。 - 《佛果圜悟禪師碧巖錄》 · T48n2003（
0181a06引首句）。
五、引用方式
逐字引文用雙角引號，附頁錨：底本短式〔T48 0395c09〕，註與他本全式〔X63n1241 0261b10〕。錨取所引首字所在之行。
六、取用範圍
引據以歌、行狀、註、對勘本與古德拈提為限。不引現代註本，不引現代學者；梵形唯取註所出者。
I. Base Text of This Edition
- Song of Realizing the Way of Yongjia · one fascicle · head reads “composed by the śramaṇa Xuanjue of Shenshui, of the Tang” · T48n2014. The song runs from the title at
0395c06to the closing title at0396c29, one hundred and seven lines and two hundred and sixty-seven verses; appended is Yang Yi’s Account of the Conduct of Great Master Wuxiang,0397a03to0397a25; nineteen Taishō collation notes.
The two base-text units of this edition and every anchor to the song and the account return to this one Chinese stream.
II. Collation Text
- Record of the Transmission of the Lamp of the Jingde Era, fascicle thirty, “Inscriptions, Records, Admonitions, and Songs” · T51n2076 (full text at
0460a14under “Song of Realizing the Way of Great Master Zhenjue of Yongjia”; variants recorded; that recension reads the final “settle” with a different character).
III. Old Mirrors Carried Forward
- Commentary on the Song of Realizing the Way · one fascicle · X63n1241 (line-by-line mirror; head reads “compiled by the attendant Dezui, recorded by Huiguang, a student from Fuliang”; preface title within the volume reads “commentary by the Venerable Qi of Fantian,” with a further preface by “the Venerable Miaokong Fohai”; the catalogue reads “commentary by Yanqi of the Song”; recorded without adjudication).
The commentary is used as mirror only and is not translated separately. It is cited with page anchors; the body refers to it as “the commentary.”
IV. The Old Masters’ Citations and Later Witnesses
- Commentary on the Song of Realizing the Way · X65n1292 (collation mirror; the catalogue reads “expounded by Zhine of the Song”).
- Verses on the Song of Realizing the Way · X65n1291 (verses by Fayuan; among the old masters’ verse-citations).
- Commentary on the Song of Realizing the Way · X65n1293 (recorded; the catalogue reads “expounded by Yongsheng of the Yuan”).
- Record of the Transmission of the Lamp, fascicle five · T51n2076 (
0241b12, the chapter on Xuanjue; “composed the Song of Realizing the Way, one piece … titled the Yongjia Collection”). - Song Biographies of Eminent Monks · T50n2061 (
0758b16, the biography of Xuanjue; “called the Yongjia Collection,” while the title Song of Realizing the Way appears nowhere in the work). - Record of the Source-Mirror · T48n2016 (
0670a11, citing “someone asks me what school I understand”). - Continued Record of the Transmission of the Lamp · T51n2077 (
0598a29, citing “someone asks me what school I understand”). - Blue Cliff Record of Chan Master Foguo Yuanwu · T48n2003 (
0181a06, citing the first line).
V. Manner of Citation
Verbatim quotation stands in double corner brackets with a page anchor: short form for the base text, 〔T48 0395c09〕, full form for the commentary and other texts, 〔X63n1241 0261b10〕. The anchor is the line on which the first quoted character stands.
VI. Scope of Sources
Sources are limited to the song, the account, the commentary, the collation text, and the old masters’ citations. No modern commentary and no modern scholar is cited; Sanskrit forms are given only where the commentary gives them.
索引Indices
本索引列 2 個實文單元及每單元的完整五層連結。起訖依 T48n2014 的實際頁欄行；各單元合計 2,175 個漢字。
一、單元
| 單元 | 名 | T48n2014 起訖 | 五層 |
|---|---|---|---|
| 01 | 證道歌 | 0395c06–0396c29 | 原典 · 白話 · 考據 · 義疏 · 心要 |
| 00 | 無相大師行狀 | 0397a03–0397a25 | 原典 · 白話 · 考據 · 義疏 · 心要 |
二、全帙讀路
| 範圍 | 讀路 |
|---|---|
| 全帙 | 證道歌 → 無相大師行狀 |
三、典據速查
| 要查什麼 | 到哪裡 |
|---|---|
| 一句原文屬哪一科 | 該單元考據 目一 |
| 有無異譯、偈所依之經在何處 | 目二、目三 |
| 一項義理出於何經、論或古德 | 目三 |
| 本段如何被開解 | 目四 |
| 古德對本段有何異釋 | 目五 |
| 一個名相的釋義與限界 | 目六 |
| 原文的譬喻與修辭 | 目七 |
| 本段如何被後文或古德承衍 | 目八 |
| 底本異讀與卷帙位置 | 目九 |
| 偈式與異文 | 目十 |
四、卷首卷末導航
This index lists the 2 textual units and the complete five-layer link set for each. Every range gives the actual page-column-line loci in T48n2014; together the units comprise 2,175 Han characters.
I. Units
| Unit | Name | T48n2014 Locus | Five Layers |
|---|---|---|---|
| 01 | Song of Realizing the Way | 0395c06–0396c29 | Source · Plain Reading · Apparatus · Exposition · Essentials |
| 00 | Account of the Conduct of Great Master Wuxiang | 0397a03–0397a25 | Source · Plain Reading · Apparatus · Exposition · Essentials |
II. Reading Route
| Scope | Reading Route |
|---|---|
| Whole text | Song of Realizing the Way → Account of the Conduct of Great Master Wuxiang |
III. Quick Reference to the Evidence
| What You Want to Find | Where to Go |
|---|---|
| Where a sentence falls in the outline | Topic I of the unit’s Apparatus |
| Alternate translations, and where the scriptures behind the lines are treated | Topics II and III |
| Which scripture, treatise, or old master grounds a claim | Topic III |
| How the passage is opened up | Topic IV |
| Divergent readings by the old masters | Topic V |
| The meaning and limit of a term | Topic VI |
| The text’s similes and rhetoric | Topic VII |
| Its later citation and carrying forward | Topic VIII |
| Base-text variants and fascicle placement | Topic IX |
| Verse form and variant readings | Topic X |
IV. Front- and Back-Matter Navigation
題署Colophon
一、題署
書名作《永嘉證道歌》。本編各單元末行統一署式為：
*釋慧鏡 · 指月 · 永嘉證道歌 · {單元} · 2026 秋*
卷首各篇以篇名代單元。漢文題名依 T48n2014；英文題名作 Song of Realizing the Way。
二、底本與鏡
原典依 T48n2014。自 0395c06 至 0397a25。本編逐文所參之疏為 X63n1241；承衍諸本見書目。
三、單元與雙語五層
全編 2 個單元。每單元有一件漢文原典，以及中文、英文各四層白話、考據、義疏與心要；英文不另造原典層。
卷首卷末另具雙語卷首心要、緒論、讀法導引、凡例、譯者與古鏡、詞彙、書目、索引與本題署。
四、引用本編
引用本編之文，請具譯者、書名、單元與層名。例如：
釋慧鏡，《永嘉證道歌》譯注（指月），單元 01〈證道歌〉·義疏。
引用卷首篇章，可作：
釋慧鏡，《永嘉證道歌》譯注（指月），〈讀法導引〉。
五、引用原典與古鏡
引用本編所錄原典，宜逕列原書藏經編號與頁錨，不必把本編當作古籍來源。例如：
《永嘉證道歌》，T48n2014，0395c06。
逐字引文跨行時，頁錨仍取首字之前最近行界。古說相違，引用須保留作者，不以『古疏云』抹去歸屬。
六、授權與更正
除另有標示者外，本編所作白話、考據、義疏、心要、英譯與編排，依 CC BY-NC-SA 4.0 授權使用：須具名、限非商業使用，改作須以相同方式分享。藏經原文與古籍引文各依其原有權利情形。
若發現底本文字、逐字引文或頁錨有誤，依所引藏本改正；若今語誤傳原句條件、次序或歸屬，回到原典與具名古德修正。古說相違不以更正之名抹平，所有取捨由釋慧鏡負責。
釋慧鏡 · 指月 · 永嘉證道歌 · 題署 · 2026 秋
I. Title
Song of Realizing the Way renders 永嘉證道歌, the title transmitted in T48n2014.
II. Base and Mirror
The Source Text follows T48n2014, from 0395c06 to 0397a25. The line-by-line commentary consulted is X63n1241; the later carrying-forward witnesses are listed in the Bibliography.
III. Units and Five Layers
The reading stream is presented in 2 units. Each unit contains one Chinese Source Text and four authored layers in Chinese and English: Plain Reading, Apparatus, Exposition, and Essentials. No English Source Text is invented.
The bilingual front and back matter provides Opening Essentials, Introduction, Reading Guide, Conventions, translator and ancient-mirror record, Glossary, Bibliography, complete Indices, and this Colophon.
IV. Ancient Mirror
The old masters consulted remain visibly attributed. A commentarial reading is not presented as a statement made by the text itself.
V. Citation
Suggested citation: Shi Huijing, trans. and annot., Song of Realizing the Way: A Bilingual Five-Layer Reading Edition (指月, 2026), citing the unit, layer, and canonical locus where relevant.
For the canonical text itself, cite T48n2014 and its page-register-line locus. For an ancient interpretation, retain the commentator’s name and the canonical locus rather than citing the present edition as the ancient source.
VI. License and Correction
The authored translation, annotation, and arrangement are made available under CC BY-NC-SA 4.0, Attribution–NonCommercial–ShareAlike 4.0 International. Canonical source texts and ancient quotations remain subject to their existing rights and conditions of use.
Errors in base wording, quotations, or loci are corrected against the named canonical witness. Errors in contemporary rendering are corrected by returning to the source and the attributed old masters. Divergent ancient readings are not erased under the name of correction. Responsibility for all choices belongs to Shi Huijing.
Shi Huijing · 指月 · Song of Realizing the Way · Colophon · Autumn 2026