Departmental Bulletin Paper ツォンカパの詩的世界 : 『縁起讃』研究(4)
The Poetic World of Tsong kha pa : A Study of the Rten ’brel bstod pa (4)

根本, 裕史

(12)  , pp.69 - 95 , 2015-03-25 , 広島大学比較論理学プロジェクト研究センター
This article includes an annotated Japanese translation of Tsong kha pa’s Rten ’brel bstod pa (vv. 31-58) together with Phur lcog ngag dbang byams pa’s commentary thereon. Tsong kha pa’s Rten ’brel bstod pa was composed around 1398 when the author attained the realization of the ultimate reality, which consists in the unity of dependent origination and emptiness. The work is a hymn to the Buddha Śākyamuni,the teacher who taught the doctrine of dependent origination. Tsong kha pa expresses praise to the Buddha and his teachings throughout the entire work. He alongside presents a brief description of the doctrine especially in the first half of the work (vv. 1-30). One can find poetic elements especially in the latter half of the work (vv. 31-58), which is dealt here. One of the most noticeable elements is the depiction of the moonlight. In verses 42-43, Tsong kha pa laments that he had no chance to hear the teaching from the Buddha himself, saying that his mind is not freed from the power of this sorrow. In verses 44-45, Tsong kha pa visualizes the Buddha discoursing in a melodious voice and receives blessings that tempers the heat of his sorrow. Tsong kha pa compares these blessings to the moonlight that soothes the torment of heat. Then, in verses 49-51, Tsong kha pa explains how his mind arrived at rest when he acquired a deeper understanding of Nāgārjuna’s Madhyamaka thought with the help of Candrakīrti’s commentary. Tsong kha pa compares Nāgārjuna’s thought to the garden of kumuda flowers, Candrakīrti (zla ba grags pa) to the moon (zla ba), and his commentary to the moonlight that makes the flowers bloom at night. It is clear that Tsong kha pa carefully uses the term zla ba to convey the double meaning, namely, Candra[-kīrti] and the moon. The figure of speech used here is a “punned metaphor" (Skt. śliṣṭarūpaka, Tib. sbyar ba’i gzugs can), which is defined in Daṇḍin’s Kāvyādarśa II 87, and which is commonly used by poets of India an Tibet. Thus we notice that Tsong kha pa’s Rten ’brel bstod pa, which is intended as a summary of the Madhyamaka idea of dependent origination, is fully characterized by poetic elements. It is probably for this reason that the work has been accepted at later periods as a masterpiece of Tibetan classical literature.

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