禮敬諸佛歌
Line 1 心未筆留
2 慕呂白乎隱佛體前衣
3 拜內乎隱身萬隱
4 法界毛叱所只至去良
5 塵塵馬洛佛體叱刹亦
6 刹刹每如邀里白乎隱
7 法界滿賜隱佛體
8 九世盡良禮為白齊
9 歎曰 身語意業无疲厭
10 此良夫作沙毛叱等耶
15.1.1: HD; “heart”.
15.1.2: UG; serves two functions simultaneously, FC for 15.1.1 plus PP.
15.1.3: HD; “brush”.
15.1.4: UG; IP.
Line 1: “With (the) mind as (my) brush..."
15.2.1-2: HG + UG; VS “draw”. An HD reading would give an attributive “beloved”, but the corresponding poem is unambiguous at this point, and “beloved” does not seem to fit the solemn, reverent tone of the song.
15.2.3-5: HG + UG + UG; VE “whom (I draw)”.
15.2.6; UD; “Buddha”.
15.2.7: UG; FS for “Buddha”.
15.2.8: HD; “front”.
15.2.9: UG; LP “in, at, be(fore)”.
Line 2: “... before the buddhas whom (I) draw,”
15.3.1: HD; “bow”.
15.3.2-4: HG + UG + UG; VE “which (bows)”.
15.3.5: HD; “body”.
15.3.6-7: UG + UG; FC + TP.
Line 3: “(my) body which bows...”
15.4.1-2: UD; “the Dharmarealm”.
15.4.3-4: UG + UG; VS “exhaust, pervade”.
15.4.5-6: HG + UG; “until”. However, note Nam’s examples of 所 used only as a UG in EKWS (1981, pp. 143, 146, etc.).
15.4.7: HD; “reach”.
15.4.8-9: UG + UG; VE imperative mood.
Line 4: “may (it = my body) reach (out) and pervade the Dharmarealm.”
15.5.1-2: UD + UD; “dustmote”.
15.5.3-4: UG + UG; “every”.
15.5.5-6: UD + UG; “the Buddha” (cf. 15.2.6-7).
15.5.7: UG; PP. (See Nam, 1981, p. 28).
15.5.8: UD; “shrine”, by extension “buddharealm”.
15.5.9: UG; SP.
Line 5: “The buddharealms (which are in) every dustmote...”
15.6.1-2: UD + UD; “buddharealm”.
15.6.3-4: UG + HG; “every”.
15.6.5: HD; “meet”.
15.6.6-9: UG + HG + UG + UG; VE “where (I meet)”
Line 6: “... where I meet (them) in every buddharealm...”
15.7.1-2: UD + UD; “Dharmarealm”.
15.7.3: HD; VS “fill”.
15.7.4: UG; honorific VS infix.
15.7.5: UG; VE “who”.
15.7.6: UD + UG; “the buddhas”.
Line 7: “... the buddhas who fill the Dharmarealm...”
15.8.1-2: UD + UD; “the Nine Periods of time”.
15.8.3-4: HD + UG; “completely”, hence “throughout”.
15.8.5: HD; “veneration”.
15.8.6; HD; VS “perform”.
15.8.7-8: HG + UG; “May I/ Let me (venerate)”.
Line 8: “Let me venerate (them) throughout the nine periods of time...”
15.9.1-2: HD; “sighingly (we) say”, hence an onomatopoeia “Ah...”.
15.9.3-5: UD; “body, speech and thought”.
15.9.6: UD; “(in) deeds (of)”
15.9.7: UD; “without”.
15.9.8-9: UD; “weariness, satiation”.
Line 9: “Ah, in deeds of body, speech and mind without flagging...”
15.10.1: HD; “this”.
15.10.2: HG; LP - “in” (this). See Nam (1981, p. 44).
15.10.3-4: UG + HG; adverb “earnestly”. The clear violation of the -dok + -ga sequence and the lack of a clear cross reference makes Yang’s reading particularly speculative here. He obviously leans rather heavily on the poem and HYS texts, both of which give “constantly 常” for this context.
15.10.5-7: UG + UG + UG; VS “consider, have regard for”.
15.10.8-9: UG + UG; exclamatory VE.
Line 10: “I shall constantly seek this.”
Apart from the last line, which remains difficult to interpret, the meaning of the song is relatively clear. As a matter of course, the theme of the meditation practice of visualization is drawn directly from the HYS, along with almost the entire body of imagery. However, Kyunyŏ’s opening metaphor “With the mind as my brush...” is not directly stated in the HYS text, and thus must be counted as striking and fresh, imparting a concrete dimension to a highly abstract practice. The two four-line stanzas that comprise the body of the song are tightly composed and strongly parallel in construction, each consisting of two series of attributives leading to a topic at the end of lines 3 and 6 respectively, thence to an exclamatory verb: “May my body... go forth throughout the Dharmarealm [and] may the buddhas... be venerated throughout the Nine Periods!” The final exclamatory phrase is didactic and echoes the HYS text refrain. The subsequent songs depart from the refrain in wording, thus avoiding a monotony that might have compromised Kyunyŏ’s secular song form. The overall effect achieved by the song is formality in construction, with the dynamism of lines 1-4 leading to the more restrained, conventional lines 5-8, just as the gesture of visualization itself leads to the solemn veneration of the buddhas.[372]
May this body which bows
Before the buddhas, whom I draw
With the mind as my brush
Go forth and pervade the Dharmarealm.
And so may the buddhas who fill the Dharmarealm
In which I meet them
In all the buddharealms within every dustmote
Be venerated throughout the Nine Periods of time
Ah, this I earnestly strive to achieve,
Untiring in deeds of body, speech and thought.