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“La gloria di colui che tutto move

Per l’universo penetra, e risplende

In una parte più, e meno altrove.

“Nel ciel che più della sua luce prende

Fu’io; e vidi cose che ridire

Nè sa nè può qual di lassù discende;

“Perchè, appressando sè al suo disire,

Nostro intelletto14 si profonda tanto,

Che retro la memoria non può ire.”ssss1

In order to appreciate fully the philosophy of The Diamond Sutra, doubtless it is necessary to interpret aright the meaning of the Buddhist terminology. In this connection, the Sanscrit Dharma—usually rendered into Chinese by “Fah,” and into English by “Law”—appears to merit our immediate attention.

Max Müller, with his ample knowledge, stated that Dharma, “in the ordinary Buddhist phraseology, may be correctly rendered by Law; and thus the whole teaching of Buddha is named Saddharma—‘The Good Law.’ What The Diamond Sutra wishes to teach is that all objects, differing one from the other by their Dharmas, are illusive, or as we should say, phenomenal and subjective, that they are, in fact, of our own making, the products of our own mind.” With those noteworthy observations, there is embodied in the preface to The Vagrakkhedika, the following interesting suggestion, that the Greek εῖδος—whatever is seen, form, shape, figure—appears to be the equivalent of the Sanscrit Dharma.