Various interpretations of Kāśyapaparivarta § 68 have been attempted in the Yogācāra-Vijñānavāda tradition. This passage, which consists in a simile likening a magician devoured by his own creation to a monk involved in meditation practice, appears prima facie absurd, insofar as the similarity between the tenor and the vehicle is not readily apparent. This article mainly consists of two parts: The first part examines the received interpretations of the simile and reconstructs their interrelationship from a historical perspective. The second part explores the literary dimension of the simile and argues that its ostensible absurdity is rooted in a pun which is visible only in Middle Indo-Aryan and seems to serve no purpose. Coming to terms with the opaque and pointless pun, this essay is aimed at a new interpretation of Kāśyapaparivarta § 68 and, it is hoped, a deeper understanding of the literary playfulness inherent in the making of the Kāśyapaparivarta as a so-called early Mahāyāna sūtra against the backdrop of the Sanskritization of Buddhist sūtra literature.

Kāśyapaparivarta的各种解释Yogācāra-Vijñānavāda传统尝试了第68条。这段经文包含一个比喻，就像魔术师将自己创造的作品吞噬了魔术师，将其比喻为参与冥想练习的和尚，就表面看来而言，这很荒谬，因为男高音与乐器之间的相似性尚不明显。本文主要由两部分组成：第一部分从历史的角度考察了对明喻的理解并重建了它们之间的相互关系。第二部分探讨了明喻的文学意义，并指出其表面上的荒谬性源于一个双关语，而这种双关语仅在印度中亚里扬中部可见，似乎毫无用处。本文以不透明和毫无意义的双关语为术语，旨在对Kāśyapaparivarta进行新的诠释§68，希望对佛教佛经文学的梵文化背景下的喀什耶帕帕瓦里瓦塔（Kāyyapaparivarta）制作成所谓的早期玛哈亚那（Mahāyānasūtra）早期内在的文学趣味有更深刻的理解。