Ho Kyo Mirror

JEWEL MIRROR SAMADHI TRANSLATION STUDY
INTRODUCTION The Jewel Mirror Samadhi is an important Zen poem chanted as a sutra in Soto Zen monasteries. It is
usually attributed to Dongshan Liangjie 洞山良价– “Cave Mountain Good Servant” (Tozan Ryokai, 807-869). He is the 38th
ancestor in the Soto lineage, in the 10th generation after Bodhidharma. He is also known as Wu-pen Ta-shih (Gohon Daishi
悟本大師) – his posthumous title. He was a contemporary of Linji Yixuan (Rinzai Gigen, d.866). His sayings and teachings were
compiled in the Tung-shan Ch'an-shih Liang-chieh Yü-lu (Tõzan Ryõkai Zenji Goroku 洞山良价禪師語録). He also originated the
teaching of the five positions (or ranks) (五位) which are still studied as a set of koans in Rinzai Zen (but they do not chant the Jewel
Mirror Samadhi in Rinzai monasteries). He succeeded to Yunyan Tansheng (Ungan Donjo, 780-841). Before training with Yunyan,
he praciticed under Nanquan Puyuan and Guishan Lingyu. When he was about 50, he became abbot of a monastery on Mt. Xinfeng.
Later he taught on Dongshan (in Kiangsi). Dongshan’s most notable disciples were Caoshan (曹山)Benji (840-901) and Yunju
Daoying (Ungo Doyo, d. 902). The Cao-Dong house of Chan (the Soto Zen school in Japan) derives its name from the Cao (曹) of
Caoshan and the Dong (洞) of Dongshan (thus Soto Zen = 曹洞禅) (although some have argued that the Cao comes from the Cao of
Caoxi which refers to the 6th ancestor Dajian Huineng (Daikan Eno, 638-713) - Caoxi creek ran behind his temple. Also note (From
the Book of Serenity, commentary to case 52): “To emulate Caoqi, wherever he lived, the master (Caoshan) named the place Cao. The
school of Dongshan became most flourishing with Caoshan; therefore it was called Cao-Dong.”). Caoshan was esteemed for his
teachings, especially concerning the five posiions, but all current Cao-Dong/Soto lineages trace back to Yunju. Yunju is said to have
received the true essence of Dongshan's Dharma, but not his teaching on the Five Ranks.
The Song of the Jewel Mirror Samadhi consists of 94 lines of 4 characters each (376 characters total) (arranged into 47
couplets here). It is a song in which the end of each couplet rhymes with all the others - its rhyme scheme would be represented as:
AAAAAA etc. (the last syllable of each couplet has an “u” sound). (For comparison, the Sandokai consists of 44 lines of 5 characters
each and the poems in the Book of Serenity are usually 4 or 8 lines with 7 characters per line). The parallel manner in which a number
of the lines are constructed is helpful in discerning the meaning as the exact relationship between the terms and characters is often
unstated. This appears in: C3, C4, C6, C9, C13, C15, C19, C20, C22, C26, C37, C38/C39, C42, C44, C45 (and C31?). With
significant overlap of ideas and images, the Song of the Jewel Mirror Samadhi seems in part to be based on the Sandokai (see
C1,3,4,5,9,18,24,28,29,38-39,41,47 and the complete text in Chinese with English translation in the end materials).
Table Key:
Asterisk = variant kanji in notes (see Supplement section 2) Couplet Number (end of line only)
Chinese character Chinese pronunciation of the character
Matthews’ Chinese English

付* C1
fu4
in Pinyin – see pronunciation guide (in
end materials).
Dictionary lookup number M1917 N363
give, deliver,
pay, hand over Nelson’s Japanese-English
Dictionary lookup number
Possible meanings, from various sources, including: Matthews, Soothill (Sp.# = page number in Soothill (A Dictionary of
Chinese Buddhist Terms)), Cquicktrans (character lookup software), Hokkyo Zammai Study Guide and in consultation with
Eric Greene. Some of the meanings listed will be irrelevant because of context (which have sometimes been bracketed). An
arrow Æ is used in some cases following a literal reading of a character and pointing to meanings that grew out of the root
meaning. Other places where the character appears in the Jewel Mirror Samadhi are indicated by: “(also in C…)”
1
寶 Bao3 鏡 Jing4 三 San1 昧 Mei4 歌 Ge1
M4956 N1347 M1137 N4912 M5415 N8 M4411 N2113 M3364 N2422
Treasure, precious, rare, Mirror, lens, glass, Three Obscure, dark, darken Song, lyrics, sing, chant
jewel, valuable (also in glasses (also in C12) Samadhi (see below) (also in C42)
C12, 38)
JT: Japanese translation: 寶鏡三昧歌 (sometimes: 宝鏡三昧) Notes: (the abbreviations used
JR: Romaji of Japanese translation: Hokyo Zanmaika here are as indicated in the
CT: Cleary, Timeless Spring: Song of the Jewel Mirror Samadhi (In an unpublished form, it was translation comparison field)
enititled: “Song of the Jewel Mirror Awareness”) On 寶 - 大雄寶殿 –
CF: Cleary, Five Houses of Zen: Song of Focusing the Precious Mirror Great Hero Treasure Shrine is the
CL: Luk, Chan and Zen Teaching Vol II: Seal of the Precious Mirror Samadhi name of the Buddha Hall in
FW: Fronsdal and Weitsman, unpublished translation: Song of the Bright Mirror Samadhi Chinese monastaries. (Also note:
HJ: Graham Healey & Shindo Gensho (Richard Jones): Treasure-Mirror Samadhi 宝 is an alternate form of this
JC: JC Cleary: Diamond Mirror samadhi character.)
NF: Norman Fischer: Notes toward a possible translation draft of the Jewel Mirror Samadhi (1995?) Samadhi Æ awareness,
RB: Blythe, Zen and Zen Classics, Vol II: The Treasure-Mirror of Heavenly Bliss concentration, meditation, trance,
RM: Reiho Masunaga: Hokyozammai(probably the first published English translation) absorbtion, putting together,
SA: Kennett, Zen is Eternal Life: The Most Excellent Mirror-Samadhi composing the mind, intent
SY: Sheng-yen, The Infinite Mirror: Song of the Precious Mirror Samadhi contemplation, perfect
TH: Kaz Tanahashi and Joan Halifax: Song of the Jewel Mirror Awareness. absorption, union of the meditator
TN: Toshu Neatrour; Sheng-yen; Kaz Tanahashi online at www.sacred- with the object of meditation,
texts.com/bud/zen/hz/ha.htm: The Song of the Jeweled Mirror Samadhi
TP: Soto Zen Text Project Translation, Soto Zen Sutra Book: Precious Mirror Samadhi interpreted by 定(decide, settle,
TS: Tanahashi and Schneider: Song of the Bright Mirror Samadhi fix) - the mind fixed and
WP: Powell: Jewel Mirror Samadhi undisturbed. “It may pass from
ZC: New ZC Version (as of 2004): Song of the Jewel Mirror Samadhi abstraction to ecstasy, or rapture,
Translations for certain verses only: or trance.” Dhyana represents a
AV: Alfonso Verdu, from Dialectical Aspects in Buddhist Thought - C18-20. simpler form of contemplation.
CC: Chang Chung-Yuan, “Samadhi as Reflection from the Precious Mirror” – C3-4, 42-43 “When the mind has been
CW: Clouds in Water Liturgy: Song of the Jewel Mirror Samadhi - concentrated, the will is
C4,C6,C9,C21,C24,C27,C28,C47. undivded.” Sp.66. (See also the
JW: John Wu – C24, 30, 46. section on Samadhi in the
TO: From www.theosophy.org, by “Hermes,” 1988 – C3, C4, C42 and C43. supplemental materials at the
WL: Whalen Lai: Sinitic Mandalas: The Wu-wei-t’u Of Tsao-shan: Samadhi Song of the Treasure end)
or Jewelled Mirror - C18-C20. The only other teaching of
ZC2002: The version chanted at SFZC 2002-2003, it is only quoted where it diverges from the TP: Dongshan concerning Samadhi is
Soto Zen Text Project Translation above – C18, C21, C39, C47 found in section 61 of the Record
ZS: Victor Sōgen Hori, Zen Sand: The Book of Phrases for Koan Practice. With the citation number of Dongshan (WP pg.45): After
- C3, C9, C16, C46. Ch’in-shan had been doing sitting
(Sources for the translation comparison section are listed after the abbreviations on this page only) meditation together with Yen-
Notes and commentary only: t’ou and Hsueh-feng, the Master
(Quotes and summaries from other sources also appear in the notes and commentary field.) brought them tea. However,
GI: From www.gileht.com. (Gileht’s extensive website has a Madyamaka focus and he probably Ch’in-shan had closed his eyes.
overreads Madhyamaka teachings into the Jewel Mirror Samadhi in his comments. He also sees a “Where did you go?” asked the
kind of sub-theme of esoteric Buddhism. Some of his comments have been included here (C7, 10, Master. “I entered samadhi,” said
11, 12, 18, 19, 20, 21, 27, 42, 45, 46, 47).) Ch’in-shan. “Samadhi has no
MW: (Mel Weitsman) From a class on the Precious Mirror Samadhi at Berkeley Zen Center by entrance. Where did you enter
Sojun Mel Weitsman in the Fall of ‘99 (tapes & handouts available at the BZC library)(notes from?” asked the Master. (Also
included here do not represent word-by-word transcriptions). see the Nagarjuna quote in the
NH: Nan Huai-Chin. Working Toward Enlightenment, (JC Cleary trans) Samuel Weiser, Inc 1993 notes on the fire simile in C7)
(C2,C3,C4,C5,C6,C7,C8,C9,C10,C13,C18,C19,C22,C23,C47) WP: The “jewel mirror” is an
RA: Tenshin Reb Anderson – comments collected from various talks 1994-2003.(title, C2, C5, C6, image that appears frequently in
C18, C19, C21, C34, C47) Buddhist literature; it can be
RS: Robert Sharf, Coming to Terms with Chinese Buddhism, A Reading of the Treasure Store found, for example, in the Ta-
Treatise. University of Hawaii Press, 2002 (title, C3, C5, C12, C13, C18, C24, I Ching quotes) chih-tu lun(a commentary on the
SR: Suzuki-rōshi, Shunryu – comments from transcribed talks. (title, C13 and five positions (section Prajna Paramita attibuted to
n)) Nagarjuna), ch. 6 and the
VH: Victor Sōgen Hori, Zen Sand: The Book of Phrases for Koan Practice. University of Hawaii Vimalakirti Nirdesa Sutra.
Press: 2003. (combines and translates the Zen capping phrase collections Zenrin Kushu ZS 8.435: The six realms and
(Shibayama) and Shinsan Zengoshu (Etsudo)) Some points from Hori’s introduction, notes and four births are the playground of
glossary are included here. samadhi.
2
Maezumi-roshi: Four generations after Shih-t'ou, Master Tung-shan Liang-chieh, the founder of Chinese Soto Zen, took up this
intimacy and wrote San-mei-k'o or Jeweled-Mirror Samadhi. The jewel is one's true entity; the mirror, the objective spheres reflecting
the parts of one's own life. The samadhi is the unity, the Buddha's wisdom that Guatama himself proclaimed at the moment of his
enlightenment: "How miraculously wondrous! All beings have the Tathagata's wisdom and virtue." The intimacy is simply realizing
that your true nature and the phenomenal world are meeting right here, now, as your life. (from the preface to Two Arrows Meeting
Mid-Air: The Zen Koan)
MW: Samadhi is “being one with.” A jewel has many facets – Buddhism is like a gem with many sides. The mirror is like the
source. It reflects reality. It is reality. The mirror is wholeness, without partiality. The mirror has no mind. It makes no discriminations.
It simply reflects, seeing things as it is.The mirror is precious and we should be one with it.
Charles Muller: The Baojing sanmei, by Dongshan Liangjie 洞山良价. A popular Chan text, which explains the five ranks 五位,
stating that the eternal and the transitory are interfused. [The Baojing sanmei is] A samādhi transmitted from the Buddha; refers to the
original state of mind which neither arises nor perishes and is not subject to any change. This mind clearly reflects all existences
without any mistake just as a clear mirror does.
The early Chan text Shodoka (證道歌) by Yongjia (a succssor to the 6th ancestor, 665-713) is also a “song” (歌): “The Song of
Enlightenment.” It also uses mirror and jewel imagery: “Having given up wiping dust from the mirror, its brilliance is completely
seen.” “You can see your reflection in a mirror; but can you grasp the moon reflected in the water?” “This priceless jewel can be used
without hesitation in caring for beings and ripening potentials.” “The luminous mirror of Knowing reflects all shown it, its vast
brilliance pervades numberless worlds.” “Mind arises with experiences as its objects. Subject and object are dust on a mirror.” “Free of
dust, the mirror shines. The Actual Nature is known when mind and things do not arise.” “Understanding what this precious jewel of
mind is I now transmit it to any who will receive it.” (See also the notes to C7, C11 and C42)
CT: Samadhi, concentration, meditation, trance, absorption, here we render as awareness because of convenience, to avoid any suggestion
of paranormality. The great Baizhang, with whom Dongshan’s teacher Yunyan studied for twenty years, did not use the term samadhi for the
mirror awareness, which he called the source, the king, the elixir of immortality; as long as it is not disturbed by anything in any circumstances,
passing through all color and sound without lingering, it is the guide; yet he said one should not remain in the state of the mirror all the time.
Though one must some time return to the source, it is still necessary, as Loupu said, to ‘see the king in the busy marketplace.’ In Dongshan’s
song, he speaks of this awareness sometimes as a medicinal trance, or simply basic awareness empty letting the flow through.
The Mirror Awareness in the Record of Baizhang Huaihai (Hyakujo Ekai, 720-814): Baizhang was a disciple of Mazu along with
Nanquan (Nanquan was one of the first Chan masters Dongshan practiced under, and Dongshan’s teacher, Yunyan, studied with
Baizhang for 20 years). The phrase “mirror awareness”( 鑑覺) appears in The Extensive Record of Baizhang about 20 times. Rather
than using the character: 鏡 for mirror as in the title of the Jewel Mirror Samadhi, the following character appears: 鑑, which also
means mirror. And rather than samadhi, 三昧, there is the character: 覺 bodhi, awareness, enlightenment, illumination, apprehend, to
awake, perceive, realize – “awakening to the real in contrast to the seeming.”(Sp.480) Baizhang’s teachings relating the “mirror
awareness” have some close parallels to teachings in the Jewel Mirror Samadhi. Passages are quoted in the notes to: C5, C6, C10, C11,
C13, C25, C27, C30 (from the “Sayings and Doings of Pai-chang” translation by Thomas Cleary).
SY: The mirror is our true self. It is precious because no matter how long it has been hidden, forgotten, and covered with dust, it
never loses its power of illumination and reflection. The precious mirror is not an ordinary mirror, so the analogy must be
stretched. An ordinary mirror has a finite shape and size. It has sides, a front and a back. The precious mirror, however, has no
boundaries. It cannot be defined in terms of shape and size…Samadhi refers to the power of the precious mirror, which manifests
only when one attains the most profound level of samadhi. At this stage, all attachments fall away. The power that manifests is
two-fold: it benefits oneself by removing vexations, and it benefits others by helping them to find their own precious mirror. This
is the power, the samadhi – of the precious mirror…Several Buddhist works have been written in the form of songs or poems…A
teaching written in verse is easily communicated to others. Verse helps the reader absorb the material quickly and thoroughly.”
Hakuin (commenting on the 2nd of the 5 positions): “All the myriad phenomena before his eyes – the old and the young, the
honorable and the base, halls and pavilions, verandahs and corridors, plants and trees, mountains and rivers – he regards as his own
original, true and pure aspect. It is just like looking into a bright mirror and seeing his own face in it. If he continues for a long time to
observe everything everywhere with this radiant insight, all appearances of themselves become the jeweled mirror of his own house,
and he becomes the jeweled mirror of their houses as well. Eihei has said: ‘The experiencing of the manifold dharmas through using
oneself is delusion; the experiencing of oneself through the coming of the manifold dharmas is satori.’ This is just what I have been
saying. This is the state of ‘mind and body discarded, discarded mind and body.’ It is like two mirrors mutually reflecting one another
without even the shadow of an image between. Mind and the objects of mind are one and the same; things and oneself are not two. ‘A
white horse enters the reed flowers’; ‘snow is piled up in a silver bowl.’…This is what is known as the Jeweled-mirror Samadhi. This
is what the Nirvana Sutra is speaking about when it says: ‘The Tathagata sees the Buddha-nature with his own eyes.’ When you have
entered this samadhi, ‘though you push the great white ox, he does not go away’; the Universal Nature Wisdom manifests itself before
your very eyes…”
SR: Naturalness—natural mind or—means maybe more flexible mind, you know, without sticking to something rigidly. When
we—when we are—when we have—when our mind is perfect freedom from everything, and when our mind is open to everything like
a mirror, you know, the mirror do not have any particular image on its face always. So it is naturally—naturally it will have various
images according to the object. That is naturalness.
Morton Schlutter (from The Koan, edited by Heine and Wright, pp. 182): “One text that is sometimes cited as evidence for a Silent
Illumination approach in the earliest Ts’ao-tung tradition is the famous Pao-ching san-mei. This beautiful poem does seem like a
celebration of the inherently enlightened nature of all sentient beings and, in holding up the Buddha’s contemplation under the tree as a
model, it can be understood to advocate indirectly a meditation in which this enlightened nature becomes apparent. The poem is
3
commonly attributed to Tung-shan Liang-chieh, although in his recorded sayings it is said that Tung-shan received it, secretly, from his
master Yun-yen T’an-sheng (780-840). However, the text of the Pao-ching san-mei is not found in any source prior to Chueh-fan Hui-
hung’s (1071-1128) Ch’an-lin sneg-pao chuan (published in 1123), nor is it even mentioned in any earlier source. Hui-hung states that the
Pao-ching san-mei was kept hidden by the early worthies and that it could not be found in earlier Ch’an collections. However, Hui-hung
says, in 1108 an unnamed old monk gave a copy of the Pao-ching san-mei to a certain official and eventually the text came into the hands
of Hui-hung. Hui-hung then decided to disseminate it. Given this explanation, we might surmise that the Pao-ching san-mei was a
product of the new Ts’ao-tung school that had come into being at the end of the eleventh century and not a text that goes back to Tung-
shan Liang-chieh or earlier.” (For more on Hui-hung, see the Verdu excerpts in the five positions supplement.)
D.T. Suzuki: "While scholars of the Avatamsaka School (Hua-yen-tsung (Kegonshû 華嚴宗)) were making use of the intuitions of
Zen in their own way, the Zen masters were drawn towards the philosophy of Indentity and Interpenetration advocated by the
Avatamsaka, and attempted to incorporate it into their own discourses. For instance, Shih-t'ou (Shih-t'ou Hsi-ch'ien (Sekito Kisen 700-790
石頭希遷)) in his 'Ode on Identity' (Ts'an-t'ung-ch'i (Sandõkai 參同契)) depicts the mutuality of Light and Dark as restricting each
other and at the same time being fused in each other; Tung-shan in his metrical composition called 'Sacred Mirror Samadhi' discourses on
the mutuality of P'ien (One-sided (p'ien, hen 偏)), 'one-sided', and Chêng (Correct (cheng, shõ 正)), 'correct', much to the same effect as
Shih-t'ou in his Ode, for both Shih-t'ou and Tung-shan belong to the school of Hsing-szu known as the Ts'ao-tung branch of Zen
Buddhism. This idea of Mutuality and Identity is no doubt derived from Avatamsaka philosophy, so ably formulated by Fa-tsang. As both
Shih-t'ou and Tung-shan are Zen masters, their way of presenting it is not at all like that of the metaphysician." (Essays in Zen Buddhism –
Third Series 19) (See also below the section on the historical context of the five positions)
Jewel imagery: ZS 4.369: A great jewel in the rough needs no polishing.
ZS 7.465: It spews forth so brilliant a jewel, its light chills me to the core.
ZS 8.278: The original jewel is flawless but engraving a design destroys its quality.
ZS 8.399: Unaware it was a jewel, he thought it just rubble.
ZS 12.28: Reveal the Dharma treasury within your breast, And deliver forth your own house treasures.
ZS 12.131: …The bright jewel in the cave of the blue dragon.
ZS 14.194: Smash to pieces the jewel under the jaw of the black dragon…
ZS 20.2: It is like the stone – unaware of the flawless perfection of the jewel it possesses within itself.
(see also the parable in Chapter 8 of the Lotus Sutra of the jewel sewn into the robe.)
Mirror imagery: ZS 4.421: In the mirror of heaven, there is no private self.
ZS 5.370: He hides himself in the bright mirror.
ZS 7.283: The brilliance of the great mirror wisdom is as black as lacquer.
ZS 7.466: By the light of the window, illuminating one’s mind in the ancient mirror.
ZS 8.296: Indra’s net, reflections of reflections, selves and others, without end.
ZS 9.26: Two mirrors reflect each other; in between, there is no image.
RB: The Hokyozammai, Paoching Sammei, "The Treasure-Mirror of Heavenly Bliss," is a verse composition which has been
ascribed to various authors. At the present time, Tozan (Tungshan), 807-869, is considered to be the most likely, but comparing
this incoherent and pettifogging "poem" with the account given of Tozan in his goroku, a far less gifted Zen master would be more
suitable. However, the other names suggested are Yakusan and Ungan, whom also one would not like to saddle with it.
The Hokyozammai consists of 376 characters, 94 lines of 4 characters each. It is commonly read daily in temples of the Soto
branch of the Zen Sect. I doubt whether most of the monks understand what they are reciting. Even an English translation can
hardly make the short-lined original appear interesting. Tozan says that the world is made out of the two elements of sameness and
difference; that words are dangerous; that the relative and absolute are one thing; that no-thought, that is, freedom from
discrimination and dichotomy, is the salvation of the soul; that all things must obey one another. When Zen adepts turn to literature
they often show some fundamental shortcomings. They should stick to their shouts and blows.
[After his translation he adds:] This kind of thing can hardly be found in English religious literature. It reminds us of the Tibetan
Book of the Dead, or the religious writings of ancient Assyria, or of the gnostics; of Swedenborg, Boehme, and the prophetical
works of Blake. There is no Zen in it. [Also see his comments on Sandokai and his comments on the five positions in his
introduction.]
RA: The jewel mirror samadhi…is the awareness, the state of concentration which was transmitted by Yunyan to Dongshan…a very
important part of our lineage is the transmission of this jewel mirror samadhi…it was written by the teacher Tozan Ryokai, and part of the
story about him is that his teacher, Yunyan, transmitted that samadhi to him. Then he wrote this song about this samadhi that his teacher
transmitted to him. (for Dongshan’s statement to Caoshan see the notes to C2)
Yifa (from a footnote on pg 275 of The Origins of Buddhist Monastic Codes in China):The origin of using a mirror for meditation
can be found in the following quotation from Silen lu shanfan buque xingshi chao which is in turn a citation (but with slight
alterations) from Da zhidu lun: “[A bodhisttva will] provide the meditator with [his own] method of meditation: a Chan stick, a Chan
ball, a Chan tablet, a skeleton, Chan sutras, a good teacher, ‘good illumination’ [haozhao 好照, a mirror], clothes, etc.” Sifen lu
xingshi chao zichi ji comments on the term haozhao, noting that some claim the illuminating mirror is suspended in the meditation
halls to aid in exercising the mind, some believe the mirror is meant to reflect a clear image, while still others hold that the mirror is
intended to increase the amount of radiant light in the hall. Going back still further, we find that placing a mirror in the temple or
meditation hall is mentioned in the sutra Lengyang jing. When Ananda asked for the Buddha’s advice on proper decoration for the
practice hall, the Buddha replied that the ground must be purified and leveled and a sixteen-foot-wide octagonal altar built. A lotus
flower made of gold, silver, copper, and wood is placed in the center of the altar, and bowls containing water are then set inside the
lotus. Eight round mirrors are arranged around the bowls and beyond these sixteen more lotus flowers are arranged. Sixteen incense
4
burners are placed between the lotus flowers. Various cakes and excellent drinks such as milk, sugar water, and honey water are
offered at the altar. Banners are hung, images of Buddhas and bodhisattvas are suspended from the walls, and images of the guardian
deities are placed on both sides of the gate. Moreover, eight mirrors are suspended in the air, facing the other eight mirros at the center
of the altar, so as to reflect the light and the images.
The term “Jewel Mirror Samadhi” 寶鏡三昧 seems to have been coined by Dongshan. A computer search of the Taisho revealed
no matches in earlier texts. “Mirror Samadhi” 鏡三昧 does appear in a few texts, including the Mahaparinirvana Sutra where the
term appears as part of the name of the Illumination Mirror Samadhi 照鏡三昧 (zhaojing sanmei) in a list of 25
samadhis (a section from this sutra is also the basis for C14-17 below).
The term “Jewel Mirror” appears in a number of sutras and commentaries.
The following entry is an example.
To the right is an illustration of one of the 42 hands and eyes of
Avalokiteshvara described in the Daihishin Dharani Sutra (the illustration
is from “The Dharani Sutra” translation published by the City of 10,000
Buddhas (full sutra title: 千手千眼觀世音菩薩大悲心陀羅尼 –
The Thousand Hands and Thousand Eyes of the Bodhisattva Hearer of the
Sounds of the World Great Compassionate Heart Dharani (T1064)). It is
#20, called “The jeweled mirror hand and eye” The sutra says “For great
wisdom, use the Jeweled Mirror hand.” (若為成就廣大智惠者。
當於寶鏡手)
RS: The "treasure store" (pao-tsang 寶藏) of the title exemplifies the
hyper-glossia—the complex interplay of often countervailing voices—
that dominate the Treasure Store Treatise. The term "pao" (treasure) was
used in antiquity to denote treasure objects held in the possession of a clan
or royal household, particularly the royal house of Chou. The earliest such
treasures were thought to have been bestowed by mythical animals and
consisted of markings on stones, dragon scales, tortoise shells, and pieces of jade. These treasures, which included bronze tripods, a
wide miscellany of heavenly talismans, tablets with sacred ciphers, mysterious diagrams, and other ritual objects, were the material
receptacles for the spiritual numen (ling).
According to the Tso-chuan, "the treasures are for the protection of the people" (Legge 1961:5.671), a definition that plays on the
Chinese homophones pao meaning "treasure" and pao meaning "to protect." The discovery of such a treasure was trumpeted as a token
of heaven's favor; it was tangible evidence of the emperor's virtue and his possession of the mandate of heaven. Seidel notes that the
treasures “were not necessarily unique or precious. They were not used in any kind of commercial exchange, and only exceptionally as
gifts, but they were kept hidden and their possession had the mystical value of symbolizing a clan's good fortune. In the case of the
royal family, they constituted the sacra or regalia of the dynasty…During the Warring States period, ambitious princes became more
and more interested in such signs of divine protection, and there developed a science of prognostication and of interpretation of these
miraculous objects.” Kaltenmark and Seidel have traced the historical origins of the Taoist "revelation texts" to the Han apocrypha
(ch'an-wei), which were themselves imperial treasures, or pao. Such texts were treasures not only because they contained a message of
spiritual potency but because they were themselves objects of mystical power—sacred talismans to be cherished and venerated.
The fascination with heavenly pao continued well into the T'ang period, particularly during the reigns of emperors partial to
Taoism. Hsuan-tsung's reign was punctuated by the appearance of a number of such treasures, beginning in the year 713, when a 'jade
treasure" (yu-pao) was discovered after a heavy rain opened up a fissure in the palace grounds. In 741 an epiphany of Lao-tzu led to
the discovery of a jade tablet with red characters, prompting Hsiian-tsung to change the name of his reign to T'ien-pao (Heavenly
Treasure). His son, Su-tsung (r. 756—762), was similarly blessed: in 762 the district governor of Ch'u-chou discovered thirteen "state
treasures" (kuo-pao mi) comprising a jade fowl, a jade disk, jade rings, a stone axe, and various beads, gems, and seals, whereupon the
emperor adopted the new reign title Pao-ying (Treasure Response) .
Morohashi cites a number of derived meanings for pao, including shen (divine), and tao (Way), and notes the use of the term as a
prefix in Taoist and Buddhist compounds (MH 1.1114). The term "pao" was thus a natural choice to render the Sanskrit ratna, which
generally means "gem" or "jewel" but can also mean (as an appositional modifier or in nominal compounds) “jeweled" or "precious."
Accordingly, pao appears in numerous Buddhist compounds, including san-pao (Sk. triratna, "three jewels," i.e., buddha, dharma, and
sangha) and pao-yin (precious seal, a term appearing in the Treasure Store Treatise).
…the specific sense of pao-tsang that dominates later Ch'an writings can be traced in part to the Treasure Store Treatise itself. The
pao-tsang of the Treasure Store Treatise, according to Sung Ch'an writings, is a metaphor for the "true self"—the buddha-nature
secreted within the human body. The phrase from the Treasure Store Treatise most often quoted in later Ch'an literature plays on
precisely this metaphor: "Within heaven and earth, inside all the cosmos, there is obtained a singular treasure concealed in the form-
mountain" But despite the Buddhist permutations and abstractions, the term "pao," occurring in the midst of the multivocalic poetics of
the Treasure Store Treatise, retains conspicuous traces of its Taoist and Shamanic heritage. (pp.143-5)
RS (On four character phrasing in the Treasure Store Treatise): The overall effect is reminiscent of a number of early Ch'an works,
notably the verse compositions associated with the Ox Head lineage…By the T'ang. the four-character poetic form was falling out of
favor, having been supplanted by verse in lines of five or seven characters. The dominant use of four-character phrasing in these early
Ch'an texts gives them an antiquated tone, lending them the authority of age. It also renders the task of translation particularly difficult,
as the shorter phrases allow for fewer grammatical or syntactic markers…The concise and laconic compositional style, the frequent
5
use of parallel four-character lines without connectives, and the many textual allusions result in a complex and multilayered text that
is, at times, well-nigh impenetrable.
RS (On other literary aspects of the Treasure Store Treatise that may also apply as well to the Jewel Mirror Samadhi): one must
remember that not every statement in a Chinese essay or lun is meant to be an assertion, whether ethical, soteriological, or
philosophical. Language functions in many ways, not all of which are pleasing to logicians. Richard Robinson has characterized the
rhetorical mode dominant in Chinese San-lun compositions as "persuasive," in contradistinction to the "demonstrative" mode that
Robinson considers more typical of Indian Madhyamika works: “The rhetorical structure of Madhyamika works is varied and
elaborate. Certain figures are common to most texts of the school—for instance, simile and oxymoron. Certain other features are not
found in demonstrative texts but occur frequently in persuasive texts, for example, metaphor, climax, and double entendre.The latter in
particular was highly developed by Chinese Buddhists in the late fourth and early fifth centuries. The principle is part of the doctrine
of upaya (skillful means); the sutras say that the Buddha spoke with one voice (sound), and each hearer understood whatever it was
appropriate for him to understand. The principle was also esteemed by Six Dynasties litterateurs, who relished systematic multivalence
not only in poetry but in prose. The skillful Buddhist essayist could at once gain entree to literary circles and cast unwelcome ideas in a
welcome form by contriving his essay so that it would seem Taoist to the Taoist, Buddhist to those who understood, and aesthetically
pleasing to everyone.”
The Treasure Store Treatise is an apt example of a persuasive text in Robinson's sense of the term: it is written in the compendious
and highly textured literary style, dense with allusion, that was esteemed by educated Chinese. The overall effect is to affirm the
aesthetic, moral, and philosophical values of the literati, while subsuming those same values within the Buddhist fold.
The Treasure Store Treatise emerged, as I have shown, from the ideological world associated with early Ch'an. The Buddhist
appropriation of the aesthetic and moral values of the literati played an important role in the evolution of Ch'an doctrine and literature
and was in large part responsible for its later dominance. The process is dialectical: on the one hand, the "Ch'annish" manipulation and
extension of the upaya doctrine allowed educated Chinese Buddhist monks to appropriate freely the best of the non-Buddhist classical
tradition. On the other hand, the wholesale appropriation of Chinese values, Chinese rhetorical modes, and Chinese literary
conventions would affect every aspect of Ch'an thought and practice. (pp.137-139)
RS: Finally, a quote from the Treasure Store Treatise reminiscent of passages in the Jewel Mirror Samadhi (while being composed
at a much earlier date than the Jewel Mirror Samadhi): Who hears of it and is not delighted? Who hears of it and is not astonished?
How could this priceless treasure be hidden away within the depths of sentient existence? How tragic! How tragic! It is rendered
worthless. How utterly distressing! How could darkness arise from what is bright? The treasure is brilliant and resplendent, shining
throughout the ten directions, solitary, quiescent, and unmoving. Its responsive functions are magnificent: it responds to sound,
responds to form, and responds to yin and yang. Extraordinary and without cause, it is empty, lucid, and eternal. Straining the eyes, it
cannot be seen; inclining the ear, it cannot be heard. It is rooted in darkness, and its transformations give us form. Its activity is that of
the sage, and its functions are numinous. Thus it is known as the seminal essence of the Great Way. This seminal essence is very real:
it is the causal ground of the myriad things, firm and eternally abiding. As a moral constant it is equal to the Way itself. Therefore, the
scripture says: "To the extent that one's mind is pure, the buddha-land is pure." Endowed with a dense array of functions, it is called
the sage. (p. 188)
RM: (Introduction) Tung-shan Liang-chieh (807-1869) wrote the Hokyozammai (Pao-ching san-mei) in verse style. Made up of
four-character lines, it contains a total of 94 lines and 376 characters. Its rhythm and tonal qualities make it easy to chant. It somewhat
resembles the Sandokai in content and has, since the middle ages, been coupled with it in morning and evening readings in Soto
temples. In this work Tung-shan made use of the divination techniques that flourished in his days and worked out the theory of the
Five Ranks (go-i). Through these devices the Hokyozammai systematized Zen theory and a phase of Zen practice. The Hokyozammai
grew out of an earlier verse by Tung-shan. The original inspiration struck him when he saw his reflection in the water while crossing a
river: "Seek nothing of others—how great a distance then do I stand part from him, And now, going all alone, I meet him everywhere;
my true self, and yet not I. Seeing this, you live in truth." Hokyozammai, then, points to a state of mind in zazen when, like a jeweled
mirror, it reflects all things as they are. It is the Buddha Mind that has passed untarnished from master to disciple since the days of the
Buddha. It is the true law the actual state of all things and the inborn life of man. It tells us to embrace all things in their suchness
with the impartiality of a polished mirror—and adapt ourselves to them. It tells us also, to avoid destroying ourselves or harming
others, to transcend the dualism of love and hate, and to express ourselves as we really are in altruistic social action.. In this, work
Tang-shan Liang-chieh gave expression to a major feature of Soto Zen – creative thoroughness in daily life.
HJ: Pen Chi [Caoshan] was the patriarchal Dharma heir of master Liang Chiai Sama [Dongshan], and this poem represents Liang
Chiai’s final instructions for the safe keeping of the Sects’s Dharma. As is usual with Chinese Buddhist texts there are manifold layers
of meaning. In particular the sutra can be read as a guide to true Enlightenment, for all followers of the Way, as well as the more
personal patriarchal instructions for the conditions of inheritance. The sutra generally reads in couplets, which are then combined into
large groupings. In order to overcome obscurity and ambiguity, referenced (italic) line notes have been added [see HJ entries in Notes
field of C]…It is hoped that by doing this, the flow of the sutra can be kept unhindered and free from intellectualism. Square brackets
in the translation, are used to denote an added interpretation (e.g. … [of a target from] …). These have been added by the interpreter to
enhance understanding where it is believed to be necessary, and do not come directly from the Chinese Kanji. They can also be left out
sometimes, if the reader wishes the translation to be more like the original Chinese poetical form.
Takashi James Kodera (from Dogen’s Formative Years in China): “Late at night one day in the winter of the third year of Pao-
ch’ing (1227), Dogen went to Ju-ching’s quarters and expressed his intention of returning to Japan. Thereupon, Dogen received,
according to the Kenzei-ki, various items that included the Dharma Robe of Fu-yung Tao-k’ai, texts of the Pao-ching san-mei and Wu-
wei hsien-chueh [Five Ranks text] and Ju-ching’s portrait. They were given to Dogen to be used for his mission in Japan.” (pg 75)
“The authorship of this book (Jewel Mirror Samadhi) has not been determined conclusively. It has been traditionally attributed to
Tung-shan Liang-chieh although Yao-shan Wei-yen and Yun-yen T’an-sheng have also been suggested as possible authors. They are
6
the Thirty-eighth, Thirty-sixth and Thirty-seventh Patriarchs according to the lineage of the Bodhisattva Precepts…Furthermoe,
although this one-volume work is usally known as Pa-ching san-mei, Menzan maintains that it is correctly know as Pao-ching san-
mei-ko; in fact, he refers to it as Tung-shan Tsu-shih Pao-ching san-mei-ko lun in his work Sandokai Hokyo zanmai suicho. Because of
the similarity of content, although not of length and form, to Ts’an-t’ung-ch’i, this work could have served as a basis for Pa-ching san-
mei-(ko)…The Ts’ao-tung School…has traditionally emphaisized the thorough mastery of this work [apparently referring to Sandokai
but may actually be referring to Hokyo Zanmai] as an essential part of the monastic training.” (pp 160-161)
7
如 ru2 是 shi4 之 zhi1 法 fa3 佛 fo2 祖 zu3 密 mi4 付* C1fu4
M3137 N1189 M5794 N2120 M935 N280 M1762 N2535 M1982 N385 M6815 N3243 M4464 N1316 M1917 N363
if, supposing, as this, indeed, of, ‘s (marks dharma, law, rules, buddha, ancestor, dense, thick, entrust, give,
good as, equal yes, right, preceding as truth, religion, thing, completely forefather, intimate, close, deliver, pay,
to, as if, like, as, to be, that modifier), it, regulations, method, conscious, grandfather, close together, hand over,
tatha: so, thus, in which (also her, him, model, principle, awakened, founder, quiet, still, transfer (note:
such manner, in C11, 13, them, goto way, manner, from budh: originator, secret, occult, this is not the
used in the sense 29) system, reason, to be aware pioneer, origin, esoteric as in same character
of ultimate process, doctrine, of, wake, beginning, 密宗: name for as in “mind-to-
reality, the religion, technique, observe, prototype the Shingon mind
nature of all art, rites, anything conceive, school – Sp.347. transmission”:
things, such, Buddhist, duty, all Sp.225 (also (Also in C46) 以心傳心
bhutatathata, things, code, “that in C36) (ishin denshin)
sunya(空): which has entity and and
empty,– Sp.210 bears its own “transmission
(also in C7, 12, attributes,” 2nd of the light”
14, 20, 37, 46) jewel, something like
“spiritual” – Sp.267 傳光
evam, thus, so, so it is, so let it
(also in C32) (denko))
be. Most sutras open with this
phrase, “Thus have I heard…”
Sp.211. 如是我聞
JT: 如是の法、佛祖密に付す、 Notes: 付* - CV variant character: 附 (M1924/N4983) –
JR: Nyoze no hō būsso mitsu ni fusu near to, adhere to, dependent on, to append, to enclose, accessory,
CT: The teaching of thusness has been intimately communicated to be possessed by.
by Buddhas and Ancestors. On thus (如):Buddha’s admonition to Bahiya Daruciriya (in
CF: The teaching of Being-As-Is Has been intimated by the the Udana): Then, Bahiya, thus must you train yourself: “In the
enlightened; seen there will just be the seen; in the heard, just the heard; in the
CL: Such is the esoteric Dharma Inherited from Buddhas and reflected, just the reflected; in the cognized, just the cognized.”
Patriarchs. That is how, Bahiya, you must train yourself. Now, Bahiya,
FW: The Dharma of “just this” has been intimately Entrusted from when in the seen there will be to you just the seen; . . . just the
Buddhas and Ancestors. heard; . . . just the reflected; . . . just the cognized, then, Bahiya,
HJ: The Law [Dharma] of such-ness [Tathagata], Buddha you will not identify yourself with it. When you do not identify
ancestors intimately handed [it] down. yourself with it, you will not locate yourself therein. When you
JC: The Dharma of Thusness Was intimately entrusted by the do not locate yourself therein, it follows that you will have no
buddhas and patriarchs “here” or “beyond” or “midway-between” and this would be the
NF: The teaching of “this” has been intimately entrusted to you by end of suffering.
buddhas and ancestors. Tathata (Sanskrit) - "suchness"; central notion of the
RB: The thusness of truth Has been conveyed from buddhas and Mahayana referring to the absolute, the true nature of all things.
patriarchs intimately. Tathata is generally explained as being immutable, immovable,
RM: The Buddhas and patriarchs have directly handed down this and beyond all concepts and distinctions. "Suchness" is the
basic truth: opposite of "that which is apparent" - phenomena. It is formless,
SA: The Buddhas and the Patriarchs have all Directly handed unmade, and devoid of self-nature.Tathata as the thus-being of
down this basic Truth: things and their nonduality is perceived through the realization of
SY: It is this very Dharma The Buddha and Patriarchs secretly the identity of subject and object in the awakening (Bodhi) of
transmitted. supreme enlightenment. Tathata is similar in meaning to:
TH: The Dharma of thusness Is intimately conveyed by Buddha tathagata-garbha, buddha-nature, dharmakaya, dharmata.
Ancestors. (Shambala Dictionary of Buddhism and Zen)
TN: The teaching of suchness, is given directly, Through all Case 1 Book of Serenity: One day the World Honored One
buddha ancestors, ascended the seat. Manjusri struck the gavel and said, "Clearly
TP: The dharma of thusness is intimately transmitted by buddhas
and ancestors. observe the Dharma of the King of Dharma (諦觀法王法); the
TS: This dharma as it has been directly entrusted by buddha Dharma of the King of Dharma is thus. (法王法如是)" The
ancestors. World Honored One then got down from the seat.
WP: The Dharma of Suchness, directly transmitted by Buddhas Intimate (密) transmission connects to the opening lines (1.-
and Ancestors,
2.) of Sandokai (參同契):
ZC: The teaching of thusness has been Intimately communicated
by buddhas and ancestors. 竺土大仙心 The mind of the great sage of India,
東西密相付 is intimately transmitted from west to east.
8
Huineng questioned Nanyue, “What is it that thus comes?” (是什麼物恁麼來 (using different characters for “thus”: 恁麼))
Nanyue responded, “To say its this misses the mark” (説似一物即不中) (this may relate to the teaching of “Just this”/”Just this
person” – see the story in notes to C12 below)(Buddha is the Tathagata (如來 Nyorai)– the thus come one, the one who comes thus.)
Nanquan said, “As soon as you call it ‘thus’ it has already changed.” (喚作如如早是變也)(see notes to C39)
(Suchness or thusness can be seen as a kind of latent theme in the Jewel Mirror Samadhi – see the notes to C11 in relation to the
Mahayana lists of unconstructed dharmas, Dongshan’s enlightenment poem quoted in C13, in relation to the baby simile in C14 (CT
note), the characters for bhuta-tathata in C24, and the notes to C34 in relation to the inverted views. Suchness also relates obliquely as
quoted in the notes to C2, C3, C18, C27 and C39. Additionally, the character for “thus,” - 如 – also means “like” or “analogously.”
The character is used in this way in C7, C12, C14, C20, C37 and C46 (and also an AV variant character in C18). Is there any
siginficance to this? How are these two meanings related? Do the analogies have a kind of hidden evocation of thusness because this
character is used? The practice of thusness is to attune with how things are, to be like how things are.)
The dharma of thusness in the Jewel Mirror Samadhi can be summarized as non-duality and in this basically follows the
Sandokai. Thusness as nonduality can be expressed as the emptiness of duality (which some texts distinguish from the emptiness of
inherent existence).
The first historic transmission in the second story of the Transmission of Light: The Buddha raised a flower and blinked his eyes.
Kasyapa broke out in a smile. The Buddha said, "I have the treasury of the eye of truth, the ineffable mind of nirvana. These I entrust
to Kasyapa."
Dōgen (Shobogenzo Kokyo): “What all the buddhas and all the patriarchs have received and retained, and transmitted one-to-
one, is the eternal mirror. They have the same view and the same face, the same image and the same cast, they share the same state
and realize the same experience.”
HJ: This line is written as ‘the Law of Such-ness’ and not ‘such is the Law’, which is in keeping with the Buddhist interpretation
of Tathagata. Intimately here implies person to person without interruption in an unbroken line of succession.
SY: The Dharma that is transmitted is precisely this precious mirror samadhi – true nature. It is secret in that it is known only by
enlightened Buddhists, patriarchs and masters. Only the master and the disciple to whom it is being transmitted are aware of it.
汝 ru3 今 jin1 得 de2 之 zhi1 宜 yi2 善* shan4 保 bao3 護 C2

hu4
You, your (also now, today, at attain, obtain, it, ‘s (marks suitable, right, good, virtuous, protect, defend, protect,
in C13) present (also in get, gain, preceding as fitting, proper, charitable, kind, safeguard, guard, defend,
C28) acquire (also in modifier), her, ought, should well, apt, expert, maintain, nourish, shelter, assist
C17) him, them, go to familiar, to care for
perfect protect, shelter, guardian
JT: 汝いまこれを得たり、よろしくよく保護すべし Notes: 善* - JV variant character: 能 (M4648/N853) – able to,
JR: Nānji ima kore o etari yoroshiku yoku hōgo subeshi may, can, power, talent, ability.
CT: Now you have it so keep it well. Transmission of the Light (41): Once Zen master Yunju said,
CF: Now that you have gotten it, You should keep it well. "If you want to realize such (如-see C1) a thing, you must be such
CL: Now that you have received it, You should guard it carefully. a person; since you are such a person, why worry about such a
FW: Now that you have it, Care for it well. thing?" Hearing this, Daopi was awakened.
HJ: You have now received it, Protect [and] guard [it] carefully, Dongshan also taught: (WP pg 48): “When you become a
well. person, there is such a practice.”
JC: Now you have gotten it: You must preserve it well Genjo Koan: “When you first seek dharma, you imagine you are
NF: Now you’ve got it – keep it well. far away from its environs. But dharma is already correctly
RB: You are now in possession of it: Guard it well! transmitted; you are immediately your original self.”
RM: You now have it, so preserve it well. The “you” may be referring to Caoshan – in section 116 of the
SA: -Preserve well for you now have; this is all. Record of Dongshan, there is this preface to the Jewel Mirror
SY: Now that you have it Protect it well. Samadhi: “Because Ts’ao-shan was taking his leave, the Master
TH: Now you have it, Keep it well. transmitted this teaching to him. ‘When I was at Master Yun-yen’s,
TN: Now that it's yours, keep it well. he secretly entrusted me with the Jewel Mirror Samadhi, thoroughly
TP: Now you have it; preserve it well. conveying its essence. Now I am giving it to you. It goes as
TS: Now that you have realized it you must guard it mindfully. follows: <text of the Jewel Mirror Samadhi>.’” (WP)
WP: Today is yours; preserve it carefully.
ZC: Now you have it, so keep it well.
In Case 80 of the Book of Serenity, commentary on the verse, there is a different version of this statement (which may also relate to
C2, C8 and C46): “Dongshan, in his last instructions to Caoshan, said, "At my late teacher Yunyan's place I was personally sealed with
the 'precious mirror meditation,' in which all matters are comprehended most clearly and essentially. Now I impart it to you; keep it well,
and don't let it be cut off. Later, if you meet a true vessel of Dharma, only then should you pass it on. It should be kept hidden, not
revealed in words – I think that if it’s relegated to current conventions, it will be hard to contact people later.” (See also Case 49 of the
9
Book of Serenity in the supplemental materials at the end.)
MW: This is Tozan’s gift to Sozan. It is his transmission gatha to Sozan. But actually, Tozan has not given anything to Sozan, rather,
he’s confirming it: “Now you have it.” “Now you have it” is seeing your buddha-nature and then to “preserve it well” is to see buddha-
nature in everyone.
RA: at the beginning of his poem he transmits the samadhi to you, and now you have it. You have the samadhi now…then he says,
now that you have it, take care of it well…how are you going to take care of this thing? How are you going to take care of such a precious
way of being?...it’s something you receive and give, it’s not something you take and hold. And the practice is not any longer something
that you are doing. It’s something that lifts you up and carries you forward on the path…and I thought, “How do I take care of my
grandson?”—who’s also a precious thing that was given to us. And I think it’s pretty much the same. You receive, and you give it away.
So you’ve received the samadhi, and now you can give it away. Don’t worry about whether you’re going to get it back again, because
we’re going to chant the thing again later, and again you’re going to say, “Now you have it, so keep it well,” so it’s going to be given to
you again and again, moment by moment. There is samadhi now. So please take care of it the way you take care of any precious thing
that’s alive. Pay attention to it, stay close to it. Don’t try to control it. Never lose sight of it. And if you do lose sight of it, confess, “I lost
sight of it,” and start paying attention again.
SY seems to correlate “Now you have it” with sudden enlightenment and “preserve it well” with gradual cultivation (see C28):
“What the disciple has gained is the understanding or the vision of the precious mirror. The master has affirmed a level of understanding.
However, if this understanding is not protected through diligent practice, it will be lost again. This is generally called, ‘sudden
enlightenment, gradual cultivation.’”
Taitaku Pat Phelan: In 1227, Dogen returned to Japan to teach what he called the "true Buddhism" he had learned from Ru Jing. As
was the tradition, Ru Jing recognized Dogen’s realization and his entrustment of the teaching to Dogen by giving Dogen his own
teacher’s okesa or ordination robe, copies of Soto texts including the Song of the Jewel Mirror Samadhi, and a portrait of himself.
NH: This is what Tung-shan said to Ts'ao-shan, the disciple with whom he was most satisfied. This is a very important statement
made on the occasion of transmitting the Dharma.
Heart Sutra: “No attainment (無得),” but also, in other Chinese translations, the Heart Sutra then states “No non-attainment
(無無得).”
On practice as basically carmg for the dharma of thusness (rather than trying to get it, expecting it to take care of us, seeking
understanding, etc.) - Book of Serenity Case 94: When Dongshan was unwell, a monk asked, "You are ill, teacher, but is there anyone
who does not get ill?" Dongshan said, "There is." The monk said, "Does the one who is not ill look after you?" Dongshan said, "I have
the opportunity to look after him." The monk said, "How is it when you look after him?" Dongshan said, "Then I don't see that he has any
illness."
C1 establishes the basic subject of the Jewel Mirror Samadhi as the dharma of thusness (the referent of all the “it”s in the poem –
there are over 25 “it”s in some translations all of which seem to refer back to the dharma of thusness in C1)).
C2 expresses the basic attitude of practice which also gets unfolded through the various practice instructions in the text (C4, C6, C7,
C22, C23, C27, C34, C44, C46, C47). Having it and caring for it can be seen as another way of expressing: “practice based on
realization” – in contrast to practice based on delusion (practice based on thinking one is separate from it). Caring for it also resonates
with C44 – “serving” and “obeying.”
10
銀 yin2 盌* wan3 盛 sheng4 雪 xue3 明 ming2 月 yue4 藏 cang2 鷺 C3
lu4
N? -
M7432 N4855 M7022 nan M5752 N3116 M2903 N5044 M4534 N2110 M7696 N2169 M6718 N4078 M4187 N5369
silver, cash, bowl, basin, abundant, snow Æ ice, bright, light, moon, month hide, conceal, heron, egret,
money, wealth, cup, dish flourishing, wipe away brilliant, clear hoard, store up, crane
riches, treasure contain, to shame, avenge, Æ intelligent, treasure (used for (connotation of
(1 of the hold whiten, wipe out to understand, alaya & garbha long life)
traditional 8 a grievance to illustrate, to (womb))
jewels) cleanse (also in
C9)
JT: 銀盌に雪をもり明月に鷺を藏す、 Notes: 盌* - BV actually has: 怨 (M7714/N1663) – to
JR: gīnnān ni yuki o mori mēigetsu ni ro o kakusu find fault with, to murmur against, to harbor resentment,
CT: Filling a silver bowl with snow, hiding a heron in the moonlight. hatred. (盌 is from AV)
CF: A silver bowl full of snow And a heron hidden in moonlight
CL: Like snow in a silver bowl, An egret in the moonlight, 盌* - JV variant character: 碗 (M7022/N3196) – a bowl,
FW: Snow contained in a silver bowl, A heron concealed in the a basin, a dish, a cup.
moonlight; SY: These lines describe how the enlightened person sees
HJ: Fill [a] silver bowl [with] snow, Conceal [an] egret [in] bright the world. Ordinarily, we think that the mind of an enlightened
moonlight. person is unmoving. However, it cannot be said that there is no
JC: The silver bowl is filled with snow, The bright moon conceals the thought in his mind…The silver bowl and bright moon are
egret: unmoving…They signify wisdom. The snow, which is placed
NF: Like a silver bowl filled with snow, like a heron hidden in the in the bowl, is something moving, in the sense that it is
moonlight: transitory. By containing the snow (the object), the bowl (the
RB: Snow heaped in a silver dish, A white heron hidden in the bright subject) manifests a function – namely, to contain something.
Moonlight, In a similar sense, the moon illuminates the egret. The snow
RM: The snow falls on the silver plate, and the snowy heron hides in the and egret symbolize phenomena…The snow and bowl are the
bright moon. same color, but they are not the same things. The same is true
SA: The white snow falls upon the silver plate, The snowy heron in the for the egret and the moon. Enlightened beings see everything
bright moon hides; as one, but they can make distinctions.”
SY: Like a silver bowl full of snow Or an egret hidden against the bright “Snow in a silver bowl” may be like (Sandokai line 35):
moon 事存函蓋合 – Phenomena exist, box and lid fit.
TH: Filling a silver bowl with snow, Hiding a heron in the moonlight. MW: Suzuki-roshi said “You should be like a white bird in
TN: A serving of snow in a silver bowl, Or herons concealed in the glare the snow.” He also said, “Zazen is like sitting in your mother’s
of the moon lap.” That is, coming home, being one with things.
TP: A silver bowl filled with snow, a heron hidden in the moon. NH: When the silver bowl is filled with snow, both are
TS: Snow heaped in a silver bowl, a heron fading into the bright moon. white. The egret in the bright moonlight is also white. When
WP: It is like a silver bowl heaped with snow and the bright moon we look at them, they are both white, but they are not the
concealing herons– same. People who study Zen must have another eye on their
ZC: Filling a silver bowl with snow, hiding a heron in the moonlight forehead to see this clearly!
CC: As snow is contained in a silver bowl, and as a white heron hides in RS (On cang 藏): In Chinese translations of Indic
the bright moonlight,
materials, tsang appears in the compounds ju-lai tsang (Sk.
TO: Snow heaped up in a silver bowl, A white heron hidden in the full
tathdgatagarbha, matrix of buddhahood) and san-tsang (Sk.
moon's light;
tripitaka, three baskets, i.e., the scriptural canon), both of
ZS 8.107: Put snow in a silver bowl, hide a heron in the light of the
which are repositories or embodiments of truth. This sense
moon.
of tsang as the fount of bodhi is further developed in
medieval Chinese Buddhist writings.(p.144)
藏 is also the zo of shobogenzo, 正法眼藏.
ZS 4.610: Hide a white heron in the silver moonlight.
ZS 5.68: Heap up snow in a silver bowl. (Blue Cliff Record 13 – see below)
ZS 7.304: The fool piles up snow to make a silver mountain.
ZS 7.495: When a heron stands in the snow, its colors are not the same.(and ZS 8.430: The two are not the same – a heron standing
in the snow.)
ZS 10.300: Outwardly he says, “All are one,” Privately he says, “They’re not the same.”
ZS 14.172: In this silver bowl are heaped a thousand worlds, In this jar of ice are reflected ten empty voids.
ZS 14.552: White herons alighting in a field – thousands of snowflakes!
All – the snow, bowl, heron and moon – can be seen as white, see also C33, C37 and C39.
Enkyo O'Hara: The Jewel Mirror of Awareness says that the dharma of thusness is like filling a silver bowl with snow. When you
first look at a silver bowl filled with snow, it all looks the same. The silver reflects the white, glistening snow at that edge of snow and
silver. Where is that edge when you first look at it? But then, on closer inspection, you say: "Oh, they’re not the same." The snow and the
11
silver may look the same, but they are, in fact, different. And that is the case here. The other night, when we were doing a mondo, there
was a lot of anxiety voiced about how it is that we can act at all if we are immersed in oneness where right and wrong, good and bad,
don’t exist. And yet when we look carefully, there is snow and there is a silver bowl. There is our interdependence and there is our
individuality.
HJ: Similes for Form (snow, egret) and Absoluteness (silver bowl, bright moonlight).
Blue Cliff Record, Case 13: A monk asked Baling, "What is the school of Kanadeva?" Baling said, "Piling up snow in a silver
bowl.(銀碗裏盛雪)” (Baling lived about 100 years after Dongshan.) In the commentary, Yuanwu states: “As for the matter of One
Color, to get here you must have penetrated all the way through on your own.” (This seems to imply that the uniform color of the snow,
silver bowl, heron and moon represents the one taste of all things - their emptiness, their suchness - which however does not obliterate
their differentiation.) (This story may also be a play on the following story which is in the Transmission of Light: Kanadeva visited the
great master Nagarjuna. Knowing he was a man of wisdom, Nagarjuna sent an attendant out to place a bowl full of water in front of
Kanadeva just as the latter was about to reach the gate. Nagarjuna then watched to see what Kanadeva would do. Kanadeva placed a
needle on the surface of the water and brought it with him to meet Nagarjuna. Happily they had a meeting of minds.)
Gyomay Kubose: “Snow heaped insie a silver bowl, a white heron in the birght moonlight – they look alike; they are hard to
distinguish from each other, but they are different. Each has its own life. Zen could be described, also, as essence, manifestation, and
function. But if one sees only this aspect, one does not see Zen. Yet, each is Zen. The universal is particular, and the particular is
universal. Eternity is moment: the eternal moment. Love is universal but expressed in concrete acts. Zen is the totality of life. But each
act of living is the absolute total life itself.
This may relate to the Hua-yen illustration of the golden lion, “in which the relationship of the gold to the lion’s form was analogous
to the relationship between principle and phenomena. The gold always exists in some form, whether or not it is in such a familiar form as
a lion. Similarly, the lion form is nonexistent apart from the gold. Thus they mutually interpenetrate.” (WP)
Accordingly, our way is like Avalokiteshvara Buddha—Bodhisattva. When he want to save ladies, he take—he will take the form of
lady. For boys, he will take form of boy. For fishermen, he will be a fisherman. More sophisticated Chinese expression is "to be like
white bird in the snow." White bird in the snow. When people are like snow, we should be like snow. When people become black, we
should be black. And being always with them, without any idea of discrimination, and we can help others in its true sense, without
giving anything—any special teaching or material. This is actually bodhisattva way.
12
類* li4 之* zhi1 弗* fu2 齊 qi2 混 hun3 則 ze2 知 zhi1 處 C4
chu4
class, group, it, ‘s (marks not, negative even, uniform, A turbid then, and so, in know, perceive, place, locale,
category, kind, preceding as of equal length, torrent accordance with, comprehend, be department,
similar, same, modifier), her, equal, similar, Æmuddy, mix, consequently aware of realm (place
putting into him, them, goto same, regular, blend, mingle, (rule, law, both physically
one category all alike, to bumble along, regulation, and abstractly)
arrange disorderly, grades, pattern, condition,
confused standard) circumstances
JT: 類して齊しからず、混ずるときんば處をしろ、 Notes: 類* - CV variant character: 髏
JR: rui shite hitoshi karazu kōnzuru tokīmba tokoro o shiru (M4149/N5243) – A skull.
CT: When you array them they're not the same. When you mix them you 之* - JV variant character: 而 (M1756/N3689) –
know where they are. and, and yet, also, but, nevertheless, like, as, you, your.
CF: Are similar but not the same; Put them together, and they're distinct.
CL: All species which are not uniform Can be distinguished when assembled 弗* - AV & JV variant character: 不 (M5379/N17) –
FW: They are similar but not the same. Mixed together their uniqueness is not, a negative.
known. “Not distinguished” (in the TP translation) may be a
HJ: [They are] alike, yet not [the] same, [When] they are together, only then bit of a stretch – this passage does not seem to be
[you] know [the] place. referring to non-discrimination, but rather to regonizing
JC: When we compare them, they are not equal. Mix them together and you differences.
will know where they are On things not being the same – Sandokai, lines 33-34:
NF: Very similar but not the same, and when together distinguishable. 比如前後步 - Each of the myriad things has its merit,
RB: These are alike, but not the same, confused, but distinguishable. 萬物自有功 - expressed according to function and
RM: They resemble each other but are not the same. By combining the two we
place.
can distinguish them.
MW: These lines (C3-4) concern the phenomenal and
SA: Resembles each the other yet these two Are not the same; combining them
the real and their relationship – this sets the tone for the
we can Distinguish one from other.
whole piece. Although two, they are one. Although one,
SY: They are similar but not identical. When mingled their difference can be
they are two.
recognized.
CL: This esoteric Dharma is absolute and does not
TH: They are similar though not the same. Side by side you can see the
admit anything which can be called either the real or the
differences.
seeming. However, a master should use these two terms
TN: Apart, they seem similar, together, they're different.
(i.e. the real and the seeming) to teach his deluded
TP: Taken as similar, they are not the same; Not distinguished, their places are
disciples so that they know the difference between these
known.
two conditions and successfully pass through the five
TS: Similar but unequal. Place them side by side and you will see which is
positions of prince and minister for their attainment of
which.
the absolute. Snow, silver, egret and moonlight are used
WP: When classified they differ, but lumped together their whereabouts is
as examples to show this difference; although they are
known.
all white, they are not of the same white when gathered
ZC: -Taken as similar they're not the same; when you mix them, you know
together for comparison.
where they are.
NH: Take the things that are not the same and mix
CC: when you classify them they are different from each other, but when you
them together so they are the same: only then will you
unify them they are the same in the Source.
CW: Taken as similar, they are not the same; Not distinguished, you know know a bit of the method for entering the gate.
where they are. HJ: ‘know [the] place’. Know the connection,
TO: The two are alike, yet not the same: Interfused, though having each its relationship or difference
place.
CT: Silver and snow, herons and moonlight – all are white, yet not the same color. This symbolizes sameness and difference, and
their interfusion. Sameness, symbolized by the common whiteness is equality, equanimity, absence of ultimate reality; in relativity
can be seen the merging of sameness and difference – without difference there can be no relational in being dependent and
conditional all are the same. Also this symbolizes absolute purity; when the mind is pure, all worlds are pure – this too is ‘snow in a
silver bowl’.
CC: “The images ‘snow’ and ‘white heron’ are symbols of particularity, the objective events. The symbols ‘silver bowl’ and ‘bright
moonlight’ refer to the Void, or universality. It is in this world of universality that the particularities join together and enter the
Source…When the objective event is not distorted by a subjective stain, it unites with the world of the Void.”
Sandokai: “Each and all, the subjective and objective spheres are related, and at the same time, independent. Related, yet working
differently, though each keeps its own place.” (Boundless Way translation, lines 9-12)
They are nondual – they are different but inseparable, neither the same nor different. This is also expressed in the mirror couplets –
C12-C13: “Like facing a precious mirror; form and reflection behold each other. You are not it, but in truth it is you.”
13
意 yi4 不 bu4 在 zai4 言 yan2 來 lai2 機 ji1 亦 yi4 赴 C5
fu4
meaning, (will, no, not, un-, be at, in, on, words, speech, come, coming, Changes, also, too, and, go to,
idea, intention, negative prefix consist in, rest, speak, say, talk, return, motions, origin then, likewise, attend,be
thought, wish, (also in C9, 11, to be present, express returning, of, moving moreover, present (to an-
think, purpose 13, 15, 17, 23, to be alive, in arrive (also in power of (as of further, however nounce a death
opinion, 24, 27, 45) point of, in the C15 and in the the universe) ↘ in the family)
sentiment, case of, in titles of the
manas: mind, reference to five positions – energy, function, capacity, loom, machine,
faculty of see below) mechanism, catch, trigger, opportune, to seize an
thought – opportunity, moment, chance, active moment,
Sp.400)(“The pivotal, crucial moment, secret, occult, cunning
point of the workings capable of responding to a particular
patriarch’s spiritual impulse, in Zen indicates a master’s style of
coming from teaching disciples, the spring, motive principle,
the west” is occasion, opportunity, basis, root – Sp.448
祖師西來意.)
JT: 意言にあらざれば來機またをもむく。 Notes: WP: Language is not used to generate concepts but
JR: kokoro koto ni ara zareba rāiki mata omomuku as an anitdote to conceptualization.
CT: The meaning is not in the words yet it responds to the inquiring The second line could also be translated: “At a pivotal
impulse. moment, it comes forth,” or “Attend at a pivotal moment”
CF: The meaning is not in words, Yet responds to emerging potential. NH: Written and spoken words are not sufficient to
CL: Though Its aim lies beyond (all) words, It is responsive to enquiring express this thing. When you are lucky enough to bump into it,
seekers. then you will awaken.
FW: Its meaning does not abide in the words, Yet it meets the inquiring VH: In Zen texts, ki 機 and zenki are extremely difficult to
student. translate. The character originally meant a weaver’s loom…It
HJ: Because Mind is not in words, Come [to the] point of change [and connotes a mechanism…In other branches of Buddhism, ki
you] move [in its] direction. denotes the potential of the practitioner or disciple and by
JC: The meaning is not in the words, But it goes to meet incoming extension the practitioner or disciple himself…In Zen,
potentials however, ki often refers to some movement of mind in contrast
NF: Depth isn’t in words, it comes forward with life. to stillness or solidity. For this reason, Japanese Zen texts
RB: The meaning of things is inexpressible In words, but they are hints to sometimes put the furigana for hataraki, “working,” “activity,”
the searching Spirit. “action” beside the character. In the koan curriculum…the first
RM: The supreme mind cannot be expressed by words, but it responds to classes of koan are hosshin “Dharma-body” and kikan,
the needs of the trainee. translated “dynamic activity.”…Sometimes ki indicates the
RM: If you are enslaved by words, you fall into a hole. If you go against method in contrast to the goal. Here ki refers to the teacher’s
the basic truth, you come to a dead-end. skillful means rather than to the practitioner’s
SA: Supreme mind, In words, can never be expressed and yet To all the potential…Although ki usually indicates Zen activity or Zen
trainees' needs it does respond; energy – and therefore something that one would want to
SY: The meaning does not lie in words, Yet those who are ripe must be cultivate – in some verses the movement of mind labeled ki is
taught. considered negative…(depending on context, translated as
TH: The meaning is not in the words, Yet one pivotal instant can reveal loom, impulse, blade, dynamism, energy, act, power, potential,
it. spirit, trap, motion (of mind), doing, instinct, action, desire,
TN: Meaning cannot rest in words, It adapts itself to that which arises. workings.)
TP: The meaning does not reside in the words, but a pivotal moment
brings it forth.
TS: The meaning is not in words. Inquiring students seek further.
WP: The Mind, not resting in words, accommodates what arises;
ZC: The meaning is not in the words, yet it responds to the inquiring
impulse.
(Warm Smiles: The meaning is not in the words, Yet it responds to the
arrival of energy.)
Compare with Sandokai (line 37): 承言須會宗 - Hearing the words, understand the meaning. Also from Sandokai (line 36):
理應箭鋒拄 - Principle responds, arrow points meet.
Baizhang: “To speak of the mirror awareness is still not really right; by way of the impure, discern the pure.” (pg 33)
MW: We have to get beyond the words – “reading the other side of the page.” We do need to use words even though reality is
beyond words, but do not stick to the words.
CL: This Dharma is beyond all words but when receiving enquiring seekers, words are, however, used to reveal its aim.
There are a number of statements in the Song of the Jewel Mirror Samadhi concerning expression and the inexpressible, words and
no-words: “The meaning does not reside in the words but a pivotal moment brings it forth,” (C5), “Just to depict it in literary form is to
14
relegate it to defilement,” (C8), “Although it is not constructed it is not without speech,” (C11), “Baba wawa is anything said or not? In
the end it says nothing because the words are not yet right,” (C16-17), “Now there are sudden and gradual in which teachings and
approaches arise…reality constantly flows,” (C28-30), “The ancient sages grieved for them and offered them the dharma” (C32). Also,
the issue is raised implicity: “Wondrously embraced within the real, drumming and singing come up together,” (C21), “When the wooden
man begins to sing, the stone woman gets up to dance,” (C42) and the Song of the Jewel Mirror Samadhi is itself an example of
employing words and language. This issue also comes up in five positions, especially in the “Clear Determination of the Five Positions”
(in section e in the five positions supplemental materials). There are many stories in the koan collections which concern words and no-
words, expression and inexpressibility, speech and silence, and going beyond both. In a sense, all the koans are about this matter
implicitly; here are some that deal with this matter explicitly: Blue Cliff Record 14, 28, 65, 70, 71, 72, 88, 95, Book of Serenity 6, 7, 9,
46, 48, 78, 87, 90, Gateless Gate 5, 24, 36, 43, Transmission of Light 30, 39, 40, 45, 47, 49.
Bodhidharma’s verse: A separate transmission outside doctrine, Not founded on words or letter, Pointing directly at human mind,
Seeing nature, become Buddha. (VH trans)
RS: (from Scharf’s excellent chapter entitled “Chinese Buddhism and the Cosmology of Sympathetic Resonance.” Sympathetic
resonance is Scharf’s translation of kanno 感應) The power of beings to induce a response in the Buddha is identified with the power of
the impetus (chi 機), the source of which lies in the karmic accumulation of good deeds. Just as the water must be clear and still to reflect
the light of the moon, the mind must be clear and still to elicit the response of the Buddha. This same image was employed by Chi-tsang
in his analysis of "stimulus-response with respect to principle." In later East Asian exegesis the image of the moon on the water becomes
the standard illustration of the workings of kan-ying (kanno).(p. 125)
Hongzhi (Leighton and Wu trans): “The primal mind transcends conditioning, the primal dharma does not speak, but all buddhas and
all ancestors are not detained here. In the second gate of meaning [that of the relative and of speech], they engage in dialogue and energy
is aroused, which is instantly extracted and dispensed both to the first class practitioner and to the dull person.” (“energy is aroused” here
connects “inquiring impulse” or “the arrival of energy”)
“Response” and “impetus” 機 relate to kanno 感應 (which in turn is part of a larger term important in Zen: kanno doku 感應道交 -
“Spiritual communion” or “Resonating with the Way” (in Dōgen see Shobogenzo Hotsu Bodaishin, Kie Sambo and Shinjin Gakudo)).
The second character of kanno, 應, appears below in C27: “A hairsbreadth deviation will fail to accord (應) with the proper attunement.”
Mirror imagery is common in writings concerning kanno (see the RS quotes in the notes to C12 and C13). The image of “drumming and
singing coming up together” in C21 may also be related to kanno. Kanno is also related to explanations of karmic recompense (and in
this sense it may relate to C38 and C39). Scharf’s chapter discusses the broad scope of this term and its historical persistence and
evolution in Chinese culture and the formation of Chinese Buddhism. It is both a property of the universe and a practice of the sage. It
has been used to explain ritual efficacy and divination (connecting to the I Ching referenced in C18). Kanno thus potentially draws
together a number of different images and references in the Jewel Mirror Samadhi. (See also the RS citation in C24 and the Shih-shuo
hsin-yu story in the I Ching section below.)
RA: The meritorious reward of having returned home to the Three Treasures will inevitably appear when there is this kind of non-
dual spiritual communion between a living being and Buddha, when there is a living, breathing relationship between appeal and
response…Referring to this communion the Song of the Jewel Mirror Awareness says, “The meaning is not in the words, yet it responds
to the arrival of effort.” The meaning of saying “I take refuge in Buddha” is not in these words, but it responds to our devotion in saying
these words. The meaning is complete awakening and comes forth to receive the gift of our living effort, in thinking and saying, “I take
refuge in Buddha.” If our devotion is total, if we give our whole life to being awake then there will be a complete response…This is the
jewel mirror awareness. It clearly reflects our devotion. It completely reflects our partial efforts. It fully reflects our total effort. In this
realm we get back exactly what we give. When we hold back from awakening, it may seem that awakening holds back from us. This
perfect reflection of our holding back is also spiritual communion. This is the jewel mirror awareness. (these comments are continued in
the notes to C21)
RA: In Zen and the Art of Archery, Ki indicates a drawn-bow-situation. We do not let it go – we hold it until the string is released.
Just know that you are holding the concept until it is released. Any device to let go is still holding on.
ZS 8.11: 意中削句句中削機: Carve words out of meaning, carve action out of words.
Transmission of Light Number 9 When Buddhanandi met the Buddhist master Vasumitra, he said to him, "I have come to discuss
meaning with you." / Vasumitra said, "Good man, discussion is not meaning, meaning is not discussion. If you try to discuss
meaning, ultimately it is not a meaningful discussion." / Buddhanandi knew that Vasumitra's doctrine was supreme, and he realized
the principle of the uncreated.
Suzuki-roshi (3 meanings of ki): Ki means "potentiality." Ki. We have potentiality to be Buddha—to be a buddha, you know, in its
true sense. So it is like a bow and arrow, you know. Arrow, you know, has potentiality to—potentiality to fly, you know. Because bow
and arrow has potentiality, if you use it, you know, the arrow will go. But if someone doesn't use, you know, bow and arrow it wouldn’t
go. So bow and arrow has potentiality. So does we human being, you know. We are ready to be a buddha, but if you don't practice
zazen, or if Buddha doesn't help you, you cannot be a buddha even though you have potentiality… If you miss this time, you know, if
you do not [make a] good effort in one week or in one year, you, you know, you will not have chance to attain enlightenment. If you
say always "tomorrow, tomorrow, tomorrow" [laughs], you know, even though you have possibility [laughing], you cannot attain
enlightenment. So when we think when, you know, time, we should be very strict with people… This is the first one [interpretation of
ki]. And second one is interrelation. Ki means “interrelation.”… So ki means sometime "interrelationship between buddha and someone
who helps, and someone who is helped." So in the relationship between good person and you, there is—that relationship will be to
encourage, to give joy of practice is ki—actual meaning of ki. And for the person who has—who is suffering, you should suffer with
him, you know… if you see someone who is in suffer[ing], you will suffer too. That is because of your love, you know [tapping chest],
your innate love, your instinct of love, you share the suffering. That is love in its true sense. So ki may mean not only "possibility" or
"potentiality," but also "relationship." This is second interpretation of ki. And third one is "good means," or "adequateness," you know.
15
Like, you know, pots and cover [laughs], you know. You cannot put big cover, you know, like in Japan we have bathtub, you know.
You may know what is Japanese bathtub. It is wooden barrel, you know, big barrel, which has its cover. After finishing bath we cover
the bath with the big wooden cover. But that cover cannot be used for the pan [laughs]. It is too big. So bath must have, you know,
cover for itself. So ki means, you know, "adequateness." So here it says also, if you see person who is suffering because of ignorance,
because of what he is—because he doesn't know what he is doing, you must, you know, give tear—you must suffer with him. That is,
you know, to—to have good relationship. When you see someone who enjoy his true nature, you should give ji—ji. Ji means, you
know, compassion—not compassion—to—to encourage him.
動 dong4 成 cheng2 窠 ke1 臼 jiu4 差 chai1 落 luo4 顧 gu4 佇 C6

zhu4
move, happen, become, nest, hole, mortar, bone, differ, nearly, fall, drop, net look back, look wait, look
movement, completed, burrow, joint, socket, almost, miss, income, surplus, at, look after, to towards, turn
action, start, finished, fixed, indention, den, bowl err, to mistake,lose, scatter, to reflect, care for, one’s back on,
shake, excite, perfect, attain, a rule or line error, die (same drop regard, to turn the stand still, hope
rouse, to take accomplish, for engraving, discrepancy, as in “dropping head around to for, want
action perform, whole, to carve, unlike (also in off body and look
succeed (also in engraved face C27) mind,” same fall
C19, 36) of a seal as in “falling
trap, nest, hole, den, has the into cause and
sense of old habits, ruts effect”)
JT: 動ずれば窠臼をなし、たがへば顧佇に落つ。 Notes: CL: To stray from this Dharma will
JR: dōzureba kakyū o nashi tagaeba kocho ni otsu produce pitfalls and deviation from its aim will lead
CT: If you're excited it becomes a pitfall. If you miss it you fall into retrospective to harmful thinking which will cause both birth and
hesitation. death to succeed one another endlessly.
CF: There's a tendency to create cliches, Slipping into retrospection, at a standstill. SY: “This stanza (C5-6) explains the actions of an
CL: To stray from it produces pitfalls, To deviate leads to false thinking enlightened master. A master does not teach in any
FW: Hasty action creates a pitfall; To miss is to linger in consideration; specific form, with any specific words or
HJ: When agitated [you] make [a] pit-fall, When [you] diverge [you] fall into methods…There is no fixed method or instruction.
vacillation. Once the master acts – offers instruction, gives a
JC: Make any move, and it becomes a cliché Miss it and you fall into looking back method, presents a kung-an – the act is dead…a
NF: Moving is a trap: and your mistake plunges you into static self conscious master must ‘consider the varying attainments’ of each
reflection. disciple.”
RB: When you dichotomise you fall into a Hole; when you oppose things you are Baizhang: “Do not remain in your immediate
full Of uncertainty. mirror awareness, but do not seek enlightenment
RM: If you are enslaved by words, you fall into a hole. If you go against the basic elsewhere. If you still seek elsewhere in some
truth, you come to a dead-end. special way, you subordinate yourself to the heretics
SA: Enslaved by words you fall into a hole. If you should go against the basic who believe in causality.” (pg 63-4) and “If you say
Truth You come to a dead-end; the immediate mirror awareness is correct, or that
SY: As soon as you act it is a dead issue, So consider their varying attainments. there is something else beyond the mirror
TH: Move and you are trapped; Miss and you fall into confusion and doubt. awareness, this is all delusion. If you keep dwelling
TN: Tremble and you're lost in a trap, Miss and there's always regrets. in the immediate mirror awareness, this too is the
TP: Move and you are trapped, miss and you fall into doubt and vacillation. same as delusion; it is called the mistake of
TS: Moving forward creates pitfall. Avoidance leads to a standstill. naturalism.” (pg 33)
WP: Tremble and it becomes a pitfall; missing, one falls into fretful hesitations. ZS 13.2: Don’t remain where the Buddha is, And
ZC: Move and you are trapped; miss and you fall into doubt and vacillation. run quickly past where the Buddha isn’t.
CW: Excited you are trapped; miss and you fall into doubt and vacillation.
RA: Emotions are the intensified feeling. “Emotion” also means agitation of the situation. So when you “enter,” there sometimes is
an intensification of emotions which is why they say “if you’re excited it becomes a pitfall.” You also sometimes hesitate, which is
another kind of emotion. Your imagination becomes highly activated, so whatever issues you bring into the space can get magnified.
NH: As soon as you move or act, and try to express it—for instance, if you say "Mind itself is Buddha"—despite your intentions it
becomes a cliche. Deviate by the slightest margin and you end up off by a thousand miles. Thus, the realm of ordinary people is, of
course, not it, and going along with this realm is not it, either.
Gateless Gate Case 19: Joshu asked Nansen: `What is the Tao?' / Nansen said: Òrdniary mind is the Tao.' / Joshu asked: `Should I
try to direct myself toward it?' / Nansen said: Ìf you try to go towards it, you stumble past it.' / Joshu asked: `How can I know the Tao if I
don’t direct myself?' / Nansen said: `The Tao is not subject to knowing or not knowing. Knowing is delusion; not knowing is blankness.
If you truly reach the genuine Tao, you will find it as vast and boundless as outer space. How can this be discussed at the level of
affirmation and negation?' / At these words Joshu was enlightened.
16
背 bei4 觸 chu4 俱* ju4 非 fei1 如 ru2 大 da4 火 huo3 聚 C7
ju4
back, back touch, butt, ram, both, all, wrong, not, if, supposing, big, great, vast, fire, flame, burn assemble, meet
side, behind, gore, offend, together, negative, non-, as if, like, as, high, large, Æ anger, rage, together,
betray, to turn arouse, action of altogether, the oppose, bad, not tatha: so, thus, general, tall, lust (figuratively) collect, mass
one’s back on touchables, whole, every, to be, without, it ultimate reality, extensive, noble,
insult, stimulate accompany is not the case nature of all very, much, full-
that…(also in things, such, grown (also in
C11, 43, 45) sunya(空) C26)
empty,–Sp.210
(also in C1, 12,
14, 20, 37, 46)
JT: 背觸ともに非なり、大火聚のごとし、 Notes: 俱* - JV variant character: 共 (M3709/N581)
JR: hāisoku tomo ni hi nari dāikaju no gotoshi – all, the whole, collectively, to share, to work together.
CT: Turning away and touching are both wrong for it is like a mass of fire. “Turning away and touching are both wrong”: from
CF: Rejection and attachment are both wrong; It is like a ball of fire. the Record of Dongshan (WP pg 52, anecdote 84): The
CL: Rejection and acceptance are both wrong For it is like a mass of fire Master went up to the hall and said, “There is a person
FW: Confronted with a great fire, Turning away and touching are both who, in the midst of a thousand or even ten thousand
wrong. people, neither turns his back on nor faces a single person.
HJ: [Turning your] back [and] touching [are] both wrong, Like [with] a great Now you tell me, what face does this person have?”
fire-mass. Fire connects to the Li trigram (☲) referred to below
JC: Turning away or making contact are both wrong. [This Dharma] is like a in C18.
great mass of fire WP: This simile is found throuhgout the Ta-chih-tu
NF: Turning away and touching are both wrong – it’s like a mass of fire. lun, e.g. “Perfect wisdom is like a great ball of flame; it
RB: Getting near it, or being far from it,- Both are wrong. It is like a great can’t be grasped from any side.” Ch. 19.
ball of fire From the commentary to Case 6, Book of Serenity:
RM: It is like a giant fire ball; you must not come too close or put yourself “The Great Master Nagarjuna said, ‘Wisdom is like a mass
too far away. of fire – it cannot be entered from any side. (般若如
SA: this is as if A giant fire-ball; never come too close Nor put yourself too
far away. 大火聚四面不可入)’ Yet he also said, ‘Wisdom is like
SY: Rejecting words or clinging to them are both mistakes, Like a blazing a clear cool pool, it can be entered from any side.’”
fire, useful but dangerous. (Wansong: “The four propositions as four repudiations are
TH: Turning away and touching are both wrong, For it is like a massive fire. like ‘a mass of fire which cannot be entered fom any side.’
TN: Neither reject nor cling to words, Both are wrong; like a ball of fire, The four propositions as four gates are like ‘a pure cool
Useful but dangerous. pool which can be entered from any side.’”)
TP: Turning away and touching are both wrong, for it is like a massive fire. Shitou (Song of Grass Roof Hermitage): “The vast in-
TS: Faced with a great wall of fire, turning your back on it and touching it conceivable source cannot be faced or turned away from.”
are both wrong. MW: To approach fire, you need to be fire.
WP: Neither ignore nor confront what is like a great ball of flame. GI: i.e. The Middle Way: not accepting, not rejecting;
ZC: Turning away and touching are both wrong, for it is like a massive fire. no absolute, only adapted skillful means.
Also from the Record of Dongshan: (WP pg 35 anecdote 30): “In what way do you mend?” asked the Master. “One stitch is like the
next,” said Shen-shan. “We’ve been traveling together for twenty years, and you can still say such a thing! How can there be such
craftiness?” said the Master. “How then does the venerable monk mend?” asked Shen-shan. “Just as though the entire earth were
spewing flame,” replied the Master.
CL: The wisdom of this Dharma is like a mass of fire which can neither be rejected nor grasped. If it is grasped, it will 'burn' you
and if you reject it, or turn your back to it, you will never perceive it and will be in the darkness of ignorance.
Enkyo O'Hara: What the Jewel Mirror says about missing the living, breathing, merging of sameness and difference is: "If you miss
it, you fall into retrospective hesitation. Turning away and touching are both wrong, for it is like a mass of fire." Here the Jewel describes
two ways we lose our ability to act with compassion. If you miss it … if you miss the liveliness of it—of your life, your responsibility,
and your interdependence—you fall into passivity. "Turning away" (ignoring the wisdom of oneness and getting carried away with your
subjective view) and "touching" (getting lost in the samadhi of oneness) are both wrong—"for it is like a mass of fire." It burns
everything. Nothing is left.
HJ: [This] could be interpreted as suggesting that the absolute is to be likened to the form of a great mass of fire…However, since
the author is fond of using similes after a statement, it is much more likely that he meant ‘like a great fire - one would be a fool to ignore
it and also to try to touch it’. It is difficult to believe that he would be reducing the Absolute even to the form of a great fire-mass.
RB: If you get near it (Buddha, the Law, Things, Reality) you will be burnt to death; if you go away from it you are frozen to death.
Shodoka: Rejecting the truth and grasping at entities is also a mistake, it’s like jumping into a fire to avoid drowning. To reject
delusion and grasp at the truth suits perfectly the mind of like and dislike.
ZS 6.50: In the fireplace, there is no guest and host.
ZS 7.431: The lamp-lighter novice comes seeking fire (full story in Blue Cliff Record case 7 commentary and Dōgen’s Chiji Shingi.)
17
ZS 7.79: The lotus blossoms bloom profusely in the fire (see also Dongshan’s verse on the 4th of the 5 positions below).
ZS 7.313: When your whole body is aflame, look into the fire.
ZS 8.349: Entering fire he is not burned. (Rinzai-roku)
ZS 10.60: In the midst of fire, dip from the clear spring.
ZS 14.15: Quiet meditation does not always need hills and streams. Once mind is extinguished, even fire itself is refreshing.
NH: This line, "it's like a great mass of fire," comes from The Great Prajna Sutra. The general meaning in the sutra is that a person of
great wisdom is like a great mass of fire. A giant fire is burning there: into it you throw your whole mind, the good and the bad. The more
heretics and demons throw into it, the larger the fire becomes: the more fuel there is, the more lofty the wisdom. Therefore, great
transcendent wisdom is like a great mass of fire.
SY: “What is the proper attitude? You should incorporate vows into your practice. Each time, before practicing, vow to work hard,
vow to attain enlightenment..Yes, you should seek enlightenment, but when you sit, and use your method, all thoughts of seeking must
vanish. There is nothing to seek…Just practice. Vows strengthen determination…The blazing fire in the poem represents the precious
mirror. It is a beacon of wisdom, a source of powers. Like fire, it can be beneficial, but it can also be dangerous. Cling to it and it will
burn. Reject it and you will freeze. At one extreme are people who cannot accept the Dharma, and who will eventually reject the practice.
At the other extreme are people who are obsessed with attaining enlightenment. They may fall into demonic states…an enlightened
person becomes the fire, so he cannot be disturbed by it. He does not know that he is fire, but when someone needs the flame, he is there
to bestow it.
Hongzhi (Leighton, Wu trans): "If emobdying pure maturity, then you can naturally journey at ease among the ten thousand changes
without touching them and without turning away from them. Box and cover [join], arrowpoint [meet], harmoniously hitting the mark."
Taigen Leighton: Dharma of suchness is alive and burning in our hearts and in the world...How bring suchness into all of our
conflicts and confusion, within ourselves and in our relationships? The heart is - don't turn away - don't run away from yourself…You
also cannot grab ahold of it…Its alive. suchness, reality, our life is alive. But we can take care of it. How do we take care of this? How do
we face the realities of our world and society?
但 dan4 形 xing2 文 wen2 彩 cai3 即 ji2 屬 shu3 染 ran3 污 C8

wu1
only, but, form, shape, literature, hue, color, promptly, class, kind, dye, be stagnant water
however, yet, appearance, culture, letters, variegated quickly, now, category, type, contagious, taint, Æ filthy, vile,
still, merely, forming it (in), writing,words, colors, shades, then, belong, be infect, catch a dirty, impure,
singly figure, the body phrases, paint, a prize, accordingly, among, be disease, to apply stain, pollute,
elegant, polite ornamented, immediately, affiliated, color in painting mean, to defile
studies,refined brilliant, gay itself is (as in involve, connect,
rhetorical flourishes, common “Mind itself is to be subject to, klesa – defilement, contaminate,
expression for brilliant poetry, Buddha”(the ze connected with, lust, stain with dirt, deluded,
literary in taste, elegant, of soku shin ze depending upon klesas of attachment - Sp.304 (2
ornamental butsu)) characters of similar meaning are
often put together to bring out and
strengthen one overlapping
meaning they both share), to get a
bad name, soiled, dirtied
JT: ただ文彩にあらはせば、すなわち染污に屬す。 Notes: SY: Any conception of enlightenment, even that of
JR: tada mōnsāi ni arawaseba sunawachi zēnna ni zokusu a precious mirror, is wrong. To have a conception is to
CT: Just to depict it in literary form is to relegate it to defilement. stain the mirror, or to paint over it. No matter how
CF: Even to put it in literary form Subjects it to defilement. beautiful a picture you paint, the mirror no longer reflects.
CL: Elegantly to express it Will only make it (seem) impure, NH: This means that once you descend into words
FW: Only to express it in ornate language Is to approach it with defilement. and language, this already has nothing to do with the
HJ: When you put [it] merely [in the] form [of] literary elegance, That is the fundamental true nature.
same as consigning [it] to stain and dirt. CL: These two lines can be fully explained by what
JC: If you only engage in literary brilliance, This belongs in the realm of Pai Chang said : 'It is essentially not a thing. It should
defilement. not be known or interpreted and should neither be
NF: Just to show it in colorful words is to defile it. accepted nor rejected. Just cut off the two ends of all
RB:.Expressed in literary terms, It is smeared and smirched. dualisms; cut off the "is" and "is not" and cut off the
RM: If you express it by fancy words, it becomes stained. "neither is" and "neither is not". It is neither complete
SA: If you Express by fancy words it is all stained. nor incomplete (in itself). It is neither the saintly nor the
SY: If it is only expressed in language The precious mirror will be stained. worldly. It is neither brightness nor darkness. It is neither
TH: To depict it with complex words Is to defile it. the knower nor the not-knower. It is neither bondage nor
TN: Merely expressed In fine language, the mirror will tarnish. liberation. It cannot be called by any name. To call it
TP: Just to portray it in literary form is to stain it with defilement. Buddha is to soil it and to call it Dharma is to sully it.'
TS: Expressing it in colorful words only stains it.
WP: Giving it literary form, immediately defiles it.
ZC: Just to depict it in literary form is to stain it with defilement.
18
夜 ye4 半 ban4 正 zheng4 明 ming2 天 tian1 曉 xiao3 不 bu4 露 C9
lu4
night, dark, in half, middle, to upright, true, bright, light, sky, heaven, dawn, daybreak no, not, un-, dew, bare,
night, by night, halve right, correct, morning glow god, celestial, Æ clear, negative prefix open, exposed,
darkness indeed, proper, brilliant, clear Æ the firmament, explicit, to begin (also in C5, 11, apparent,
authorized, intelligent, to the weather, a to understand, to 13, 15, 17, 23, disclose
regular, just, understand, to day, nature, make known, 24, 27, 45)
exact, straight, illustrate, to providence, perspicuous,
formal, just at cleanse (also in divine, natural know
the time of, C3) (vs artificial),
during, to ad- divinely
just, regulate, endowed,
chief, original, perfect,
the right side principle (also
of a thing, in C24)
center of a
target, whole,
entire, prin-
ciple – Sp.192
(also in C13,
17, 18, 21)
JT: 夜半正明、天曉不露、 Notes: CT: This means the same as the Can Tong Qi’s
JR: yahān shōmēi tēngyō furo saying ‘right in light there is darkness…right in darkness there
CT: It is bright just at midnight. It doesn't appear at dawn. is light.’ (see below)
CF: In the middle of night is just when it's bright; At dawn it does not 當明中有暗 In the light there is darkness
appear. 勿以暗相遇 but don’t take it as darkness
CL: It shines in the dead of night But does not appear at dawn.
FW: At midnight it is truly bright; At dawn it is not apparent. 當暗中有明 In the dark there is light,
HJ: [The] middle [of the] night [is] truly bright. Day dawns [but there is] no 勿以明相睹 but don’t see it as light.
dew. (also from Sandokai (lines 5-6): 靈源明皎潔 - The
JC: Just at midnight it is bright When the sky brightens it does not show.
NF: In the middle of the night it’s bright; in the dawn’s light there’s nothing to spiritual source shines clear in the light; 枝派暗流注 -
see. the branching streams flow on in the dark.)
RB: At midnight it is bright, In the dawn it is dark. SY: “The mirror does not darken in Samsara (delusion),
RM: The night encloses brightness, and at dawn, no light shines. and it does not brighten in enlightenment…You do not
SA: The night encloses brightness and, at dawn, No light shines; practice in order to make self-nature manifest. You practice
SY: At midnight it is truly bright; By daybreak it no longer shows. to eliminate vexations. When vexations disappear, self-
TH: In the darkest night, It is perfectly clear. In the brilliance of dawn, It nature manifests naturally.”
remains hidden. In the I Ching, light is yang – and dark is yin --, thus
TN: At midnight truly it's most bright By daylight it cannot still be seen.
TP: In darkest night it is perfectly clear; in the light of dawn it is hidden. the Li trigram is an image of darkness within light: ☲
TS: Midnight is bright, dawn brings no dew. CL: These two lines explain the real comprising the
WP: Clearly illuminated just at the middle of the night, it does not appear in seeming and the seeming comprising the real, the basis, or
the morning light; key to, this esoteric Dharma. ‘It shines in the dead of
ZC: It is bright just at midnight, it doesn't appear at dawn. night’ because the real comprises the seeming; ‘but does
CW: In darkest night it is perfectly light; in the light of dawn it shows no not appear at dawn' because the seeming comprises the
trace. real.
ZS 8.412: Midnight is truly bright, at dawn nothing appears.
MW: Dark is oneness, no boundaries, purity, and light is phenomena, various existences, individual pieces, the relative world. They are
like opposites, but they do not negate each other. They are two aspects of the mirror. Light is revealed in darkness, but don’t try to see it in
some idea of light.
Cleary’s fairly liberal translation of this comment from Fenyang on the first position, the apparent within the real, resonates with
this couplet: “the moon is bright at midnight, the sun must greet the dawn.” (玉兔既明。初夜後金雞須唱五更前)(see the 5
positions tables below, section c)
Blue Cliff Record Case 86: Yun Men imparted some words saying, “Everyone has a light (人人盡有光明在); when you look at it, you
don’t see it and it’s dark and dim. (看時不見暗昏昏) What is everybody’s light?” He himself answered on their behalf, “The kitchen
pantry and the main gate.” He also said, “A good thing isn’t as good as nothing.” Excerpts from Yuanwu’s commentary on the verse:
“Spontaneously shining, ranged in the solitary light.” Originally, right where you stand, there’s this beam of light; it’s just that your use of it is
dark. That’s why Great Master Yunmen set out this light for you right in front of your faces. But say, what is everyone’s light? “The kitchen
19
pantry and the main gate.” This is where Yunmen arrays the solitary light…Afterwards “He opens a route for you.” Yunmen still feared that
people would become attached to “The kitchen pantry, the main gate.” Conceding for the moment the kitchen pantry, when the morning
flowers fall and the tree has no shadow, when the sun has gone down and the moon goes dark and all of heaven and earth is black vastness – do
you still see? “When
looking, who doesn’t see?” Tell me, who is it that doesn’t see? Here, where “right within light there’s darkness” and “right within darkness
there’s light,” both are “like a step forward and a step backward.” You must see for yourself.
Case 63 of the Book of Serenity (which is also case 41 of the Blue Cliff Record): Zhaozhou asked Touzi, “When someone who has
undergone the great death then returns to life, how is it?” / Touzi said, “He can’t go by night – he should arrive in daylight.”
Suzuki-roshi: the two terms mei and an, “brightness” and “darkness.” Brightness means relative, dualistic world of term and
words, you know—the thinking world or visible world in which we live. And darkness means, you know, absolute world where there
is no exchange value or materialistic value or spiritual value even—the world our words does not reach—the world our thinking mind
cannot reach. Beyond words, beyond thinking there is world. This is the world of absolute—the opposite to the world of relative or
dualistic world. And it is necessary for us who live in realm of—realm of duality to have good understanding of the absolute… So
actually when we, you know, start to work, there is bright side and dark side. Both dark side and bright side is there. When you are
actually practicing Buddhist way, there is bright—bright side and dark side, and relationship between darkness and brightness is this
relationship, like a relationship between skin and our body. You cannot actually say this is skin and this is body… you should not see
the other—see others with the eyes of brightness only, because the other side of brightness is darkness… So we should not cling to the
idea of darkness or brightness. We should not cling to the idea of equality or idea of diversity or differentiation…there is some poem:
The mother of blue mountain and the son of—or children of white cloud. All day long they live together, and yet they do not know who
is mother and who is children…
ZS 7.178: At the third watch in a brilliant sun – endless blackness.
ZS 7.283: The brilliance of the great mirror wisdom is as black as lacquer.
ZS 10.150: At sunset, the rooster announces the dawn; At midnight, the sun is shining brightly.
NH: This is correct meditation work. In the dark of night, this thing is even brighter. When the sky gets bright at dawn, it cannot be
seen anymore. What is the reason for this? In his time, my teacher Mr. Yuan studied this meditation case, and when he had understood
this, he had almost mastered the Buddhist Path. I will reveal a secret. When the six sense faculties do not move at all, and you don’t
know anything, inherent true nature becomes manifest. As we are sitting here now, with our eyes looking and our ears listening to this
secret, how bright our six senses are! We are blocked by ignorance. “Just at midnight it is bright When the sky brightens it does not
show.” When there are no dreams and no thoughts, where is the host? You should study this for yourselves and see.
HJ: [This] often interpreted to mean the light is seen at night but not at dawn, or in the day time. The literal translation of…is
‘day/sky dawns no dew’ and as the author is fond of placing similes after statements, we take this to be a simile for [the first half of the
couplet], in that the light dawns, during night-time realization, without the material sun-dawn, which is accompanied by dew.
Hongzhi taught: “In light there is darkness; where it operates, no traces remain. With the hundred grass tips in the busy
marketplace, graciously share yourself.”
20
為 wei4 物 wu4 作 zuo4 則 ze2 用 yong4 拔 ba2 諸 zhu1 苦 C10
ku3
for, to, for the all living beings, make, work, rule, law, use, employ, uproot, pull out, several, various, bitter Æ
sake of, thing, substance, compose, regulation, apply, operate, to pluck up, to every, all, the dukkha
because, on creature, matter, write, act, grades, work, service root up many hardship, bad
account of, things in perform, to do, principle, function, to (* JV variant circumstances,
wherefore, by, general, affairs to rise standard, consume, put character: 抜) painstaking,
(do, handle, of this world, guiding into practice, earnest, sorrow,
make, govern, others, goods measure, a list, practical (to, so suffering, pain,
act, be, to (also in C17) pattern, (then, as to, with, by, bitterness,
practice, to act and so, therefore) (also distress,
out, to cause) immediately, in in C46) misery,
(also in C11, that case) difficulty,
19, 32, 33) unhappiness -
Sp.313
JT: 物のために、則となる。用ひて諸苦をぬく Notes: In the Heart Sutra, 苦 appears three
JR: mono no tame ni nori to naru mochiite shoku o nuku times: Avalokiteshvara, when practicing deeply
CT: It acts as a guide for beings. Its use removes all pains. the prajna paramita, clearly saw the five
CF: Acting as a guide for people, Its function removes miseries. aggregates were empty and thus relieved all
CL: Being a pattern for the living Its function saves them from (all) miseries; suffering (度一切苦厄), in emptiness…no
FW: As it creates a standard for all beings, Its use uproots all suffering.
HJ: For things/beings it becomes a rule [code], [Its] function to eradicate [the] various suffering (無苦), the incomparable mantra
sufferings which removes all suffering (能除一切苦).
JC: [This Dharma] makes guidelines for beings, Using them uproots all suffering. SY: “Sentient beings need goals and
NF: It’s the principle underlying all activity; It’s the function that uproots all suffering. attachments, so it is necessary to speak of a
RB: For the sake of all beings it becomes The law; its function is to remove all the Of precious mirror...The teachings speak of goals,
Trouble in the world. of attachment, of an enlightened state, but
RM: This truth holds for all beings. Through this we can free ourselves from suffering. when we practice, we must adopt an attitude of
SA: this Truth holds for beings all; Through this we free ourselves from suffering. not seeking, not naming. In this way we
SY: It serves as the law which governs all things; Use it to uproot all suffering. progress. A target must be set, but it is a false
TH: It acts as a guide for beings. Its use removes all suffering. target. People need it for incentive and
TN: It is the principle that regulates all, Relieving every suffering. direction, but it is only a device. If you practice
TP: It is a standard for all things; its use removes all suffering. correctly, the target disappears when you reach
TS: Things are truth itself to be used for removing delusion. it. If the target is still there, then you have not
WP: It is a standard for all beings, used to extricate them from all suffering. reached it. The target is non-attachment. When
ZC: It acts as a guide for beings, its use removes all pains. there is no attachment, there is no suffering.”
MW: It is for beings, not things. The mirror is a guide. You can follow it. It is like a beacon.
Baizhang: “But all verbal teachings only point to the inherent nature of the present mirror awareness—as long as this is not affected by
any existent or nonexistent objects at all, it is your guide;” (pg 46) and “the present mirror awareness, as long as it is not changed by having
feelings, may be likened to green bamboo which never fails to conform with the situation;” (pg 52)
NH: Tung-shan is telling Ts'ao-shan: when you go forth from here, you must save the world's sentient beings, you must save all the
people who are in the midst of suffering and difficulties.
GI: i.e. The only way to escape all suffering is to act in perfect accord with reality, with the way things really are: not existent, not
non-existent, or dependently arisen and empty. And that is done with the Middle Way: combining virtuous methods and wisdom until
they perfectly unite. But there is no cosmic “principle that regulates all” – the translator is showing his Taoist roots.
On uprooting suffering, see Buddha’s admonition to Bahiya quoted in the notes to C1.
21
雖 sui1 非 fei1 有 you3 為 wei4 不 bu4 是 shi4 無 wu2 語 C11
yu3
although, even wrong, not, have, own, for, to, for the no, not, un-, indeed, yes, negative, no, not, language,
if, supposing, negative, non-, possess, exist,sake of, negative prefix right, to be, lack, have no, words, saying,
though, still oppose, bad, not to be, there is,
because, on (also in C5, 9, this, that, which without, apart express,
to be, without, it there are (alsoaccount of, 13, 15, 17, 23, (also in C1, 13, from, none (also speech, to talk
is not the case in C16, 28, wherefore, by, 24, 27, 45) 29) in C16, 26) with,
that…(also in 38, 39) do, handle, conversation,
C7, 43, 45) make, govern, discourse,
act, be, to phrases (also in
practice, to act C17)
out, to cause
(also in C10,
19, 32, 33)
similar to無為 asamskrta, non-active, it is not the case that
spontaneous, uncaused, unmade, unconstructed,
transcendental, noumenal. The Sarvastivadins list
3: space and 2 kinds of cessation – Sp.380, 214,
295
JT:有為にあらずといへども、これ語なきにあらず。 Notes: On words and no-words – see the notes to C5.
JR: ui ni arazu to iēdomo kore go naki ni arazu The mirror is unconstructed, unmade. This is an
CT: Although it is not fabricated it is not without speech. abhidharma category – in the early teachings, only nirvana was
CF: Although it is not contrived, It is not without speech. considered to be unconditioned (this is preserved in Theravada
CL: Though not of the wordly plane, It is not altogether dumb. teachings), later, the Sarvastivadins had three: space and two
FW: Although it is not produced, It is not without speech. kinds of extinction (pratisamkhya-nirodha and apratisamkhya-
HJ: Although [it] is not [of the] world [of] phenomena [Samsara], [It nirodha – extinction achieved with and without discrimination).
is] not [a matter] of wordlessness. Yogacara adds extinction through a state of immovability in
JC: Though this is not contrived activity, It is not wordless either. heavenly meditation, the ending of thinking and sensing by an
NF: Although it’s not something conditioned still, it’s not without words. arhat, and suchness. The Large Sutra on the Perfection of
RB: Though it is not of this world of Birth and death, neither is it Wisdom has a list of ten: “Unconditioned dharmas are: That of
without words. which there is no production, passing away, or alteration.
RM: Though not artificially made, this truth can find expression in the Extinction of greed, hate and delusion, Suchness, No-falseness,
words of a Zen master. unaltered Suchness, the true nature of Dharma, the Dharma-
SA: Although not made by artifice, this Truth Can find expression in element, the established order of Dharma, the fixed sequence of
the words of those Who teach true Zen. Dharma, the unthinkable element, the Reality limit.” (Chapter
SY: Though it is not a way of action Still, it is not without words. 11, pp. 122-3, Conze translation)
TH: Although it is not created, It is not beyond words.
TN: Though it doesn't act it is not without words.
TP: Although it is not constructed, it is not beyond words.
TS: This is not created and yet not inexpressible.
WP: Although it takes no action, it is not without words.
ZC: Although it is not fabricated, it is not without speech.
“All this, however, does not appear within perception, because it is unconstructedness is stillness.” – Jijuyu Zanmai.
It talks – there is expression – but expression does not get at it. It speaks although it is beyond speaking.
Shodoka: Its silence speaks, its speech is silent.
Baizhang: “There are no secret sayings; those who come to realize thusness do not have a secret treasure. In the present mirror awareness,
speech is distinctly clear; but if you seek formal characteristics, ultimately they cannot be found.” (pg 53)
MW: Language is dualistic by nature but language can be used. Dualistic language can be used in a nondualistic way.
RB: All things, even words, speak of It.
CL: It sets an example to all living beings who should follow it and forsake all clingings in their quest of liberation from all miseries.
Although it is already beyond the worldly plane, it is not altogether dumb, for when called upon to liberate living beings it uses the language
of the uncreate to reveal the absolute to them.
HJ: Although [C5 and C8] are intimating that words cannot be used to contain Absoluteness, here, [C11], suggests that they can be
used, by a skilled master, to point/elucidate the way to its realization.
GI: i.e. Empty and not empty; not existent, but still not completely non-existent; empty but still dependently arisen and functional
SY: Even though the precious mirror is not a dharma with construction, it is wrong to say that it is separate from it. Therefore, it is
wrong to say that it is unnecessary to explain the precious mirror. Previously, the song said that speaking about enlightenment stains the
precious mirror. Here, the song suggests more. In reality, the precious mirror is not stained by language. However, it is also not separate from
language.
22
如 ru2 臨 lin2 寶 bao3 鏡 jing4 形 xing2 影 ying3 相 xiang1 睹* C12
du3
if, supposing, facing, attend, treasure, jewel, mirror, lens, form, shape, shadow, image, mutual, look at, gaze at,
as good as, confront, rare valuable, glass, glasses appearance, photo, reflection, reciprocal, each observe
equal to, as if, descend, draw precious (also (also in title) figure, body, to shadowy form other, direction, 睹* - BV
like, as, tatha: near, approach, in title, C38) take shape towards, look at, actually has:
so, thus, in to copy, to see, assist,
such manner, imitate, on the minister, laksana: 覩 (M6498)
used in the point of distinctive mark,
sense of sign, indication,
ultimate characteristic,
reality, the designation
nature of all Sp.309 (also in
things, such, C14, 41, 47)
bhutatathata,
sunya(空):
empty,–
Sp.210 (also in
C1, 7, 14, 20,
37, 46)
JT: 寶鏡にのぞんで、形影あい睹がごとし。 Notes: Jewel or Precious – 2 possibilities: jewel vs
JR: hōkyō ni nozōnde gyōyō āi miru ga gotoshi iron mirror or precious as in a greatly valued mirror.
CT: It is like facing a jewel mirror. Form and image behold each other. GI: i.e. At the edge of existence and non-existence
CF: It is like looking into a precious mirror, Form and reflection beholding there is no duality, mirror and dust.
each other: HJ: [This is] describing your Original-Self/Buddha-
CL: It is like looking in a precious mirror In which you see your own Nature as seen through Samadhi. Although in ultimate
reflection; reality there is no separate ‘you’ (form) or ‘other-side’
FW: When coming upon a bright mirror, One’s form and reflection gaze at (reflection) they are used here for descriptive purposes.
each other. SY: “One might think that if there is no water, then
HJ: [It is] like looking in [a] precious mirror, [in which] form [and] reflection there can be no reflection, but this is not really the case.
look [at] each other. The reflection is always present; it is just that without the
JC: It is like facing a jewel mirror: Shapes and reflections behold each other. water it simply cannot be seen. If you have a body, you
NF: It is like facing a jewel mirror – object and image behold each other, have a reflection. If you have no reflection, you have no
RB: As when we look in a precious mirror, The form sees its reflection. body.” “The proper attitude is this: ‘I need to practice to
RM: It is like looking into a jeweled mirror and seeing shadow and substance. attain the precious mirror, although the precious mirror
SA: It is as if one looks Into a jewelled mirror seeing both Shadow and is not something I attain through practice.’”
substance; The image of a mirror reflecting to illustrate
SY: As before a precious mirror, The form and reflection gaze on each other – realization also resonates with Dōgen’s Jijuyu Zanmai:
TH: It is like facing a jewel mirror; Form and image behold each other. “When even for a moment you express the Buddha’s
TN: In the most precious mirror Form meets reflection: seal in the three actions by sitting upright in samadhi,
TP: Like facing a precious mirror; form and reflection behold each other. the whole phenomenal world becomes the Buddha’s
TS: As form and image face each other in a bright mirror, seal…” Like mirrors reflecting, awakening resonates
WP: Like gazing into the jewel mirror, form and reflection view each other; from zazen to all buddhas to all beings and back to the
ZC: It is like facing a jewel mirror; form and image behold each other – practitioner.
The story of Dongshan’s awakening – from the Record of Dognshan (WP: Pg 27): Just before leaving, Tung-shan asked, “If, after
many years, someone should ask if I am able to portray the Master’s likeness, how should I respond?”
After remaining quiet for a while, Yun-yen said (雲巖良久云), “Just this person.” (or “Just this is it” in Cleary’s translation)
(祇這是 – literally: only this is). Tung-shan was lost in thought (師沈吟). Yun-yen said, (雲巖云) “Chieh Acarya, having assumed
the burden of this Great Matter, you must be very cautious.” (价闍黎承當箇事大須審細) (in C26 big: 大 and fine: 細 appear in
the same couplet as contrasting terms). Tung-shan remained dubious about what Yun-yen had said (師猶涉疑). Later, as he was
crossing a river, he saw his reflected image (後因過水睹影) and experienced a great awakening to the meaning of the previous
exchange (大悟前旨) (This moment is depicted in the portrait of Dongshan on the cover page of this study.)
(WP notes on this story: “Just this person” is a variant of “just this man of Han.” The latter form is used in [an] earlier version of the
same incident. According to medieval Chinese legal custom this is the phrase by which a criminal formally confessed his guilt in court.
Comparison with other occurrences of the phrase in Ch’an works suggests that it expresses a thoroughgoing assumption of responsibility
for one’s being. “Having assumed the burden” was another expression used when a criminal acknowledged his crime and personally
accepted responsibility for it.)(Different characters are used for the “just” of Shikantaza – “just sitting”: 只管打坐)
(Yi Wu: “’Just this’ is a special term in Ch’an Buddhism which means the Buddha-nature, the true self, and also the absolute
23
substance. After Yun-yen’s death, although his physical body changed, ‘this’ is changeless. If you wish to understand ‘this’, you must
see through all things and renounce attachment to all forms.”)
ON MIRROR IMAGERY:
WP: (pg 13) “The simile (of the mirrorlike mind) was used in at least two different senses. It often implied the inherently pure mind
that existed beneath what for most beings is the disturbed surface of consciousness. Most Chinese Buddhist thinkers held that that pure
mind existed in all beings and could no more be defiled than a mirror could be defiled by the images reflected on its surface. This
particular attitude was probably shared by most early eigth-century Ch’an Buddhists. Note that this is not the gradualistic sense of the
mirror-mind, which implied the need for constant wiping – a sense attributed by the Platform Sutra, perhaps unjustly, to Shen-hsiu. The
other use of the simile was as the mind that constantly functions, spontaneously and accurately, in the midst of the phenomenal world.
Like a mirror it immediately reflects exactly what is placed before it. This was the sense, more dynamic than the first, that came to
predominate in eigth- and ninth-century Ch’an. Not that the earlier attitude was denied – there was merely a shift in emphasis.
“If this latter sense was indeed the one held by most Ch’an Buddhists, then they might reasonably expect to find reality most clearly
manifested in the words and deeds of their enlightened masters. This, in fact, seems to be what Ma-tsu is implying in his statement, “This
very mind is the Buddha Mind.” Since the enlightened mind, like a mirror, is constantly reflecting and responding spontaneously to
reality, all its functions are potentially instructive. The patriarchs of Ch’an need only carry out their routine activities or speak in
everyday terms to manifest their pure minds, and thus ultimate reality itself. In this view, to analyze that reality would be not only
useless, but also counterproductive. The discourse records appear to be the fruit of these attitudes.
From the Astasahashrikaprajnaparamita (Perfection of Wisdom in 8,000 Lines): “It is as with the reflection of an object in a mirror or
in water, to whom it does not occur that "the object which produces the reflection is near to me, but those who come along in that mirror
or bowl of water are far from me." For that reflection of an object makes no discriminations. Just as a Tathagata, because he has forsaken
all constructions and discriminations, finds nothing dear or not dear, just so a Bodhisattva who courses in perfect wisdom. For there is no
discrimination on the part of perfect wisdom. Just as the Tathagata is one who has forsaken all constructions and discriminations, even so
perfect wisdom has forsaken all constructions and discriminations.”
Prajnaparamita – The Ten Similes – 9. [Like Images in a Mirror]: “If a dharma from cause and condition arises, / This dharma in
nature is actually empty. / [For] if it's the case that this dharma's not empty, / It does not exist based on cause and conditions. // It's just
like the images found in a mirror, / Not [made by] the mirror, not [made by] the visage, / Nor [made by] the person who holds up the
mirror. / It's not self- [created] nor barren of cause. // It is not existent, nor is it not existent, / Nor is it both existent and devoid of
existence. / Not even these words here are granted acceptance. / When according with this, then it's the Middle Way.”
RS: (A quote from the Treasure Store Treatise which connects mirror imagery with sympathetic resonance (kanno 感應)(for more
on this term see the notes to C5) “The images in a mirror have a thousand facets, and the substance of water [reflects] a myriad colors.
These sundered reflections are the objective world, wherein the workings of [sympathetic] resonance (應) are without limit.” (p.162)
RS: Seng-chao (374-414) from “Prajna is Without Knowing”: Therefore, the knowledge [of the sage] is a mirror [reflecting] the
utterly mysterious, and yet there is no knowing therein. His spirit functions through responding to occasions , yet there is no deliberation
therein. The sage illumines the markless absolute truth with the prajna of nonknowing. Prajna is the inexhaustible mirror. In coming into
contact it never errs. There is accord, yet no affirmation. Calm and quiescent, it is without knowing, yet there is nothing it does not know.
(p. 115)
Hongzhi taught: “Discern the mirror's utter depths, vacant and intense, perfectly illuminated.”
Mazu taught: “The mind can be spoken of [in terms of its two aspects]: birth and death, and suchness. The mind as suchness is like a
clear mirror which can reflect images. The mirror symbolizes the mind; the images symbolize the dharmas. If the mind grasps at
dharmas, then it gets involved in external causes and conditions, which is the meaning of birth and death. If the mind does not grasp at
dharmas, that is suchness.”
Shitou taught: “You should know that your own mind's aware essence is neither finite nor eternal, by nature neither defiled nor pure.
It is still and complete; it is the same in ordinary people and saints, responding effectively without patterns, apart from mind, intellect,
and discriminating consciousness. The three realms — desire, matter, and immaterial — and six states of being — animals, hell beings,
hungry ghosts, titans, human beings, gods — are only manifestations of your own mind; the moon in the water, images in a mirror —
how can there be any birth or death? If you can realize this, you will be complete in every way.
Mirror imagery is used frequently and in many different senses in the koan literature. Here are a few examples:
Blue Cliff Record Case 5, commentary on the verse: “’In the mirror of Chan, absolutely no dust.’ Quite a few people say that a stilled
mind is the mirror itself. This luckily has nothing to do with it; if you're only concerned with judging and comparing principles, what end
will there be to it? Xuedou has spoken clearly; it's just that people do not see.”
Book of Serenity case 36 verse: “mirror faces forms without subjectivity;”…Commentary: “In ancient times in the palace in Qin was
a mirror made of jade, which reflected all the officials so that their guts were all revealed. Also when foxes acted as humans, in the
mirror only their original form showed. This is having no private secrets.”
Dongshan’s verse on the 2nd Rank (Powell translation): “An old crone, having just awakened, comes upon an ancient mirror; that
which is clearly reflected in front of her face is none other than her own likeness. Don’t lose sight of your face again and go chasing your
shadow.”
Suzuki-roshi: Naturalness—natural mind or—means maybe more flexible mind, you know, without sticking to something rigidly.
When we—when we are—when we have—when our mind is perfect freedom from everything, and when our mind is open to everything
like a mirror, you know, the mirror do not have any particular image on its face always. So it is naturally—naturally it will have various
images according to the object. That is naturalness.
24
汝 ru3 不* bu4 是* shi4 渠 qu2 渠 qu2 正 zhneg4 是 shi4 汝 C13
ru3
You, your (also no not, un-, indeed, yes, Personal Personal upright, true, indeed, yes, right, You, your (also
in C2) negative prefix right, to be, pronoun, he, it pronoun, he, it
right, correct, to be, this, that, in C2)
(also in C5, 9, this, that, (ditch, canal, indeed, proper, demonstrative
(ditch, canal,
11, 15, 17, 23, demonstrative channel, gutter, channel, gutter,
authorized, pronoun (also in
24, 27, 45) pronoun (also drain, great drain, great,
regular, just, C1, 11, 29)
in C1, 11, 29) ample) ample) exact, straight,
formal, just at
the time of,
during, to ad-
just, regulate,
chief, original,
the right side of
a thing, center of
a target, whole,
entire, principle
– Sp.192 (also in
C9, 17, 18, 21)
JT: Notes: 不*是* - JV variant characters: 是非 -是 (as above, now 2nd rather than 3rd
汝これ渠にあらず、渠まさにこ character) 非 (M1819/N5080): wrong, bad, a negative, not, not to be, without.
れ汝、 These lines are very similar to the 4th and 5th lines of Dongshan’s enlightenment poem (which
JR: nānji kore kare ni arazu kare masani he composed after seeing his image reflected in the stream as described in the notes to C12):
kore nānji 切忌從他覓 Earnestly avoid seeking without, 迢迢與我疏 Lest it recede far from you.
CT: You are not it. It actually is you. 我今獨自往 Today I am walking alone, 處處得逢渠 Yet everywhere I meet him.
CF: You are not it; It is you.
CL: You are not what it is (But) it is what 渠今正是我 He is now no other than myself, 我今不是渠 But I am not now him.
you are? 應須與麼會 It must be understood in this way 方始契如如 In order to merge with
FW: You are not it, It clearly is you. Suchness.
HJ: You are not the other-side [the (Dongshan saw his reflection in the stream, but instead of saying that he meets himself
reflection], But the other-side [the everywhere, he says, “everywhere I meet him.” He then clarifies “him”: “He is now no other
reflection] is truly you. than myself, But I am not now him.” Like the snow in the silver bowl (C3), the light and the
JC: You are not it, But it is you. dark (in C9), the seeming and the real (C18 and the five positions), drumming and singing (in
NF: You are not it but it is certainly you. C21), the wooden man singing and the stone woman dancing (C42), the minister and the lord
RB: You are not he, But he is you, (C44) we see here a relationship between the relative and the ultimate that is intimate and
RM: You are not him; he is actually you. dialectical.)
SA: you are not him; he Is all of you. From the Surangama Samadhi Sutra (The Concentration of Heroic Progress): “A
SY: You are not it, But it is just you. bodhisattva who wishes to obtain this samadhi should cultivate the dharmas of the worldly
TH: You are not it; Yet it is you. (prthagjanadharma). If he sees those prthagjanadharmas are neither united (yukta) with nor
TN: You are not It, but It is all you. separate (viyukta) from the buddhadharmas, then he is cultivating the Surangamasamadhi.”
TP: You are not it, but in truth it is you. (Lamotte translation)
TS: you are not it but it is you.
In the Heart Sutra: Form is emptiness (色即是空), and: In emptiness, no form
WP: You are not him, but he is clearly
you. (空中無色)
ZC: You are not it, in truth it is you.
Yi Wu (commenting on Dongshan’s enlightenment poem): “’He is just I’ means that if I am enlightened, Buddha is just I because
the original face is my face and the Buddha nature is my nature. But why is this line followed by ‘I am not he’? Because to think that ‘I
am Buddha’ is an attachment. Becoming a Buddha does not result from a single thought. The so-called ‘sudden enlightenment’ is to
awaken to ‘He is just I’ or Buddha nature is my real self. But if you want to become a Buddha, you still need to cultivate yourself after
this sudden enlightenment.” (resonates with C2)
JW: “Clearly there is a subtle distinction between the ‘I’ and the ‘He.’ He is I, but I am not He. This is like saying that God is more
myself than myself, although I am not God…In this gatha, you still see the same old independent and matter-of-fact Tung-shan with his
vision lifted to a new height. He is alone and yet in company. He has attained Oneness, yet it is a Oneness not unrelieved by a refreshing
diversity. His ethereal vision does not prevent him from walking on the solid ground. And his contemplation of the Eternal Self-So has
led him back to the here and now.”
RA: “I am not the universe, but I am the universe realized as me. You are not the universe, but you are the universe realized as you.”
HJ: [The first half of C13] translates as ‘you are are-not the-other-side’. The Japanese version tries to avoid the difficulty of ‘are/are-
not’ by reading the second character with one of its other meanings ‘this’ i.e. ‘You this are-not the-other-side’, which hardly makes any
more sense, because if ‘you’ is defined ‘this’ is not required. The original Chinese version says ‘you negative-are the-other-side’ meaning
‘you are-not the reflection’. What appears to have happened is that the phrases ‘bu-shi’ and ‘fei’, which both mean ‘are-not’, have found
25
their way into the line together and then the character ‘bu’ has been mistakenly edited out instead of ‘fei’. Fortunately, the Japanese
rendering gives the correct interpretation. It may be that the author has chosen to use ‘the other-side’ for reflection also as an allusion to
the ‘other-shore’ as used in the Prajna-paramitta scriptures, however, this is pure conjecture.
RB: The form is not its reflection, but the reflection is (that of) the form.
Baizhang: “To say the present mirror awareness is one's own Buddha is words of measurement, words of calculation—it is like the
crying of a jackal.” (pg 34)
Dogen (Shobogenzo Shoji): “Since there is buddha in birth and death, there is no birth and death. Since there is no buddha in birth
and death, we are not deluded by birth and death.”
In teaching the simultaniety of difference and unity, this line resonates with the title of Sandokai: 參同契 – merging of difference and
unity.
RS: Chi-tsang (549-623, San-lun writer): If the water of the mind of living beings is clear, the reflection of bodhi will appear within.
Thus if the water of the mind is sullied, you will not see Buddha, but if the water of the mind is pure, the Buddha will be seen. This
Buddha does not come from without nor emerge from within. It is only through the condition of purity of mind that one may see the
Buddha. It can be compared to a clear mirror: the image [in the mirror] does not come from without, nor does it emerge from within.
Moreover, the image is neither identical with the mirror, nor is it different from it. For if you say they are identical, then given a mirror
there must always be an image, irrespective of whether or not the mirror is clean. Yet if you say they are different, then how would you
go about separating them?... Therefore, when the mirror is clean, the image appears. The purity of the mirror is like the stimulus, and the
appearance of the image is like the response. This is the essential purport of stimulus-response.(p. 123)
CL: He who attains enlightenment is like a man looking in a mirror where he sees his own reflection, without being hindered by
names and terms. If he regards his image as himself there will be an image beside himself and he will not be the image; thus he is
wrong. If he regards himself as an image, the image does not exist of itself and he will be wrong also, for the image cannot be
himself. For this reason, as soon as names and terms are used to express the absolute, the latter will be soiled and will not be in accord
with this Dharma.
SR: the image you see in the water when you want to figure out who is you is not you, but actually just what you see in the water is
you yourself…You are not him, and he is you, you know [laughs]. It is paradoxical, you know. It is to catch your mind, they use some
paradoxical, you know, statement like this. You are not him, but he is you. It means that when you try to figure out who is you, even
though you see yourself in the mirror, he is not you. But if you just see your, you know, figure in the mirror, without any idea of, you
know, trying to figure out what is you…it is not you when you figure out who is you [laughs] is, you know [laughs], because of your self-
centered mind, you know, limited mind, you cannot see…when you say, "I am," you know, when you say, seeing yourself in the mirror
when you say, "This is me," you know [laughs]. But that is not you, because that is not you in its true sense because you think, "This is,”
you know, "This I me. This is me." Dualistic…When you say, "I am the image in the mirror," when you say so, "I"—strong idea of "I" is
here. "Who is I? Who am I?" You know, you are always seeking who you are. "Maybe,” you know, "someday I will understand who I
am," and, "Oh, now I met with me. I am this one," you know, "this image in the mirror.”…But this is, you know, "you" in dualistic
sense: me and him—the image. But rather when you say, "This is me," you know, image comes first and "you" follows, you know.
"This is me," you know. There is not much strong idea of "you." You are rather, you know, involved in something you see. At that time,
you know, you are one to some extent, or, you know, sometime completely, sometime incompletely, but anyway not much idea of "you"
is not included. So when you say, "This is me," you know, it is more like calmness of your mind in which you can see things.
SR -Another passage: There, you know, small "I" is not there. Some object is not there. What exist there is not something on the
mirror, you know, or, you know, is not something—it is something on the mirror but not mirror or not you, you know. You are in the
mirror, actually. You see? In the mirror. You are watching yourself in the mirror, but that "you" is not you, you see, and not mirror.
What is it [laughs]? That is true reality…"You" in the mirror—in the river. You see yourself—Tōzan [Ryōkai] saw himself in the
mirror—in the water. That is something real: not himself, you know, not water, but real self.
SR -Another passage: It is difficult to say, you know, when he attained enlightenment [laughs]. So he [laughs] attained
enlightenment so many times [laughs, laughter]. So we cannot say, you know, when. But when he was, you know, crossing river, he saw
himself in the river and he said, "Don't," you know, "try to figure out what is you. If you try to figure out what is you, what you will
understand will be far away from you. You will not have even image of yourself." Don't try to do so…But you, actual you, are rather in
the river. You may say that is just shadow or that is just, you know, reflection of yourself, not me. You may say so. But if you carefully,
you know, if you see it with warm-hearted, you know, feeling, that is you, you know. [Laughs.] You know, you think you are very
warm-hearted [laughs], but when you, you know, try to understand how warm I am [laughs], even by temperature, you know [laughs],
thermometer, you cannot measure your feeling actual. But when you take—see yourself in mirror or water with warm feeling, that is
actually you. And whatever you do, you are there rather than here.
NH: Tung-shan left his teacher Yun-yen. As he was crossing a stream, he looked at his own reflection in the water. This time he
experienced great awakening, and immediately he composed an enlightenment verse. "Do not seek from others." What does "others"
mean? When we seek ch'i channels, when we seek thoughts, these are all "others." The more we seek, the farther away we are. It won't
work. "Now I will go on alone." When the spiritual light is shining alone, far removed from the sense faculties and sense objects, then
you can find him everywhere. "Everywhere I encounter him." This him is the true self. "Right now he is me." When we see our bodies
right now, these are "others," they are not our true selves. But now with enlightenment, the true self comes alive: "Right now he is me."
Where is the true self? "Now I am not him." The true self is not that one: he can change, he is not the same at age 10 as at age 20. Now
my hair is white, and I am no longer the same as when I was young. This thing that can change is not the true self. “One must understand
this way. Only then does one merge with Thusness.” This is where you must search. Only when you have found it will you understand the
truth of the inherent nature of thusness. In Chuang-tzu's essay on "Equalizing Things," there is a tale called "The penumbra asks the
shadow." When we are walking in the sun, how many shadows are there? Outside the shadow itself is another circle called the penumbra.
It asks the shadow: "Why do you act so disorderly, sometimes sitting, sometimes lying down?" The shadow tells the penumbra: "Don't
26
you know I have a boss? When he sits down I sit down with him, and when he lies down all I can do is lie down with him and sleep." He
also said, "My boss himself is not the master. Behind his back is another big boss." This illustrates what Tung-shan said in his verse:
“Now he is me Now I am not him.” The Zen school just took methods of Buddhist cultivation and summed them up in the literary realm.
But its principles were the same as the principles in the Buddhist scriptures...In general, people who cultivate the Path are always seeking
from "others." Here the meaning of "others" includes both psychological and physical states. In particular, the jen-mai and tu-mai
channels are "others," the lights of experiential realms are "others," and realms of purity are "others." If you continue doing your
meditation work oriented toward these "others," if you continue to seek from the mind of falsity, then the more you cultivate it, the farther
away from the Path you will get. When we study Zen master Tung-shan's enlightenment verse, we must not forget one thing. At the time,
he was enlightened as he was crossing a stream, when the sun was out and the water was reflecting his image, and he looked at his own
reflection. He had to get a firm grasp on this realm: at this point in time "Today I go on alone. Everywhere I meet him." In other words,
everywhere I go I encounter him. "Now he is me." Right now he is me. This body of ours is him, and he has become us. "Now I am not
him." In reality, though this fundamental true nature of ours is not this body and mind, it is certainly not apart from this body and mind.
We must take guest and host and join them together. "We must understand this way. Only then do we accord with thusness." He is not
saying that he has already seen the Path of enlightenment, but that he is near to the Path, that he will be able to enter the Path.
Deshimaru (on “The reflection, the image, is me, but I am not the reflection.'”) During zazen the ego-subject can look at the ego-
object, and vice versa. We can realize that we are not so wonderful, sometimes we're even worse than other people, because in deep zazen
our true desires are revealed and we can see them fully. We always have two egos, but that doesn't mean that we have a dual personality.
The objective ego is the good spirit. It is the spirit of God, it's the spirit of Buddha, the one that sees. We can observe ourselves in depth,
and wake up and reflect. At that moment we become pure, and we can become more pure. In everyday living we can't be really pure. But
after a long time, with the experience gained through the practice of zazen, our life becomes purified even if it is made very impure by the
fact that we have too many desires. In everyday living we cannot be completely pure because of our karma. Each person has his or her
own karma. For perfect purity, the coffin is best! That is why religion is necessary for people who are alive. If we have known the
religious life, the connected life, then objective ego will organize a good subjective ego and the mind will become fresh and free.
Book of Serenity Case 52: Caoshan asked elder De, "'The buddha's true reality body is like space (佛真法身猶若虛空): it
manifests form in response to beings, like the moon in the water' (應物現形如水中月) -- how do you explain the principle of
response (作麼生說箇應底道理)?" De said, "Like an ass looking in a well ( 如驢覷井)." Caoshan said, "You said a lot indeed,
but you only said eighty percent." De said, "What about you, teacher?" Caoshan said, "Like the well looking at the ass (如井覷驢)."
(The added saying by Wansong for "Like an ass looking in a well,” is “The falling flowers consciously go along with the flowing stream,”
and the added saying for "Like the well looking at the ass,” is “The flowing stream mindlessly carries the fallen flowers along.”)
27
如 ru2 世 shi4 嬰 ying1 兒* er2 五 wu3 相 xiang1 完 wan2 具 C14
ju4
if, supposing, generation, baby, infant, son, child, Five (also in mutual, complete, finish, all, whole,
as good as, world, society, bother oneself, final C19) reciprocal, each settle, to pay, possess,
equal to, as if, era, an age (surround, part other, direction, whole, inherent, tool,
like, as, tatha: entangle, 兒* - JV towards, look at, unbroken, to write, prepare,
so, thus, in attend to) variant see, assist, repair implement,
such manner, minister, draw up
used in the character: 児 laksana:
sense of infant, baby distinctive mark, Complete, whole
ultimate sign, indication,
reality, the characteristic,
nature of all designation
things, such, Sp.309 (also in
bhutatathata, C12, 41, 47)
sunya(空):
empty,–
Sp.210(also in
C1, 7, 12, 20,
37, 46)
JT: 世の嬰兒(?ni)の五相完具するがごとし Notes: Nyogen Senzaki recommended the practice of asking one or two
JR: yo no yōni no gosō gāngu suru ga gotoshi month old infants: “What is Buddha?”
CT: It is like a babe in the world in five aspects CL: According to the Mahaparinirvana Sutra, the Tathagata's five lines of
complete. conduct are similar to a baby's five characteristics, because, like a baby, the
CF: It is like a baby, With all its faculties, Tathagata neither goes nor comes, neither arises, stays nor speaks. These five
CL: Like a babe (born) in the world, Complete with all lines of conduct are cited here to illustrate the five positions of prince and
five characteristics, minister set up by the master for the expounding of this Dharma.
FW: [It is] like a newborn babe, With five senses CT: In the Mahaparinirvanasutra true thusness is likened to a baby in that it does
complete – not come or go, rise or stand and cannot speak. Also this can mean complete with five
HJ: Like a new-born baby in the world, fully endowed senses, without conceptualization – this is the mirror trance. Ippen, the Japanese pure
with the five aspects [Skandhahs]. land saint, once said that the practice of invoking the name of the buddha to be reborn
JC: It is like an infant in the world, Complete with all in the pure land affected the sixth consciousness; ending all discrimination of pure and
the characteristics of a buddha. impure, pleasant and painful, one realizes the great bliss beyond extremes and sees the
NF: “This” is like a baby with five aspects – world as the field of the vow of the buddha of infinite light and life.
RB: It is like a baby complete with the Five sense MW: The five aspects here may refer to the five sense consciousnesses (as
organs. babies have not yet developed discriminating consciousness). It may also refer
RM: It is like an infant of this world who has five sense to the five dharma bodies: samadhi, precepts, wisdom, liberation and wisdom
organs. derived from liberation.
SA: A baby of this world Is such as this, possessing all ZS 10.450: The body you received at birth from your parents Immediately
his five Sense organs, testifies to the status of your great enlightenment.
SY: Just as an infant Is equipped with five sense Blue Cliff Record, Case 80: A monk asked Chao Chou, "Does a newborn
organs, baby also have the sixth consciousness? (初生孩子還具六識也無)" Chao
TH: Like a newborn child, It is endowed with five Chou said, "(Like) tossing a ball on swift-flowing water." The monk also asked
aspects. T'ou Tzu, "What is the meaning of 'Tossing a ball on swift-flowing water'?"
TN: Just as a baby, five senses complete, T'ou Tzu said, "Moment to moment, nonstop flow.(念念不停流 – see C30))"
TP: Like a newborn child, it is fully endowed with five The commentary includes: “Originally we are unable to discriminate among the
aspects: sense objects before us, but the subtle inner faculties produce consciousness, and
TS: It is like a baby perfectly possessing five freedoms: consciousness manifests discrimination of forms-this is the sixth consciousness.
WP: Just as in the common infant, the five The seventh consciousness, manas, can take hold of all images of the world and
characteristics are complete; cause people to be vexed and troubled so that they don't attain freedom. As for
ZC: Like a babe in the world, in five aspects complete; the eighth consciousness, called the storehouse consciousness, it contains all
good and bad seeds. This monk knew the ideas of the verbal teachings, so he
used them to question Zhaozhou: "Does a newborn baby also have the sixth
consciousness?" Though a newborn baby is equipped with the six
consciousnesses, though its eyes can see and its ears can hear, it doesn't
discriminate among the six sense objects. At this time it knows nothing of good
and evil, superior and inferior, right and wrong, gain and loss. A student of the
Way must become again like an infant; then one cannot be moved by praise or
blame, success or fame, trial or ease. Though one sees forms, one is the same as
blind; though one hears sounds, one is the same as deaf. He is like a fool, like an
28
idiot (如癡似兀 ( - actually the Chinese is different from C46))– his mind is
motionless as Mt Sumeru. This is where Chan practitioners really acquire
power.” (more below under C16)
HJ: Some translators interpret ‘aspects’ to mean the five senses (sight,
hearing, smell, taste, and feeling), but if this were so in Buddhism there are six
senses, because ‘consciousness’ is also included as a sense. It is more likely that
the author was referring to the five Skandhahs (form, feelings, perceptions,
impulses and consciousness). In either case the intimation is that, the baby, or
‘Original-Self/Buddha-Nature’ that it is a simile for, is already complete at birth.
(“Baby practice” 嬰兒行 as a reference to the Parinirvana Sutra can be
found in the Mo-ho chih-kuan by Chih-I (538-597).)
When Tsugen Narasaki Roshi was a young monk, he went to study with
Suzuki Roshi’s second teacher, Kishizawa Ian. It was a special week of studying
the documents of Dharma transmission which are used in Soto Zen. He said that
he understood almost nothing that week but there was one phrase of Kishizawa
Roshi’s that he did remember: “We must have a mind like an infant and if we lose
it we cannot be Buddha.” (from Being Upright)
不 bu4 去 qu4 不 bu4 來 lai2 不 bu4 起 qi3 不 bu4 住 C15

zhu4
no, not, un-, go away, leave, no, not, un-, come, return, no, not, un-, rise, stand up, no, not, un-, reside, live at,
negative prefix depart, past, negative prefix coming, negative prefix go up, begin, negative prefix dwell, lodge,
gone returning (also (also in C5, 9, start, arise (also abide, stop,
in C5 and in the 11, 13, 17, 23, in C42) cease
titles of the five 24, 27, 45)
positions – see
below)
not coming (back to mortality), used as in 不起法忍 the patient
an explanation of anagamin, acceptance of the non-arising of
eternal - Sp.103 dharmas – Sp.109
JT: 不去不來、不起不住、 Notes: WP: In ch 20, Ying-erh hsing section of the Nirvana Sutra, the
JR: fuko furāi fuki fuju ‘five characteristics’ of the common infant are explained as analogous to the
CT: It does not go or come nor rise nor stand. behavior of the Tathagata, i.e., an infant is characterized by the inability to
CF: Neither going nor coming, Neither rising nor standing, get up, stay put, come, go, or talk. Similarly, the Tathagata does not ‘raise”
CL: It neither goes nor comes, Arises not nor stays, the thought of any dharma; does not ‘abide’ in any dharma; does not have a
FW: It does not come or go, Rise or stand. body that would be capable of action (such as ‘coming’); does not ‘go’
HJ: [It does] not go, [it does] not come, [It does] not arise, [it anywhere because he is already in Nirvana, and, although he has taught the
does] not stay. Dharma for living beings, has in fact ‘said’ nothing.
JC: It neither goes nor comes, It neither arises nor abides. SY: “You may think that in attaining Buddhahood you leave Samsara
NF: She doesn’t get up, or stay, or come or go, and enter Nirvana. You may think that Buddhas and Bodhisattvas travel
RB: It cannot go or come, cannot stand up, cannot sit. from Nirvana to Samsara to help sentient beings…But these concepts only
RM: He neither goes nor comes; he neither arises nor stays. serve as convenient explanations…Samsara and Nirvana are not things, nor
SA: yet goes not and neither comes, Neither arises nor yet are they places…Buddha is not separate from us.”
stays, Nagarjuna’s introductory verse to the Mulamadhyamika-karika:
SY: It neither goes nor comes, Neither does it arise or abide. I salute him, the fully-enlightened, the best of speakers,
TH: No coming, no going, no arising no abiding. who preached the non-ceasing and the non-arising,
TN: Neither going or coming, nor arising or staying, the non-annihilation and the non-permanence,
TP: No going, no coming, no arising, no abiding; the non-identity and the non-difference,
TS: Not coming, not going, not rising, not staying... the non-appearance and the non-disappearance,
WP: No going, no coming, no arising, no abiding, the dependent arising,
ZC: It does not go or come, nor rise nor stand. the appeasement of obsessions and the auspicious.
29
婆 po2 婆 po2 和 he2 和 he2 有 you3 句 ju4 無 wu2 句 C16
ju4
old woman, grandmother, used in transliterating foreign have, own, sentence, phrase, negative, no, not, sentence,
mother, wife, used in sounds, harmony, peace, calm, possess, exist, to expression lack, have no, phrase,
transliterating: pa, ba, va, pha, kindly, mild, to mix, well- be, there is, there without, apart expression
bha, etc. – Sp.345 flavored, to blend, peaceful, are (also in C11, from, none (also
unite with, rhyme, respond – 28, 38, 39) in C11, 26)
Sp.253
baba wawa - baby talk
JT: 婆婆和和、有句無句、 Notes: WP: cont.: Also, according to this analogy, the infant is
JR: baba wawa uku muku described as producing the sounds p’uo ho (seemingly meaningless
CT: 'Baba wawa': is there anything said or not? sounds, translated here as ba and wa), where p’uo is equated with the
CF: Babbling and babbling, Speaking without saying anything, Tathagata’s teaching of permanence and the unconditioned, and ho with
CL: And when words are stammered About the "Is" and "Is not", the teaching of impermanence and the conditioned. Thus, ‘speaking
FW: Ba-ba wa-wa; Because this is not true speech, without speaking’ describes this latter characteristic of teaching without
HJ: [It says] “ba-ba wa-wa”. Are words there? Are words not there? recourse to intelligible speech. It also seems possible to interpret this to
JC: [Babbling like a baby] "baba wawa"— Is there anything said or not? imply that what is generally accepted as intelligible speech and does in
NF: Or speak: “baba wawa” speech that’s not speech. fact concern the conditioned and unconditioned – e.g., the sutras – is no
RB: "po, po, ho, ho !" it says, in words that are not words. more than the incoherent sounds of an infant when compared to ultimate
RM: Ba-ba, wa-wa—he has words yet no words. reality.
SA: has words And yet no words. VH: The phrase uku muku 有句無句 refers to two of the four
SY: “P’o-p”o H’o-h’o”– A phrase, but without meaning.
propositions. An affirmative proposition is uku 有句 and a negative
TH: "Baba wawa" is there anything said or not?
TN: Babbles and coos: speech without meaning, proposition is muku 無句. (The four propositions refer to Nagarjuna’s
TP: "Baba wawa"-- is anything said or not? tetralemma: P, not-P, neither P nor not-P and both P and not-P.)
TS: And goo goo wa wa– words that are not words. The verse to Case 8 of the Book of Serenity includes the lines: “If you
WP: Ba-ba wa-wa, speaking without speaking; are clear and free / There’s no objection to my babble.
ZC: "Baba wawa" - is there anything said or not? (不妨我哆哆和和)” The commentary reads: “Babble, ‘dada wawa,’
ZS 8.441: Blah, blah, blah, blah, yes and no. is baby talk – representing that it is not real speech. Also the Weir of
Interpretation of the Lotus of Reality says, ‘Dada is a symbol of learning
action; wawa is a symbol of learning speech.’ In the Great Demise
Scripture there is ‘sickness practice’ and ‘baby practice.’ Some books say
‘baba wawa.’(婆婆和和) Chan Master Shandao of Shishi said,
‘Among the sixteen practices in the Great Demise, the baby practice is
best.’”
SY: “all the illustrations and explanations we use to describe the
precious mirror really have no meaning and cannot tell us what the
precious mirror truly is. Nonetheless, we continue with our explanations,
because people need them…Masters and patriarchs are much like babies,
making nonsense sounds trying to speak. They know what they have
experienced, they know what they want to say, but there is no way they
can say it.”
From Yuanwu’s commentary to Case 80 from the Blue Cliff Record
(quoted above in C14): Shandao said, "Haven't you even seen a newborn
baby? Has a baby ever said, 'I know how to read the scriptures'? At that
time it does not know the meaning of having the Buddha nature or not
having the Buddha nature. As one grows up one learns various sorts of
intellectual knowledge; then one comes to claim ability and
understanding, not knowing that this is affliction by acquired defilements.
Among the sixteen contemplation practices, the baby's practice is best.
When it's babbling it symbolizes the student of the Way, detached from
the discriminating mind that grasps and rejects. That's why I praise
infants. I can make a comparison by taking the case of a baby, but if I say
the baby is the Way, people of these times would misunderstand."
30
終 zhong1 不 bu4 得 de2 物 wu4 語 yu3 未 wei4 正 zheng4 故 C17
gu4
end, finally, in no, not, un-, attain, obtain, all living beings, language, words, not yet, not, not upright, true, because,
the end, after negative prefix get, gain, thing, substance, saying, express, being right, correct, consequently
all, still, death, (also in C5, 9, acquire, to creature, matter, speech, to talk indeed, proper, (ancient, old, to
the whole of 11, 13, 15, 23, effect, can, things in with, authorized, die, formerly,
24, 27, 45) may, able to be general, affairs conversation, regular, just, reason, pretext,
done (also in of this world, discourse, exact, straight, fact,
C2) others, goods phrases (also in formal, just at the phenomena)
(also in C10) C11) time of, during,
to adjust,
regulate, chief,
original, the right
side of a thing,
center of a target,
whole, entire,
principle –
Sp.192 (also in
C9, 13, 18, 21)
JT: ついにものを得ず、語いまだ正しからざるがゆゑに、 Notes: On words and no-words – see the notes to
JR: tsuini mono o ezu go imada tadashi kara zaru ga yueni C5. Speech is not correct, for as in C5 - "the meaning
CT: Ultimately it does not apprehend anything because its speech is not yet correct. is not in the words." But speech is offered, C11 "it is
CF: Never getting concrete Because its speech is not correct. not without words", it responds, but its baby talk
CL: They will lead to no result Through the inefficiency of speech. (C16) - words manifest thusness but cannot capture,
FW: It is meaningless phrases without substance. explain or get at thusness.
HJ: In the end [it does] not gain [any]thing, Because the words [are] not yet correct. CL: When words are used to speak of 'is' and 'is
JC: In the end it does not apprehend anything Because its speech is not yet correct. not’, they will fail to reveal the absolute, for
NF: You can never get at it, because it doesn’t make any sense. conditioned human language is ineffective and
RB: We can't understand what it's talking About, for its words are far from accurate. cannot express the inconceivable.
RM: And finally we grasp nothing, for words are not accurate. CT: Baba wawa is to represent baby talk; the
SA: Then, finally, we grasp Nothing for words inaccurate will be. Mahaparinirvanasutra likens that which is materialized
SY: You can never get the substance of it Because it is not correct language. and that which is not – whatever is done becomes
TH: In truth, this has no meaning, For the words are not yet clear. undone, and the whole process of doing in the infinite
TN: No understanding, unclearly expressed. range of cosmoses cannot be described or compared,
TP: In the end it says nothing, for the words are not yet right. adequately conceived or thought. It is not doing
TS: In the end nothing is grasped because speech is not precise. anything because there is nothing to compare it to,
WP: In the end, things are not gotten at, because the words are still not correct. nothing to indicate any direction.
ZC: Ultimately it does not apprehend anything because its speech is not yet correct. HJ: They are not correct, because they have not
yet taken form in this Original-self-nature.
Huike: "I am always clearly aware, but words do
not reach it."
Mahaparinirvana Sutra Chapter 27 Baby Practice. Draft translation by Eric Greene.
“Good son, what is baby practice? Good son, a baby does not arise, stand up, come, go, or speak, and the Tathagata is just like this.
Not arising means that the Tathagata never arises the signs of dharmas. Not standing means that the Tathagata does not attach to any
dharma. Not coming means that the Tathagata’s bodily action is free of moving or shaking. Not going means that the Tathagata has already
arrived at Great Parinirvana. Not speaking means that though the Tathagata preaches the Dharma for all sentient beings, in truth he does not
say anything. Why? That which has something to say is a conditioned dharma. The world-honored Tathagata is not conditioned, and for
this reason there is nothing said.
“Further, not speaking is as when a baby says things but the words are not understood (or “not complete”). Thus though there are
words, there is no real speaking. In this same way the Tathagata has words that are not understood; these are the secret words of the
Buddhas. Though he does say things, sentient beings do not understand, and therefore it is said that he does not speak.
“Further, because a baby does not yet know the right words, it gives more than one name to a single thing. Though the baby does not
yet know the right words and so gives more than one name to a given thing, it is not the case that the baby does not know the thing. In this
same way, the Tathagata does not speak the same words to each of the different categories of people. [Rather], he employs skillful means
and speaks according [to what is appropriate], and yet still, [the different words] lead each person to understanding.
“Further, a baby speaks in long syllables.( 大字) Similarly the Tathagata speaks the long syllables ‘wa’ and ‘ba’. ‘Ba’ means
conditioned, and ‘wa’ means unconditioned. This is called a baby. ‘Ba’ means impermanence, and ‘wa’ means permanence. When sentient
beings hear the Tathagata say ‘permanence’, they take it to be the teaching of permanence and they thus cut off impermanence. This is
called baby practice.
“Further, a baby does not distinguish between suffering or happiness, day or night, father or mother. In this same way, for the sake of
sentient beings bodhisattvas do not see the signs of suffering or happiness, day or night. Towards all sentient beings they have a mind of
31
equality, and for this reason there are no signs of father or mother, friend or stranger.
“Further, a baby cannot accomplish either large or small tasks. In this same way, bodhisattvas do not create birth and death, and they
do not create karma. This is called ‘not accomplishing a large task’. The large task means the five mortal transgressions, and
bodhisattva-mahasattvas never create the heavy crimes of the five mortal transgressions. ‘Small task’ means the mind of the two vehicles.
Bodhisattvas never turn away from the bodhi-mind by accomplishing either the voice-hearer or pratyekabuddha vehicles.
“Further, when a baby cries, the father and mother give it some yellow leaves from a willow tree and say: ‘Don’t cry, don’t cry! Here,
I give you some gold!’ When the baby sees [the leaves], it thinks that they are true gold, and then stops crying. In truth, however, these
willow leaves are not gold. [In this same way] when a baby sees a wooden cow, a wooden horse, a wooden boy or a wooden girl, it thinks
of these things as being a boy or a girl, and so it stops crying. Because it thinks of what is not really a boy or a girl as being a boy or a girl,
we call it a baby. In this same way, if there are sentient beings who desire to do much wrong, the Tathagata speaks to them of the constant
happiness of the heaven of the thirty-three, where the self is pure, beautiful and unrestrained, where one enjoys the happiness of the five
desires amid wondrous palaces, where everything that meets the six sense organs is pleasing. When these sentient beings hear that such
happiness exists, they desire this happiness, and thus they refrain from wrong action and diligently perform the good actions [that result in
birth in] the heaven of the thirty-three. In truth, however, [the heaven of the thirty-three] is birth and death, impermanent, without
happiness, without self, and without purity. For the sake of carrying across sentient beings, as skillful means [the Tathagata] speaks of this
permanence, happiness, self and purity.
“Further, if there are sentient beings who dislike birth and death, the Tathagata speaks to them of the two vehicles. In truth, however,
the two vehicles are not real. By way of the two vehicles [sentient beings] come to understand the problems of birth death, and they see the
happiness of nirvana. Because of seeing this, they are then able to understand for themselves what is cut off, what is not cut off, what is
true, what is not true, what is to be cultivated, what is not to be cultivated, what is attained, and what is not attained.
“Good son, just as a baby thinks of what is not gold as being gold, so also the Tathagata speaks of what is not pure as being pure.
Because the Tathagata has attained the ultimate meaning, this is not false. Just as a baby thinks of what is not a horse or cow as being a
horse or cow, if there are sentient beings who think that what is not the path is truly the path, then the Tathagata also says that what is not
the path is the path. In truth, in what is not the path there is no path. However, because it makes for the arising of a slight causal condition
of the path, [the Tathagata] speaks of what is not the path as being the path. Just as a baby thinks of a wooden boy or girl as being a boy or
girl, so also the Tathagata speaks of what he knows is not a sentient being as having the characteristics of a sentient being. In truth, there
are no characteristics of sentient beings. However if the Buddha-Tathagata said that there are no sentient beings, all sentient beings would
fall into wrong views. For this reason the Tathagata says that there are sentient beings. One who, in sentient beings creates the signs of
sentient beings, will not be able to break free of the signs of sentient beings (“signs” is 相, translated in the previous sentence as
characteristics). If, in sentient beings one breaks free of the signs of sentient beings, then one attains the Great Parinirvana. By attaining this
Great Parinirvana, one stops crying. This is called baby practice. (The discussion of baby practice ends here. The last three paragraphs of
this chapter serve as a close for the large section on the five practices that began with noble practice in chapter 19. One will note that the
fifth practice mentioned at the beginning of chapter 19, sickness practice, is not discussed. Perhaps this is meant to refer to the subject
matter of chapter eighteen, “Manifesting Sickness”.)
“Good son, if there are men and women who receive, uphold, study, recite, copy and explain these five practices, know that such
people will definitely attain these five practices.”
The bodhisattva Kasyapa then said to the Buddha: “World-Honored One, as I understand the meaning of what the Buddha has said, I
too will definitely attain these five practices.”
The Buddha said: “Good son, it is not only you that will attain these five practices. Nine hundred and thirty thousand people in this
assembly [gathered] here today will, the same as you, also attain these five practices.”
(Eric noted to following about the Sutra in relation to the Jewel Mirror Samadhi: In the line "the words are not yet right" (of
Dongshan’s poem), the first three characters also occur in the line that I translate as "the baby does not yet know the right words"(in
the sutra). In the previous line, "in the end it says nothing", it seems that "says nothing" is translating "wei de wu", "not yet / attained /
the thing." In the line from the Nirvana sutra "it is not the case that the baby does not know the thing", "know the thing" is "de shi wu"
"attain / consciouness / the thing" This seems to me like it may be what Dongshan is talking
about, the extra character "shi" would not have fit the metre of the poem.)
32
重* zhong4 離 li2 六 liu4 爻 yao2 偏 pian1 正 zheng4 回 hui2 互 C18
hu4
M1509 N224 M3902 N5040 M4189 N283 M2583 N? -kō M5246 N511 M351 N27 M2309 N1028 M2152 N14
heavy, weighty, leave, depart, number six diagrams for inclined to one upright, true, return, turn mutually,
important, go away, retire, divination, side, slanting, right, correct, around, a time, reciprocally,
severe, double, to meet with, to lines, to leaning, biased, indeed, proper, revolve (used in: each other,
overlap, two, to pass through, intertwine, to partial, authorized, “turn the light interrelating,
repeat, a layer, being apart change prejudiced, regular, just, inwards” and together
again, thickness separate, crosswise eccentric, exact, straight, “turning over the
abandon The six lines of hexagrams particular, 偏圓: formal, just at merit” and refers
(impurities) - relative and the time of, to conversion –
Sp.475, as the complete – during, to ad- Sp.205)
Sp.342 just, regulate,
li trigram:☲ chief, original,
it means the right side of
brightness a thing, center of
a target, whole,
entire, principle
– Sp.192 (also in
C9, 13, 17, 21)
JT: 重離六爻、偏正回互、 Notes: 重* - AV variant character: 如
JR: jūri rīkkō hēnshō ego (M3137/N1189) - if, as if, like, as, tatha:
CT: It is like the six lines of the double split hexagram. The relative and thus, in such manner, (ultimate reality),
absolute integrate. sunya (空): empty.
CF: In the six lines of the Fire hexagram, Relative and absolute integrate; The Double Li Hexagram: The li, or fire, trigram is
CL: The six lines of the Chung Li Hexagram Representing the intermutable doubled to form the hexagram. The li trigram is associated
real and seeming, with the mind and clarity.The lower trigram is inner while
FW: In the six lines of the doubled li [hexagram] The partial and complete the upper trigram is outer – thus, illuminating inner (self) and
yield to each other. outer (the world) is a possible meaning – having clarified the
HJ: [The] double-fire [Li hexagram] six [lines] intertwine, Tilted [broken/yin] self, one can bring clarity to the world. (See the
and straight [yang] mutually rotate. supplemental section on the I Ching for an overview of the
JC: [It is like] the six lines of the double li hexagram. The biased and the trigrams and their basic associations. The Li trigram is
correct interchange associated with fire, and by extension, illumination.)
NF: It’s like the 6 lines of the double split hexagram; absolute and relative are The Li hexagram is the final hexagram in the upper
bound up together. course in the traditional order of the hexagrams in the I
RB: The six lines of the chungli hexagran, Showing interdependence, Ching (number 30), where it has the title, “Clinging” (as fire
RM: Six sticks of stacked ri – they move in mutual relations in extremes and “clings” to wood) (“clinging” here may be an expression of
middle dependency rather than attachment, and thus of dependent
SA: When stacked, six sticks of ri for ever move In mutual relations in arising rather than deluded being).
extremes And centre; For material relating to C18-20, see the section on the
SY: Doubling the Li trigram makes six lines. The outer and inner lines five positions in the supplemental materials of this study.
mutually interact. According to these lines of the Jewel Mirror Samadhi, the
TH: Like the six lines of the double split hexagram, The relative and absolute Li hexagram is not necessarily to be identified with the fifth
integrate. position. Instead, it can be understood as the source of the 5
TN: Six lines make the double li trigram, [Yang-Yin-Yang-Yang-Yin-Yang] positions – it is transformed to create the five positions. (In
Where principle and appearances interact. the section below on the Five Positions, the fifth position is
TP: In the hexagram "double fire," when main and subsidiary lines are often identified with the Li hexagram.)
transposed,
TS: In the double-split hexagrams the particular and the general integrate. Li, 離, also appears in the last line of the Enmei Jukku
WP: In the six lines of the doubled li hexagram, Phenomena and the Real Kannon Gyo: 念念不離心: nen nen fu ri shin Thought
interact; after thought are not separate from Mind.
ZC: It is like the six lines of the illumination hexagram: relative and ultimate MW: These verses (C18-20) come right in the middle of
interact the song. The study of the five positions is the heart of the
(AV: The hexagram chung-li expresses the interdependence of p’ien (hen) Jewel Mirror Samadhi. The rest of the song is commentary
and cheng (sho).) on the five positions…The reference to the I Ching is
(ZC2002: In the illumination hexagram, apparent and real interact.) Buddhism becoming Chinese – using the I Ching to
(Taigen Dan Leighton translates this line: In the illumination hexagram, illustrate Buddhism.
inclined and upright interact.)
(WL: Six lines in [the hexagram] chung-li (double [trigram] li) P’ien-cheng HJ: ‘Real’ Li (30, ) and ‘seeming,’ Chung Fu (61,
(the proper and the biased) hui-hu (interchange))
) hexagrams.
33
AV (See the excerpts below in the Five Positions study section where Verdu’s detailed treatment of C18-20 are inseparable from his
approach to dialectical issues in the Five Positions (especially the excerpts from pp. 130-139).)
There are two systems for understanding the relationships among the 8 trigrams, the abstract order of Fu Hi emphasizing the balance of
the basic forces of receptivity and creativity, and the temporal order of King Wen, emphasizing human relationships and evolution
peripherally rather than axial confrontation as in the Fu Hi system. In the King Wen system, the Li trigram occupies a special place at the
top of the vertical axis, drawing attention to the dynamic quality of the King Wen system in contrast with the static balance of the Fu
Hi system.. Lama Anagarika Govinda’s comments on the Li trigram in the context of the King Wen system: “[Beings] attain their full
maturity in the brightness of LI, which is the symbol of fire, of warmth, as well as of noon, when the sun is in the zenith and beings at the
height of their vitality. At this time, beings are at the height of their involvement with things, which results in clinging and possessiveness.
‘LI is the brightness in which all beings recognize each other,’ says the Shao Gua. It is the full development of self-consciousness…With
LI consciousness reaches maturity. The being is no longer merely a receptive and reproductive instrument, but begins his own activity,
fully conscious of his individuality and the world around him. Therefore it is said that here the beings recognize each other for the first
time. From now on each individual leads his own conscious life, with his spiritual faculties awake and ready to be employed and developed
through experiences in the outer and inner worlds. This is the culminating point, the zenith of physical life and the decisive moment for the
spiritual development of the individual…” Some of his comments on the Li hexagram: “The flame has no fixed form, but illuminates other
forms. It consists of a constant upward movement. By clinging to what is dark, it produces light. Therefore, the judgement of the Book of
Transformations: ‘Perserverence furthers. Success! Care of the cow brings good fortune.’ If the onrushing movement of the flame is
tempered by patience (or the domesticity of the cow which stands for the element Earth) success is ensured.” (The Inner Structure of the I
Ching)
WL: Why is the double li hexagram chosen? This question is important because the choice by Tung-shan could not have been
accidental. The trigram li has always been regarded with awe, because along with the trigram kan, it makes up the two most stable yin-yang
combinations possible. Kan and li are the ruling dynamic forces in the universe as it is operating now. They occupy the key top and bottom
positions in the circle known as the Diagram of Later Heaven, also produced in the Sung period out of inspirations existent alread in Han I
Ching scholarship. The pure yang and the pure yin trigrams are actually less important in the on-going operation of change because they are
“dead” and “unchangeable” as pure types. They belong to the primordial universe and to the Diagram of the Former Heaven – a static
diagram. That Ts’ao-tung Ch’an should have chosen li, one of the two key trigrams, seems logical. The question remains: Why li and not
kan? Various explanations have been offered, but the best one in my opinion is that li is the trigram for mind, hsin 心 and enlightenment,
ming 明. For a Buddhist tradition that emphasized “pointing to the mind of men (such that in) seeing their (buddha-) nature they would be
enlightened,” the choice of the trigram li could not be better. Perhaps, there is another hidden reason which, as far as I know, has not been
noted before. Li means literally “departure from,” “freedom from,” etc. and the concept li-nien – its root being in the Awakening of Faith in
the Mahayana – had been central in the formative years of the Ch’an tradition…Finally, the li trigram is an appropriate picture of the mind
and may even hold the key to better understanding the Ts’ao-tung Ch’an tradition that had been derided by Lin-chi opponents in the past
and now. The Ts’ao-tung concept of mind is not that of a passive mind, but a passive mind in dynamic function. The central line in the
trigram li is passive (yin) and this is the ruling chung-wei in the trigram. However, out of this passive core evolves the dynamic total li
trigram with active (yang) lines above and below. The li trigram in fact is the trigram for the element fire 火. The message then seems to
be: at the heart of the most dynamic functionings of the mind is the passive core. Capture this passive core and utilize its dynamic
possibility and the world is in your hand…Indeed, it is the Ch’an of Silent Illumination: the silent passivity belongs to the core of the mind,
but the active illumination is the yang function of this same mind. Within fire (yang) is the yin element. (Also, looking at Lai’s translation
of Caoshan’s verses on the five positions in the supplemental materials below, it can be seen that Caoshan employed the character 離 li in
his verses for the 2nd, 4th and 5th positions.)
RA: From a talk entitled: “The Feminine Heart of Zazen,”: The double li hexagram is an image of what meditation is like. Buddha’s
mind is like this hexagram. The central element, the basic building block is the li trigram – yang-yin-yang. Yang is masculine, active,
talking, warm, and yin is feminine, passive, silent and cool. The center is feminine – the yin in the middle. The cool, passive, receptive yin
is between two warm, active, talking lines. Quiet heart surrounded by activity. The receptive surrounded by the active is the basic
pattern…The li trigram typifies our zazen. The center of our practice is to get in touch with a passive, quiet center – realm beyond thinking.
The problem is we think we should be doing something and that if we’re passive, evil will take over…Receive the self in silence and watch
the activity of the self that is given. (T’ou-tzu I-ch’ing taught: “In the silent and profound world of yin, words fall into a deep pit.”)
Referring to the I Ching may express no end to positions which could relate to Dongshan’s teachings of “going beyond Buddha” and
“reality constantly flows” in C30.
WP: This line and the next line develop the idea of the Five Ranks in terms of five hexagrams from the Book of Changes (I Ching).
Partially because of the ambiguity of exactly how the five transformations are to be performed, opinions have varied on what the five
configurations are. A considerable body of commentary exists, beginning with Ts’ao-shan and continuing up to the present time.
ZS 4.643: The real and the apparent come together. (different kanji)
ZS 8.426: The six lines are unmoving, but therein a single element secretly turns. 六爻未動一氣潛回
ZS 14.608: Before the kalpa of annihilation, when Buddhas and patriarchs had yet to appear, The real (正) and the apparent (偏) hadn’t
got entangled in the workings of having and not-having.
VH: In Asahina’s explanation, sho “is emptiness, is truth, is black, is darkness, is principle, is yin,” while hen “is form, is vulgar, is
white, is brightness, is fact, is yang.” Miura and Sasaki have translated sho’i and hen’i as “Real” and “Apparent,” but I prefer to render
them as “Straight” and “Crooked” in order to avoid the implication that “Real” is more real than “Apparent.”
VH: Some jakugo (appended phrase) assignments (in Koan study) require a front phrase, a back phrase, and a combined phrase. These
are meant to express hen’i, the Crooked; sho’i, the Straight; and the combination of the two…once one has passed the beginning stages (of
koan study), most koan divide into at least two parts (sho-i and hen’i – the Straight and the Crooked).
34
Hakuin refers to the second half of this couplet in his commentary on the five positions (see the middle of the first page of section j of
the five positions’ materials). From the footnotes in Zen Dust (pg 310): “’The reciprocal interpenetration of the Apparent and the Real” is a
technical term taken from the Hokyo Zammai. For an understanding of the Five Ranks doctrine it is important not to
conceive of what is termed ‘reciprocal interpenetration’ as something static, something that has taken place. Rather, it is a process
continuously going on.”
RS: (Chapter 2 of the Treasure Store Treastise is entitled “The Essential Purity of
Error! Transcendence and Subtlety.” The teaching of the transcendence-subtlety opposition may have
its origins in the Treasure Store Treatise and may constitute the most important contribution of
the treatise to later Ch’an exegesis. In the Treasure Store Treatise, the term wei 微 means
subtlety and was also associated with miao – wondrous. The term li 離 has a range of
meanings including freedom, transcendence, separate from, detached from [mentally], liberated
from (eg. the compound for “freedom from suffering”: 離苦) (the term was used in many of
these senses in the early Chan texts of the Northern School). The following passage is quoted in
relation to li and the correlate terms provided by Scharf are cross-referenced when they appear
in the Jewel Mirror Samadhi.)
“A complete survey of passages mentioning li and wei in this chapter leads to the following list
of opposite attributes:
transcendence 離(C18) subtlety 微 (related to 妙 in C21 & C24)
nirvana 涅槃 prajna 般若
knowing 知 (C4) seeing 見
dharma 法(C1, C32) buddha 佛(C1, C36)
nonexistence 無(C11 kind of) existence 有(C16 kind of)
nonaction 無為 (C11) functions 用(C10, C46)
absence of attributes 無相 possession of attributes 有相(C12)
entering 入(C26) emerging 出
no-body 無身 no-mind 無心(C34)
freedom from possession of rare and
deluded thought and wonderful functions
無妄想(C34) 有奇特之用(C10, C46)
It is evident that the distinction between li and wei recapitulates the very traditional
Mahayana opposition between two aspects of Buddhahood, the ‘gone beyond’ aspect and the
‘compassionately present’ aspect…two divergent yet complementary aspects of Buddhahood
assume many forms in Mahayana exegesis: they lie behind the contrast between buddha and
bodhisattva, emptiness and skillful means, wisdom and compassion, and so on. In China, these
moieties are commonly explicated in terms of ‘essence’ (t’i 體) and ‘function’ (yung 用), or
‘principle’ (li 理) and ‘phenomena.’ (shih 事)…li denotes the inner detachment of the sage,
wei refers to his outward activity – his spontaneous and selfless reponse to all living
beings…The juxtaposition of transcendence and subtlety is exemplary of the sort of
terminological innovation that continued to facilitate the naturalization of Buddhist thought in
medieval China.” (pp. 201-203)
This section of Sandokai (lines 9-12) is also seen as referring to the I Ching:
門門一切境 All the objects of senses
迴互不迴互 interact and yet do not
Calligraphy by Hakuin. The inscription 迴而更相涉 Interacting brings involvement
below is hard to make out. The 2nd column 不爾依位住 Otherwise, each keeps its place.
of characters from the right side seems to
(“Place” - 位 – is the same character as position, or rank)
include: 寶鏡三昧日本 “Jewel Mirror
(Alternate translation: “Each and all, the subjective and objective spheres are related, and at
Samadhi Japan” at the top and the last four
the same time, independent. Related, yet working differently, though each keeps its own
characters of that line seem identical to the
place.” (Boundless Way translation))
second half of C18: 偏正回互 – “upright Upright and inclined, or apparent and real also relates to: relative and absolute, minister
and inclined interact.” (see Hakuin’s and ruler, son and father, light and darkness, forms and emptiness, phenomena and principle
commentary on the 5 positions in section j (see C9, C44, the Five Positions and Sandokai)
of the five positions supplemental
materials for his relationship to this
expression.)
35
In the Sandokai, ri 理 and ji 事 may play out a similar dynamic to hen and sho:
Lines 7-8: 執事元是迷契理亦非悟 - Grasping at things is surely delusion,
according with sameness is still not enlightenment.
Lines 35-36: 事存函蓋合理應箭鋒拄 - Existing phenomenally like box and cover joining; according with principle like arrow
points meeting.
The use of ri and ji in Sandokai is probably following upon the use these terms in the Four Dharmadhatus of Hua-Yen Buddhism in
China (see the supplement section on the Five Positions – Background and Context. (Shunryu Suzuki discusses ri and ji in Branching
Streams Flow in the Darkness, pp. 52-59)
Dumoulin(maybe): "One of the Five Classics, I Jing (Book of Changes) is a system of divination based on the permutations of yin and
yang, examining present tendencies toward change as represented through the use of six-line combinations of broken and unbroken lines,
called hexagrams. Dongshan Liangjie refers expressly to this work in his famous poem, Baojing sanmei ke (Song of the Jewel Mirror
Samadhi), a core-text of Cao-Dong: "It is like the six lines of the double split hexagram; the relative and absolute integrate – piled up, they
make the three; the complete transformation makes five." Indeed, Dongshan's teaching of the Five Ranks can also be understood as a
diagrammatic explanation of the interaction between yin and yang, transposed into a Buddhist context."
GI: i.e. This harmony between the relative and absolute is like the one express by the Li hexagram (from the I-Ching), and how it
changes. But this reference is just a simile given to people who were used to think in Taoist terms.
DT Suzuki: While scholars of the Avatamsaka School were making use of the intuitions of Zen in their own way, the Zen masters were
drawn towards the philosophy of Indentity and Interpenetration advocated by the Avatamsaka, and attempted to incorporate it into their
own discourses. For instance, Shih-t'ou in his 'Ode on Identity' depicts the mutuality of Light and Dark as restricting each other and at the
same time being fused in each other; Tung-shan in his metrical composition called 'Sacred Mirror Samadhi' discourses on the mutuality of
P'ien, 'one-sided', and Chêng, 'correct', much to the same effect as Shih-t'ou in his Ode, for both Shih-t'ou and Tung-shan belong to the
school of Hsing-szu known as the Ts'ao-tung branch of Zen Buddhism. This idea of Mutuality and Indentity is no doubt derived from
Avatamsaka philosophy, so ably formulated by Fa-tsang. As both Shih-t'ou and Tung-shan are Zen masters, their way of presenting it is
not at all like that of the metaphysician.
SY: “The phrase, ‘outer and inner’ of the second line can also be understood as ‘off-center and center.’ Like yin and yang, off-center
and center represent absolutes. Buddhism sepaks of absolutes, such as True Suchness and Samsara. But really, there is no such thing as an
absolute. There is always interaction between extremes. If True Suchness existed alone, there would be no way to experience it…True
suchness exists only in relation to Samsara, just as wisdom exists only in relation to vexation…You might think that wisdom should be the
center and vexation the off-center, but…the off-center is wisdom, the center is vexation.”
NH: The Ts'ao-Tung school in its five positions of lord and minister uses the method of the I Ching to explain cultivation practice and
doing meditation work, and in particular makes use of the two hexagrams k'an [water] and li [fire], with the hexagram li representing the
lord…After the Five Dynasties period, the Zen of the Ts'ao-Tung school influenced Sung dynasty Taoism and Neo-Confucianism, and
especially I Ching studies. What the Taoists call joining k'an and li [the hexagrams which represent water and fire, and by extension,
primordial awareness and conditioned awareness], and the like, all come from the Ts'ao-Tung school.
36
疊 die2 而 er2 為* wei4 三 san1 變 bian4 盡 jin4 成* cheng2 五 C19
wu3
fold, repeat, and, and then, for, to, for the three change, exhaust, use up, become, attain, five (also in
duplicate, wind and yet, but, sake of, transform, alter, deplete, entirely, accomplish, C14)
up, repititious also, like, as, because, on rebel, rebellion complete, all, perform, whole,
nevertheless account of, the utmost, completed,
wherefore, by, wholly finished, fixed,
do, handle, perfect, succeed
make, govern, (also in C6, 36)
act, be, to
practice, to act
out, to cause
(also in C10,
11, 32, 33)
JT: 疊んで三となり、變じつきて五となる。 Notes: 為* and 成* - JV variant has these two
JR: tatānde sān to nari hēnji tsukite go to naru chracters switched, CV has 為 in both positions.
CT: Piled up they make three. The complete transformation makes five. WL: “One classical evolution of the five patterns
CF: Stacked up, they make three; Completion of the transformation makes five. from the hexagram is based on this philosophy. Lines
CL: Are interlaid to establish a triple basis Which transforms into five positions. 2, 3, 4 and 5 are chosen as the ‘changeable hidden
FW: When the [adjacent] lines are combined, they make three [pairs]. When all patterns.’ This, in one sense, is a logical choice, for
five possiblities are arranged, lines 1 and 6 (the bottom and top lines) are sometimes
HJ: Fold and [they] make three, Change and [they] completely become five. considered as the ‘beginning’ and the ‘end’ of the
JC: Piled up, they make three When the transformation is completed, they make hexagram, and in that sense, they are the temporal (shih
five.
NF: Fold them up they become three, change them completely they become five. 時) lines more than the spatial (wei 位) lines. The
RB: When overlaid, the variations are Three, which transform themselves into sequence of metamorphasis according to the internal
Five, dynamism of this hexagram is then as follows: lines 2,
RM: Stacked three times, they return after five to the original pattern. 3, and 4 produce one trigram (the sun or wind trigram:
SA: stacked three times, return again To the first pattern after changes five. ☴); lines 3, 4 and 5 another (the dui or lake trigram:
SY: Stacked, they become three pairs; At most they can transform into five. ☱); piling these two on top of one another (as dictated
TH: Piled up, they make three; The complete transformation makes five. by the Samadhi Song) will generate two hexagrams;
TN: Lines stacked in three pairs Yet transform in five ways. together with the original chung-li hexagram, a total of
TP: Piled up they become three; the permutations make five. five patterns, exhausting the combinations, are then set
TS: When the lines are closed they become three, and its final change makes five. down.” (see the 5 Positions table at the end)
WP: Piled up to become three, each transformed makes five. AV (See the excerpts below in the Five Positions
ZC: -Piled up, they make three, the complete transformation makes five. study section where Verdu’s detailed treatment of C18-
(AV: When folding it, three variations arise. In completing the change, the 20 are inspeparable from his approach to dialectical
variations become five.) issues in the Five Positions (pp. 130-139).)
(WL: Pile [them] up and there are three (patterns) When the transformations are
completed, there are five (patterns))
RA: by the principles of the I Ching, the patterns can change, which leads to five basic patterns. A mind with five different patterns,
five ways what is beyond thinking works with thinking, in Buddha’s mind… The five positions are five different ways the enlightened
mind works, five different arrangements of yin and yang.
NH: The I Ching speaks of the transformations of the three lines. In the six lines of an I Ching hexagram, the third and fifth lines are
considered the most important.
GI: i.e. Again this is a reference to the Li hexagram, but here it means: from this harmony comes the three pure kayas and the five
wisdoms, thus the need for the five ranks.
From Chapter X, of the Ta Chuan or “Great Commentary” on the I Ching: “3. The three and five operations are undertaken in order to
obtain a change.” Relating this to the procedure for consulting the oracle, Wilhelm comments: “The ‘three’ operations are the division into
two heaps and the special disposition of a single stalk, ‘to represent the three powers.’ After this each of the two heaps is counted through
by fours, because ‘there are two intercalary months in five years,’ and thus we arrive at three plus two, i.e. five operations, which yield one
change.” (pp 314-315)
HJ: Three trigrams are used to build up the five positions, which are also grouped into a triple-base set. Also three of the five positions
are hexagrams. It is not exactly clear which Master Liang Chiai Sama is talking about…it is more likely that he is talking about the
trigrams, because this makes sense with [C18], although then the triple-basis would not be mentioned. The five positions are; 1 Host
or ; 2 guest or ; 3 Host coming to light or ; 4 guest returning to Host or ; 5 Host in Host or

.
37
CL: Notes for C18-20:
The master used trigrams from the I Ching system to explain the
real and the seeming. The symbol 'li', for the heart (mind), is a
trigram consisting of two single lines with a divided line between
them. Two 'li' trigrams, placed one upon another are called a
'Chung Li', or 'Double Li' hexagram, of which the six lines are
interlaid to set up a triple basis (A), (B) and (C), transformable into
five positions (1), (2), (3), (4) and (5). The triple basis is
transformable into five positions tasting like five-flavoured herbs
and having the shape of the thunderbolt, as follows:
如 ru2 荎 chi2 草 cao3 味 wei4 如 ru2 金 jin1 剛 gang1 杵 C20

chu3
M3137 N1189 M? N? -chi M6739 N3939 M7115 N913 M3137 N1189 M1057 N4815 M3268 N114 M1389 N2201
if, supposing, ? (Radical 140 grass, straw, taste, smell, if, supposing, as gold, metals in hard, tough, pestle, baton
as good as, on top, 133 thatch, herbs, odor, delicacy, if, like, as general, money, rigid, strong, used to pound
equal to, as if, below) weeds flavor (also precious unyielding, clothes in
like, as, tatha: appears in the constant, washing, to
so, thus, in Heart Sutra enduring pound
such manner, where it is the precious and hard – can injure but
used in the fourth of the six cannot be injured
sense of the “five-flavored herb”, may be sense-fields) vajra, the diamond thunderbolt of Indra, symbol of
ultimate shisho – a delicious sushi wisdom and power over illusion and evil spirits,
reality, the condiment, e.g. temaki with when straight as a sceptre it is one limbed, it can
nature of all ume, shisho and cucumber. The also be 3, 5 and 9 limbed – Sp.280, 281. Mathews:
things, such, five flavors are: sweet, sour, The diamond club is wielded by Indra, weighted at
bhutatathata, bitter, pungent, salt (the both ends, and is used to quell demons.
sunya(空): character for bitter is 苦 which
empty,– also appears in C10). The five
Sp.210 (also in flavors correspond to the five
C1, 7, 12, 14, elements: earth, wood, fire,
37, 46) metal, and water (Mathews pg
1071).)
JT: 荎草の味のごとく金剛の杵の如し。 Notes: WL: “The Chih grass is said to
JR: chi sō no ajiwāi no gotoku kōngō no cho no gotoshi have five tastes, although in essence it is
CT: It is like the taste of the five- flavored herb, like the diamond thunderbolt. only one plant. The poetic reference to it
CF: It is like the taste of a five-flavored herb, Like the thunderbolt implement. is to underline the integrity of the chung-
CL: They taste like five-flavoured herbs And look like a thunderbolt li hexagram: the union of the five
FW: They are like the [five] aromas of the hyssop plant And the [five] prongs of the vajra evolutions from the one hexagram.”
scepter. A vajra:
HJ: Like the [five] flavours of the herb chisō, as [symbolized in the] diamond-pounder [vajra-
sceptre].
JC: It is like the taste of the five flavored herb, Like the diamond scepter.
NF: It’s like the taste of the 5 flavored herb. Like the 5 pronged vajra.
RB: like the grass called chi, which has Five different tastes, like the vajra of vairocana.
RM: This resembles the five tastes of the chi-grass and the five branches of the diamond sceptre. In a 5 pronged vajra, there is one
SA: This as the five tastes of the chi-grass seems And as the diamond sceptre's branches five; central prong with the other 4 prongs
SY: Like the (five) aromas of the hyssop plant Or (the five branches of) the vajra scepter branching around it.
TH: It is like the taste of the five-flavored herb, Like the diamond thunderbolt. WP: The vajra or ‘thrunderbolt’ is a
TN: Like the five flavors of the hyssop plant Or the five branches of the diamond scepter, ritual device often held while teaching.
TP: Like the taste of the five-flavored herb, like the five-pronged vajra. There are various numbers of prongs on
TS: A blade of zhi grass has five flavors, A vajra has five points. the ends of a vajra, one, three, or five
WP: Like the taste of the [five-flavored] chih grass, like the [five-pronged] vajra; being most common. The one referred to
ZC: It is like the taste of the five-flavored herb, like the (five-point) diamond thunderbolt. here is clearly a five-pronged vajra.
(AV: Just as the [fivefold taste] of the sane-kazura grass, similarly the [five-pronged] “diamond-
scepter.”)
(WL: It is like the chih grass with [five] tastes (And) the (form of the) vajra (diamond rod).)
38
VH: Vajra has several meanings…it was orginally an Indian weapon of war but was taken up into Buddhism to symbolize the all-
conquering power of Buddha…Vajra as an abstract noun also refers to the ultimate strength and brilliance of Buddhist awakening. ..The
five flavors were used in Tendai Buddhism for the Five Periods of the Buddha’s teaching.
AV: Both the “sanekazura” grass (chih-ts’ao, J: chiso) and the “diamond pounder” (J: kongosho) are symbols used to represent
the five variations of the chung-li hexagram; they consequently symbolize the Five Ranks… Chih (J: Sanekazura) is a grass that
grows mainly in the mountains of southern China. It yields a peculiar kind of sour-sweet medicinal grapes, which are said to
combine all five fundamental tastes, namely, sweet, bitter, salty, acid, and acrid. (Also see the excerpts below in the Five Positions
study section where Verdu’s detailed treatment of C18-20 are inspeparable from his approach to dialectical issues in the Five Positions
(especially the excerpts from pp. 130-139).)
GI: i.e. Five was a very auspicious number for Chinese of that era. Trying to explain why there are five ranks. It has something to do
with Nagarjuna’s Tetralemma (equivalent to the Szu-Hsiang in the I-Ching) and its transcendence (the fifth rank) (equivalent to the double
Li trigram / Li hexagram); staying away from the four extremes position in any duality, seeing through the duality, seeing the harmony of
the two poles. That is the way dualities work in our mind, and how to deal with them. This is like saying: “It is not yes, not no, not both, not
neither. It is transcending those four extremes.”)
SY: “The hyssop plant has five subtle aromas or flavors. It is said that if you taste one flavor, then in fact you had a taste of all of
them. One flavor suggests the other four flavors. Likewise, there are five branches, or arcs, on the head of a vajra sceptre, but if you
hold onto one arc, the others will follow. How does this relate to the five levels of attainment? Since the outer and inner – wisdom and
vexation – mutually interact, attaining any of the five levels places a practitioner in a position to attain the others; each level contains the
other four, because they are all involved, in one way or another, with wisdom and vexation. These levels do not really exist, but such
distinctions are made to help sentient beings in their practice.”
GI: Vajras (diamond scepters) may have nine, five or three spokes. The spokes of a peaceful Vajra meet at the tip whereas those of a
wrathful vajra are slightly splayed at the end. When paired with a bell their length can vary from four finger-widths to twenty-eight finger
widths. The upper sets of spokes of a five-spoked vajra symbolize the five wisdoms, which are:
1. The mirror like wisdom- that which reflects all sense perceptions is purified when one attains enlightenment and becomes the mirror like
wisdom.
2. The wisdom of equality- arises after all the feelings of pleasantness, unpleasantness and indifference have been purified.
3. The wisdom of individual analysis- arises when the factor of discrimination, which distinguishes one object from another is purified. It
enables one to benefit each sentient being according to his or her needs and disposition.
4. The wisdom of accomplishing activity- arises when the basic ability to perform acts according to particular circumstances is purified.
5. The wisdom of the sphere of reality- arises when consciousness is purified and becomes the mind that is the seed of the wisdom truth
body of a Buddha. The five lower spokes symbolize five mothers.
The vajra or dorje and its complementary object, the bell (Skt.: ghanta) are the characteristic ritual implements of Vajrayana or the tantric
methods of Buddhism.
CT: The relative and absolute, partial and true, are also called minister and ruler, son and father, light and darkness; Caoshan called
the relative the world of myriad forms and the absolute the realm of emptiness; the relative is also called the phenomenal, and the
absolute the principle. The relative within the absolute is realization of the emptiness of mind, whereby all things are emptied – thus it
is the relative absolute containing the absolute relative. The absolute within the relative is the mirror awareness which is revealed by
cleaning and polishing the mind by cessation and emptiness; at this point, the focus of concentration can make anything fill the
universe, or make the universe into one point of awareness. Relative and absolute depend on each other, so two elements make three,
adding their mutual intermingling, the source of the two. The absolute is always being expressed in the relative – this is the true
absolute, but it is not always seen. Perfect comprehension of the relative grounded on experience of the absolute culminates in
simultaneous realization of knowledge and complete peace and calm. At this point, Dongshan said, one ‘comes back to sit among the
ashes,’ living this life as a wayfarer, expressing one’s solidarity with the world in the vow to realize perfect enlightenment with all
beings. The five flavored herb and diamond thunderbolt are images of five in one; these so-called ranks or positions, the set of five
being the ultimate paradigm of dialectic and an illustration of meditational stages, are all from the same source, hence the association of
five in one.
39
正 zheng4 中 zhong1 妙 miao4 挾 xie2 敲 qiao3 唱 chang4 雙 shuang1 舉 C21
ju3
upright, true, in, within, mysterious, clasp under arm, strike, beat, sing, chant, set of two, pair, raise, lift up,
right, correct, among, subtle, mystic carry with, hold pound, hammer, call, call out, couple, both, recommend,
indeed, proper, between, exquisite, to bosom, to put rap, hit, tap, a ditty, song, two, double, even take up, bring
authorized, central, center, wonderful, in the bosom, club, a baton, yell, lecture, (as opposed to forth, meet all
regular, just, middle, in the beautiful, nip, insert, question answer, preach odd), together, together,
exact, straight, midst of, hit excellent, include, put in parallel celebrate, all,
formal, just at (target), to hit profound, in between, held the whole, to
the time of, the center, to be the title of the (also in C22) elevate with the
used in Chan to express the
during, to ad- affected by, to Wonderful hands, to begin,
harmonious interaction of master
just, regulate, fall into a trap, Dharma Lotus to initiate, to
and disciple (the simultaneity of
chief, original, attain (also in Flower Sutra – move, to bring
appeal and response)
the right side C21, 31, 40, 47 saddharma forward
of a thing, and in the titles pundarika
center of a of the 5 sutra,
target, whole, positions – see 妙法蓮華經–
entire, below) Sp.234 (also in
principle – C24)
Sp.192 (also in
C9, 13, 17, 18)
JT: 正中妙挾、敲唱雙びあぐ、 Notes: What is subtly included in the real/sho? Luk
JR: shōchū myōkyō kōshō narabi agu suggests the apparent in his translation that interprets “the
CT: Subtly included within the true, inquiry and response come up seeming” into the second line.
together. In section 117 of the Record of Dongshan, there is the
CF: The subtle is contained within the absolute; Inquiry and response arise verse “Rhythm and Song Performed Together”: “One metal
together, pin holds a pair of locks; / The paths for the pin found, its
CL: The real is wonderfully inclusive; Both it and the seeming should be function mysteriously simultaneous. / The Precious Seal
brought out, corresponding to the subtleness of the wind, / Like the
FW: Wonderfully embraced within the whole, Drumming and singing arise visibility of overlapping brocade stitches.”
together. GI: i.e. It is about rediscovering the already existing
HJ: Precise [form] and middle [Absoluteness] are marvellously embraced, harmony between the relative and absolute; between existence
Drumming and singing arise together. and non-existence; between dependent origination and
JC: Subtly included within the correct, Inquiry and response both come up, emptiness; between the two poles of any duality. About
NF: The great center is wondrously inclusive, effort and result come forth transcending the apparent oppositions or dualities. That is the
together. fifth rank.
RB: In the middle, there is a marvellous universality Coming out from SY: “[These lines] refer to the third level, the pivot…The
teaching and learning. third level connects enlightened beings at the fourth and fifth
RM: Absolute "upright" holds many phenomena in delicate balance. The levels (those who have fully realized wisdom and who help
Zen master's answer matches the trainee's question. sentient beings) with ordinary sentient beings at the first and
SA: The absolute "upright" holds, as it is, Many phenomena within its own second level (those who are concerned with eliminating
Delicate balance. When a trainee asks A question matching answer always vexation). Drumming and singing refer to the third level,
comes From the Zen master; so that he may bring The trainee to the where all the wonderful and subtle functions of the five levels
ultimate of Truth The master uses skillful means. become manifest.”
SY: The exact center subtly harmonizing, Drumming and singing "Subtly included within the true" - could be practiced
simultaneously. based on realization, practiced based on the non-separation of
TH: Wondrously embraced within the absolute, drumming and singing go delusion and englithenment. And so we take care of each step
together. - see C22 (travel the pathways and treasure the roads) and C23
TN: Reality harmonizes subtly just as Melody and rhythm, together make (respecting this is forrunate).
music. From the I Ching, under Hexagram 30, “The Illumination
TP: Wondrously embraced within the complete, drumming and singing Hexagram,” li: “Nine in the third place means: In the light of
begin together. the setting sun, Men either beat the pot and sing Or loudly
TS: Within the general, something marvelous lies. Drumming and singing bewail the approach of old age. Misfortune, ( 日昃之離，
go together. 不鼓缶而歌，則大耋之嗟，凶)” and in Hexagram 61,
WP: Secretly held within the Real, rhythm and song arise together. Inner Truth: (corresponding to the 4th position – see section
ZC: Subtly included within the true, inquiry and response come up on the five positions below): “Six in the third place means: He
together. finds a comrade. Now he beats the drum, now he stops. Now
CW: Wondrously embraced within the real, drumming and singing spring
forth together. he sobs, now he sings. (或鼓或罷，或泣或歌)”
(ZC2002: Wondrously embraced within the real, drumming and singing
begin together.)
40
RA: (comments continued from C5): The Song of the Jewel Mirror Awareness also says that “inquiry and response come up
together.” In the sphere of such awareness, in the realm of such intimate communion, we don’t appeal now and get a response later. Past
and future are cut off, which means they are completely present. There is no trace of thoughts like “and then what?” There is no
worrying about the past or future; there is only the present, which fully includes past and future. When we knock on the door and say
“Hello,” the response is right there in the knocking, not later. In this way there really is not some separate response. It’s not in some other
place or time and therefore cannot be the object of our conscious perceptions…This is the world of infinite objectless compassion. The
response of hearing the cries of the world is simultaneous with those cries. The cries are always simultaneous with the hearing.
HJ: we take ‘precise and middle’ to mean form (or the seeming), and Absoluteness (or the Real) respectively. These then are
marvellously embraced. However, no other translations appear to make this interpretation…Drumming and singing are taken to be similes
for ‘precise’ and ‘middle’ in the [first of half og C21]. There is also nothing to distinguish between singing and chanting, the same Kanji
character could be used for both. Hence, the analogy is probably of drumming and chanting within Zen-Buddhist services, because
drumming is precise and mono-tonic chanting becomes quite formless.
ZS 4.283: Their singing and clapping go together. (used as an added saying in Blue Cliff Record case 64: Nan Ch'uan recited the
preceding story (about cutting the cat in two) to question Chao Chou. Chou immediately took off his straw sandals, placed them on his
head, and left. Nan Ch'uan said, "If you had been here, you could have saved the cat.")
ZS 10.125: Beating the drum and strumming the lute, Two old masters are meeting each other.
This may relate to: “The boundary of realization is not distinct, for the realization comes forth simultaneously with the mastery of
buddha-dharma.” – Genjo Koan.
“Drumming and singing come up together ” may also relate to “simultaneous pecking in and pecking out” (Sottaku dōji 啐啄同時–
Sotsu is the sound of a chick pecking its way out of the shell, and taku the sound of the mother hen pecking at the shell from outside(VH)) -
see Blue Cliff Record case 16 and Shobogenzo Menju. It may relate to Kanno doku (teacher and student in responsive communion/full
communication - see notes of C5 above).
41
通 tong1 宗 zong1 通 tong1 塗 tu2 挾 xie2 帶 dai4 挾 xie2 路 C22
lu4
penetrate, source, origin, penetrate, path, way, clasp under arm, belt, girdle, clasp under arm, road, path,
reach, connect, basis, essence, reach, connect, process, road, carry with, hold band, strap, a carry with, hold street, journey,
transmit, pass lineage, a kind, pass through, journey, a to bosom, to put tape, a sash, a to bosom, to put way, alley
through, kindred, a class, common, career, pursuit in the bosom, scarf, a belt of in the bosom, (chariot, great,
common, ancestry, communicate, (smear, daub, nip, insert, country Æ nip, insert, loud)
communicate, ancestor, clan, circulate, to go apply, spread, include, put in district, zone, include, put in
circulate, to go school (as of art, through, to paint) between, held involve, to take between, held
through, to teaching, etc, as succeed, to (also in C21) or bring with, to
succeed, to in Sotoshu), understand, carry to or from,
understand, sect, main thoroughly, all, to bear, connect
thoroughly, all, doctrine, universal, the
universal, the syllogism, whole, illicit
whole, illicit proposition, intercourse, in
intercourse, in conclusion collusion with
collusion with Sp.255 (also in
(also in C30) C28,29,30)
JT: 宗に通じ途に通ず。挾帶挾路、 Notes: CT: This expresses the oneness of practice and
JR: shū ni tsūji to ni tsūzu kyōtai kyōro realization – the perfection of wisdom sutras emphasize: no
CT: Communing with the source and communing with the process. It seeking in practice.
includes integration and includes the road. CL: Fundamentally, the real is pure and does not contain
CF: Conveying the source as well as the process, Including integration as a single mote of dust, but it is inclusive of all phenomena.
well as the way. For this reason, when teaching this Dharma, both the real
CL: For guest and host are intermutable By (direct) pointing and (expedient) and the seeming should be brought out to show that host and
teaching. guest are intermutable either by means of Ch'an's direct
FW: Intimate with the essence and intimate with the path, One embraces the pointing or by means of the expedient words of the
territory and embraces the road. Teaching School.
HJ: [To] pass through [this] essence/religion [is to] pass along the way, [to] MW: To penetrate the source is absolute samadhi – the
hold [it] in [the] girdle [is to] hold in [the] path. dark. To travel the pathways is positive samadhi – the light.
JC: Penetrating the source and penetrating the roads there. It includes To embrace the territory is to be aware of where you are and
integration and it includes the route to it: see the world as self. To treasure the roads is to respond to
NF: Transmitting the teaching, transmitting the practice. It includes stopping circumstances, rooted in big mind.
and includes going on. The source (宗 )and the region (帶) may refer to the real
RB: For the aim and its means, (正) and the pathways (途)and the roads (路) may refer to the
RM: To bring the trainee to the ultimate, the Zen master uses skilful means.
The former embraces the ultimate; the latter contains the means. apparent (偏). Penetrating (通)and embracing (挾) are then
SA: Trainees Embrace the ultimate, masters contain The means; two modes of study. In the Sandokai (lines 5-6):
SY: Penetrate the goal and you will fathom the way. In order to lead there 靈源明皎潔 - The spiritual source shines clear in the light;
must be a road. 枝派暗流注 - the branching streams flow on in the dark.
TH: Penetrating the source and traveling the way; You cover the territory NH: When meditation work has arrived, it comprehends
and embrace the road. both the source and all the scriptural teachings.
TN: Penetrate the root and you fathom the branches, Grasping connections, HJ: Literally: ‘Hold in belt/girdle, hold in path’. This is
one then finds the road. most likely a reference to holding the truth in Tanden, many
TP: Penetrate the source and travel the pathways, embrace the territory and Japanese monks have a large band/girdle support tied over
treasure the roads. their abdomen. No other interpreters have taken this meaning
TS: Penetrating the source, penetrating the paths. Here is a short path, here from the line and interpretations vary.
is a long path. SY: “The goal is the precious mirror…the path refers to all
WP: Penetration to the source, penetration of the byways, Grasping the methods.”
connecting link, grasping the route. (Perhaps C21's "Subtly included within the true" extends to
ZC: Communing with the source, travel the pathways, embrace the territory C22 such that the source and the paths, the territory and the
and treasure the road. roads, are all included within the true, and the pracitioner thus
intimately penetrates, travels, embraces and treasures.)
42
錯 cuo4 然 ran2 則 ze2 吉 ji2 不 bu4 可 ke3 犯 fan4 忤 C23
wu3
M6793 N4880 M3072 N2770 M6746 N4487 M476 N1053 M5379 N17 M3381 N24 M1779 N2869 M7178 N? -go
respect, to certainly, then, thus, so, happy, fortunate, no, not, un-, may, can, -able, commit crime, insubordinate,
inlay, really, still, in accordance auspicious, negative prefix possibly, might, violate, stubborn,
ornamented, a but, although, with, in that lucky, (also in C5, 9, able transgress, wrong,
grindstone, to pledge, yes, case, rule, law, propitious, good 11, 13, 15, 17, criminal, invade, obstinate,
polish, error, promise, regulation, list, 24, 27, 45) clash, offend, disobediant,
blunder, -like, -ful grades, pattern, invade, withstand intractable
mistake, fault, (makes standard
wrong, miss, be preceding an
confused adjective) to
burn, to blaze
(also in C25)
respectful, reverent
JT: 錯然なるときんば吉なり。犯忤すべからず、 Notes: (“Merging” here is not the same as the

JR: shakunēn naru tokīmba kitsu nari bōngo subekarazu merging of “Merging with sameness is still not
CT: Merging is auspicious. Do not violate it. enlightenment” in Sandokai line 8 (契理亦非悟).)
CF: Merging is auspicious; Do not violate it. WP: In the discussion of the trigram li in the I
CL: Devotion to it will earn blessings; On no account should it be offended. Ching there appears the following comment: ‘Nine at
FW: Mistakes are auspicious As is cannot be offended. the beginning. Treading with circumspection; if one
HJ: [When] respectful and restrained [towards it], then good fortune, [And you] acts without respect, there is no blame.’
cannot commit an offence. (Under Hexagram 30, Li: 初九：履錯然，
JC: They intersect and it is auspicious. Do not violate it!
NF: To be off the mark, but whole hearted is wonderful! Just don’t be stubborn. 敬之無咎。Nine at the beginning means: The
RB: It is good to be respectful and modest. Do not oppose it. footprints run crisscross. If one is seriously intent, no
RM: Correctly blended, this is good. Avoid one-sided attachment. blame.)
SA: correctly blended, this is good. Avoid one-sided clinging; SY: “A Chinese character in the third line of this
SY: To be wrong is auspicious; Do not oppose it. stanza has two meanings. The first meaning, ‘to be
TH: Complications are auspicious; Do not resist them. wrong,’ is used in this translation…in describing the
TN: To be wrong is auspicious, There's no contradiction. five levels of attainment, I drew a darkened circle,
TP: You would do well to respect this; do not neglect it. where black meant vexation, and said thatthis is the
TS: If you miss it, that’s a good sign. Don’t neglect it. highest level. So that which is wrong is, in fact, most
WP: Acting with circumspection is auspicious; there is no contradiction. right. Vexation, which is most wrong, is just this
ZC: Respecting this is fortunate; do not neglect it. highest wisdom. The character’s second meaning is
‘interaction between two things.’ The unfolding of
wisdom and vexation throughout the five levels of
attainment is auspicious.”
MW: This is a little admonition.
NH: This passage also uses the principles of the I
Ching. The Ts'ao-Tung school's five positions of lord
and minister apply the theory of the I Ching to
explicate the work of cultivating practice.
CT: Dōgen emphasized that practice and realization
are not two separate things; the source and the process can
be called absolute and relative as a device; integration and
merging refer to there – this includes the road, or process
itself, merging into the process, having no sense of
seeking or acquisition, thus merging into the source. This
was the point of the transcendence of wisdom scriptures.
43
天 tian1 真 zhen1 而 er2 妙 miao4 不 bu4 屬 shu3 迷 mi2 悟 C24
wu4
sky, heaven, real, actual, and, and mysterious, no, not, un-, class, category, delusion, satori (a flash of
god, celestial, true, genuine, then, and yet, subtle, mystic negative prefix kind, type, bewitch, insight, “Ah-ha!”
the firmament, Sp.331 (also but, also, exquisite, (also in C5, 9, belong to, to be charm, what happens to
the weather, a in C30), M: in nevertheless, wonderful, 11, 13, 15, 17, subject to, fascinated, monks at the end
day, nature, Buddhism, like, as beautiful, 23, 27, 45) connected with, infatuate, of koans),
providence, used as one’s excellent, depending upon deceive, enlightenment,
divine, natural nature profound, in the confuse, to apprehend, realize,
(vs artificial), title of the lead or go become aware,
divinely Wonderful astray, error awaken to
endowed, Dharma Lotus (Dongshan had a
perfect, Flower Sutra – big one (大悟)
principle (also 妙法蓮華經– when he saw his
in C9) Sp.234 (also in image in the
natural (as a child), divine C21) stream)
element within one,
bhutatathata, fundamental
reality underlying all
phenomena, pure and
unchanging, nature, the natural,
another name for the
Dharmakaya – Sp.146. M: the
natural goodness of a person,
‘the divine spark,’ naturally
endowed
JT: 天真にして妙なり。迷悟に屬せず、 Notes: When Suzuki-roshi gave Reb his
JR: tēnshīn ni shite myō nari mēigo ni zoku sezu dharma name, he said that Tenshin
CT: Naturally real yet inconceivable, it is not within the province of delusion or (天真)means that Reb is Reb.
enlightenment. RS(p.187): Heaven's truth (天真): In
CF: Naturally real, yet subtle, It is not in confusion or enlightenment. Buddhist materials this term denotes that which
CL: Wonderful is the eternal reality Beyond delusion and enlightenment; is "given by heaven," utterly untainted by
FW: Genuine and wonderful, It is not subject to delusion or enlightenment. human artifice, perhaps coming close to the
HJ: [When you are] natural and unaffected [it is] marvellous, [For it] does not belong to English term "nature."` The compound owed its
erroneous-enlightenment. currency to chapter 31 of the Chuang-tzu:
JC: It is naturally real and subtly wondrous: It is not in the province of delusion or "Truth is what is received from heaven. It is
awakening. what it is and cannot be altered."
NF: True nature is inconceivable. It has nothing to do with delusion or enlightenment.
RB: Its purity and unchangeability is wonderful. It belongs neither to enlightenment nor Delusion (迷) and enlightenment (悟) also
to illusion. appear in Sandokai (lines 7-8):
RM: This is the natural and superior truth that does not attach itself to delusion or 執事元是迷 - Grasping at things is surely
enlightenment. delusion,
SA: this is all The natural and superior Truth that does Attach itself to no delusion or 契理亦非悟 - according with sameness is still
Enlightenment. not enlightenment..
SY: Natural and subtle, It is neither ignorance nor enlightenment. JW: “Tung-shan’s ulitmate ideal transcends
TH: What is natural and inconceivable, Belongs neither to delusion nor enlightenment. even enlightenment…It is beyond all
TN: Naturally pure and profoundly subtle, It touches neither delusion nor awakening, intermutabilities or polarities, such as host and
TP: Natural and wondrous, it is not a matter of delusion or enlightenment. guest, the noumenal and the phenomenal,
TS: What is natural and inconceivable belongs neither to delusion nor enlightenment. silence and speech, the via positiva and the via
WP: Innately pure, moreover subtle, no connection with delusion or enlightenment. negativa, action and non-action, subitism and
ZC: Naturally real yet inconceivable, it is not within the province of delusion or gradualism…”
enlightenment. MW: Delusion and enlightenment are a
CW: Naturally genuine yet wondrous, it is not a matter of delusion or enlightenment. duality. Enlightenment is not enough – one
JW: Wonderful is the eternal reality Beyond delusion and enlightment. needs to go beyond enlightenment.
RS: “One of the organizing motifs for Chih-I’s analysis of the Lotus Sutra was the notion of miao 妙, or ‘wonder,’ the significance of
which is due to its occurrence in the Chinese title of the sutra, Miao-fa lien-hua ching 妙法蓮華經(Scripture of the Lotus Blossom of
the Wondrous Dharna). There were thirty such wonders in all, one of which was the ‘wonder of stimulus-response (kan-ying miao
感應妙).” (p. 124) (for more on kanno 感應 see the notes to C5)
SY: “At this point, the song returns to the precious mirror. It is both natural and subtle. ‘Natural’ refers to an undefiled, unmoving
44
state. ‘Subtle’ refers to the illuminating power of the mirror – its power to function. Do not mistake a state of natrualness alone for the
precious mirror…The power of the mirror to illuminate, in conjunction with the attribute of naturalness, makes the wondrous mirror
complete…Natural and subtle, the precious mirror is neither enlightenment nor ignorance. Whether you are enlightened or ignorant, the
precious mirror is there. When you are enlighted, bodhi manifests. When you are in Samsara, bodhi is covered by vexation.”
RA: "The Buddha Way is not delusion, its leaping. The Buddha Way is not enlightenment, its leaping." (in commenting on the
opening of Genjo Koan: " As all things are buddha-dharma, there is delusion and realization, practice, birth and death, and
there are buddhas and sentient beings. As the myriad things are without an abiding self, there is no delusion, no realization,
no buddha, no sentient being, no birth and death. The buddha way is, basically, leaping clear of the many and the one; thus
there are birth and death, delusion and realization, sentient beings and buddhas."
(Not in delusion or enlightenment - i.e., not limited to delusion or enlightenment and not outside of delusion and enlightenment. Ever
intimate with and always liberated from delusion and enlightenment. It would seem that it is not suggesting that there is some other realm
beyond delusion and enlightenment)
因 yin1 緣 yuan2 時 shi2 節 jie2 寂 ji4 然 ran2 昭 zhao1 著 C25

zhu4
cause, reason, reason, fate time, season, bamboo, knot, still, silent, quiet, -like, -ful bright, luminous, intensifying
because (of), destiny, era, age, node, joint, desolate, (makes illustrious, suffix,
then, in affinity, period, section, verse, tranquility, preceding an illumine, reflect, manifest, to set
consequence connection, to opportunity chapter, details, solitary (also in adjective) (yes, brightness of the forth, to make
of, to follow, to
follow, cause, moderation, C31) certainly, pro- sun, to show, known,
rely on, to karma, chastity, purity, mise, pledge, display blossom
accord with, conditions – to regulate, to burn, blaze)
therefore, by, Sp.440 (hem, restrain (also in C23)
hetu - Sp.205 margin) (also
in C28)
hetupratyaya: causes (因) and time, moment, when,
conditions(緣)– Sp.206 opportunity, occasion
JT: 因緣時節、寂然として昭著す。 Notes: Serene or quiescent or silence corresponds to yin,
JR: Īnnēn jisetsu jakunēn to shite shōcho su whereas illumination or shining corresponds to yang.
CT: With causal conditions time and season quiescently it shines bright. MW: In the realm of dependent co-arising, the mirror
CF: Under the right conditions, at the right time, It shines bright in serene always shines through all of our activity.
tranquillity. Baizhang: “the present mirror awareness—as long as
CL: With concurrent cause and time prevailing, It will appear both bright and this is not affected by any existent or nonexistent objects at
still. all…it can shine through all various existent and
FW: Bright and still, It appears as causes and conditions, time and occasion. nonexistent realms.” (pg 46) and “its shining function
HJ: Causes and [karma-] relations, times and seasons, In stillness [it is] belongs to the bodhisattvas—master of all mental conditions,
clearly revealed. its shining function is in the realm of passing phenomena. It
JC: In causal conditions, times and seasons, Quiescent, it shines bright. is like waves telling of water; it illumines myriad forms
NF: Each moment is the nexus of causes and conditions, each moment shines in without effort.” (pg 39)
bright tranquility. (Soto Zen was later referred to as the Silent Illumination
RB: When karma and the time mature, it quietly appears, School by Dahui – this appellation was a critique embraced
RM: It appears quietly and clearly when conditions ripen. by Dahui’s contemporary, the Soto master Hongzhi (who
SA: IT calmly, clearly shows When all conditions ripen; compiled the Book of Serenity). Mokusho (默照禅)–
SY: Causes and conditions have their time and season, Tranquil and Silent Illumination Zen – is composed of different Chinese
illuminating. characters than the characters used here (寂昭). In contrast
TH: Causes and conditions at this moment Shine completely in the silence. to Mokusho Zen there was associated with the Linji school:
TN: At each time and condition it quietly shines.
Kanna Zen (看話禅) – meditation with thinking, seeking
TP: Within causes and conditions, time and season, it is serene and
illuminating. enlightenment through koans)
TS: Causes and conditions right at this moment shine completely in the Taigen Leighton: Suchness happens through particulars,
silence. through the world of causes and conditions.
WP: According to time and circumstance, it quietly illuminates. ZS 5.17: The one great matter, cause and condition.
ZC: With causal conditions, time and season, quiescently it shines bright. ZS 11.13: To understand the principle of Buddha-nature,
Contemplate [the nature of] time and causality.
ZS 14.277: …The twelve causal conditions void in the
heart.
ZS 14.620: While apparent and real (偏正 – see C18)
have yet to emerge from the fundamental state, Does the
unborn presume to chatter about karma? (因緣 – causes
and conditions)
45
Hongzhi’s Guidepost of Silent Illumination 默照銘 discusses cultivating and balancing silence and illumination in practice and includes
references to the dialectics of upright and inclined, lord and vassal, and the I Ching in general.
(Cultivating the Empty Field, pg 52):
默默忘言。昭昭現前。Silent and serene, forgetting words, bright clarity appears before you.
鑒時廓爾。體處靈然。When you reflect it you become vast, where you embody it you are spiritually uplifted.
靈然獨照。照中還妙。Spiritually solitary and shining, inner illumination restores wonder,
露月星河。雪松雲嶠。Dew in the moonlight, a river of stars, snow-covered pines, clouds enveloping the peaks.
晦而彌明。隱而愈顯。In darkness it is most bright, while hidden all the more manifest.
鶴夢煙寒。水含秋遠。The crane dreams in the wintery mists. The autumn waters flow far in the distance.
浩劫空空。相與雷同。Endless kalpas are totally empty, all things are completely the same.
妙存默處。功忘照中。When wonder exists in serenity, all achievement is forgotten in illumination.
妙存何存。惺惺破昏。What is this wonder? Alertly seeing through confusion
默照之道。離微之根。Is the way of silent illumination and the origin of subtle radiance.
徹見離微。金梭玉機。Vision penetrating into subtle radiance is weaving gold on a jade loom.
正偏宛轉。明暗因依。Upright and inclined yield to each other; light and dark are interdependent.
依無能所。底時回互。Not depending on sense faculty and object, at the right time they interact.
飲善見藥。檛塗毒鼓。Drink the medicine of good views. Beat the poison-smeared drum.
回互底時。殺活在我。When they interact, killing and giving life are up to you.
門裡出身。枝頭結果。Through the gate the self emerges and the branches bear fruit.
默唯至言。照唯普應。Only silence is the supreme speech, only illumination the universal response.
應不墮功。言不涉聽。Responding without falling into achievement, speaking without involving listeners.
萬象森羅。放光說法。The ten thousand forms majestically glisten and expound the dharma.
彼彼證明。各各問答。All objects certify it, every one in dialogue.
問答證明。恰恰相應。Dialoguing and certifying, they respond appropriately to each other;
照中失默。便見侵凌。But if illumination neglects serenity then aggresiveness appears
證明問答。相應恰恰。Certifying and dialoguing, they respond to to oeach other appropriately;
默中失照。渾成剩法。But if serenity neglects illumination, murkiness leads to wasted dharma.
默照理圓。蓮開夢覺。Whe silent illumination is fulfilled, the lotus blossoms, the dreamer awakens,
百川赴海。千峯向岳。A hundred streams flow into the ocean, a thousand ranges face the highest peak.
如鵝擇乳。如蜂採花。Like geese preferring milk, like bees gathering nectar,
默照至得。輸我宗家。When silent illumination reaches the ultimate, I offer my teaching.
宗家默照。透頂透底。The teaching of silent illumination penetrates from the highest down to the foundation.
舜若多身。母陀羅臂。The body being shunyata, the arms in mudra,
始終一揆。變態萬差。From beginning to end the changing appearances & ten thousand differences share one pattern.
和氏獻璞。相如指瑕。Mr. Ho offered jade [to the Emperor]; [Minister] Xiangru pointed to its flaws.
當機有準。大用不勤。Facing changes has its principles, the great function is without striving.
寰中天子。塞外將軍。The ruler stays in the kingdom, the general goes beyond the frontiers.
吾家底事。中規中矩。Our school's affair hits the mark straight and true.
傳去諸方。不要賺舉。Transmit it to all directions without desiring to gain credit.
46
細 xi4 入 ru4 無 wu2 間 jian1 大 da4 絕 jue2 方 fang1 所 C26
suo3
M2467 N3522 M3152 N? - M7180 N2773 M835 N4949 M5943 N1171 M1703 N3539 M1802 N2082 M5465 N1821
fine, tiny, enter, come negative, no, interval, gap, big, great, vast, cut, sever, break square, rectangle, place, location,
slender, thin, in(to), join, not, lack, have space, place, high, large, off, terminate, region, local, numerary
detailed, make enter, to no, without, between, general, tall, completely free place, direction, adjunct, realm,
minute, small, put in apart from, among, in, on, extensive, noble, from, annihilate, trend, aspect of that, which,
delicate, none (also in while, divide, very, much, full- cut short, to who, what,
carefully, C11, 16) separate, grown (also in interrupt, cause, whereby
careful intermittent C7) decidedly,
avici: uninterrupted, without extremely, very
intermission, 無間地獄 : avici
hell, the last of the 8 hot hells in
which pain is uninterrupted –
Sp.383
JT: 細には無間にいり。大には方所を絕す。 Notes: SY: “These lines speak about the precious
JR: sāi niwa mukēn ni iri dāi niwa hōjō o zēssu mirror. The enlightened mind does not move, yet
CT: In its fineness it fits into spacelessness. In its greatness it is utterly beyond it functions. It is not dead; rather, it is
location. inconceivably more powerful than the mind of
CF: It is so minute it fits where there's no room; It is so immense it is beyond direction vexation, which, because of attachments, is
and location. limited to a small realm of thought and
CL: Reduced in size it is all pervasive; If extended it is beyond location and direction. experience. The enlightened mind has no
FW: Small, it enters where there is no space; large, it bursts all bounds. attachments, and so has unlimited power. It can
HJ: So fine [it] enters [where there is] no gap, So great [it] transcends dimensions. function in realms too small to measure, and on
JC: It is so fine it enters the infinitesimal, It is so large it is beyond location. scales larger than space itself. Ordinarily, our
NF: So small it can enter spacelessness, so large it’s beyond location. knowledge and experience are limited. We cannot
RB: In small things it is boundless. In the great it is unlimited by direction and place. comprehend absolute Buddha-nature, which exists
RM: When minute, it becomes infinitesimally small; when large, it transcends everywhere. The enlightened mind has no such
dimension and space. limitations; it has realized the true nature of
SA: when minute Infinitesimally small becomes; When large it transcends all reality.”
dimension, space; ZS 12.100: Expanded, it fills the entire
SY: It is so small it enters the spaceless, So large it is beyond dimension. Dharma universe; Contracted, there’s no room for
TH: So fine, it enters nowhere, So vast it exceeds all bounds. even a single hair to stand. (from the Rinzai-roku)
TN: So fine it penetrates no space at all, So large its bounds can never be measured.
TP: So minute it enters where there is no gap, so vast it transcends dimension.
TS: So minute that it penetrates any space. So enormous that it exceeds all bounds.
WP: Fine enough to penetrate where there is no space, large enough to transcend its
boundaries.
ZC: In its fineness it fits into spacelessness, in its greatness it is utterly beyond
location.
VH: Five hells without interval (五無間獄): Although accounts differ according to text, the realm of hell is subdivided into eight hot
hells, eight cold hells, and three other hells. The worst of the eight hot hells, located deepest underground, is for those beings that commit
the Five sins. This is avici, known as the hell of five kinds of punishment “without interval.” “Without interval” has more than one
meaning. Mugen translates anantara, which can mean (1) immediate, direct and (2) continuous, without a break. This hell is so called for
any of five reasons: (1) beings who commit the worst sins are reborn there immediately without passing through an intermediate birth; (2)
their suffering is continuous and without break; (3) the time of their suffering is also continuous and without break; (4) the beings live
endlessly there; or (5) the beings have bodies of 80,000 yojana in size completely filling hell, which is also 80,000 yojana in size, thus
allowing them to be tortured without cease.
C26 and C27 may be like the opening of the Fukanzazengi: “The way is basically perfect and all-pervading, how could it be contingent
on practice and realization (C26)…Yet if there is the slightest discrepancy, it is the like the gap between heaven and earth. (C27).”
47
毫 hao2 忽 hu1 之 zhi1 差 chai1 不 bu4 應 ying4 律 luu4 呂 C27
luu3
fine hair, the suddenly, ‘s (marks differ, nearly, no, not, un-, should, ought to, statute, principle, a musical note,
down on unexpectedly, preceding as almost, miss err, negative prefix must, regulation, law, tube, ryo-mode
plants, measure abruptly, modifier), it, to mistake, (also in C5, 9, correspond to, rule, ritsu-mode
of length, neglect, her, him, them, error, 11, 13, 15, 17, respond to,
atom, minute, fine goto discrepancy, 23, 24, 45) suitable, right,
immeditately unlike (also in proper, fitting,
extremely small C6) necessary musical terms, a series of standard
bamboo pitch pipes used in ancient
music (Chinese music has 12 tones,
6 yin and 6 yang. )
JT: 毫忽のたがい、律呂に應ぜず、 Notes: In the Hsin hsin ming (信心銘) “Faith in Mind”:
JR: gōkotsu no tagāi riryo ni ōzezu 毫釐有差天地懸隔: A hairsbreadth difference, and heaven
CT: A hairsbreadth's deviation will fail to accord with the proper and earth are set apart.
attunement. Baizhang: “the immediate mirror-like awareness should not
CF: The slightest deviation Means failure of attunenent. have the slightest hair of grasping love for anything at all.”
CL: A slight deviation from it Destroys the perfect harmony. (pg 30)
FW: A slight deviation And you are not in accord with the harmonious RS: Treasure Store Treatise: “Thus, if one errs by so much as
attunement. a hair’s breadth, the transgression is as great as a lofty
HJ: The tiniest moment’s divergence [straying], [And you are] not in-tune mountain.”
[with it].
JC: If there is the slightest deviation, You do not accord with the proper “Accord” 應 is part of the important term, kanno 感應. See
attunement. the notes to C5.
NF: If there’s the separation of even a hair’s breadth there won’t be GI: i.e. It transcends space, all discrimination. So there is no
harmony. absolute basis for any discrimination at all. So what is left to do?
RB: The slightest difference, and the harmony is spoiled. The Middle Way: not accepting, not rejecting. Not chasing
RM: Even a slight twitch breaks the rhythm. ghosts, not trying to shut down the mind, or drop
SA: Even the slightest twitch will surely break The rhythm. conceptualization. They are all already pure. Not obsessing
SY: If you are off by a hair’s breadth Then you would be out of harmony. about morality, not indulging in evil doing either.)
TH: A hairsbreadth deviation And you are out of harmony. SY: If [a certain musical instrument] is tuned a hair too tight
TN: But if you're off by a hair's breadth All harmony's lost in discord. or loose, the sound will be out of tune. If it is tuned perfectly, the
TP: A hairsbreadth's deviation, and you are out tune. tone is beautiful…In genuine Mahayana Buddhist enlightenment
TS: The slightest difference puts it out of tune. there are no attachments. Therefore a practitioner must pass
WP: Being off by the fraction of a hairsbreadth, the attunement of major through different levels, continually eliminating attachments…A
and minor keys is lost. good teacher must verify the level of attainment. He might use
ZC: A hairsbreadth's deviation will fail to accord with the proper the five levels described in this poem to measure the
attunement. practitioner’s attainment.”
CW: A hairsbreadth's deviation, and you miss attuning with it.
Case 17 from the Book of Serenity: Fayan asked Xiushan, "'A hairsbreadth's difference is as the distance between heaven and earth'
(毫厘有差天地懸隔)-- how do you understand?" Xiushan said, "A hairsbreadth's difference is as the distance between heaven and
earth." Fayan said, "How can you get it that way?" Xiushan said, "I am just thus -- what about you?" Fayan said, "A hairsbreadth's
difference is as the distance between heaven and earth." Xiushan thereupon bowed. (See the section below on Samadhi which includes
some quotes from the commentary to this case and C41 which includes the introduction to this case.)
Book of Serenity, Case 53, a line from the verse with the added saying: “The marked balance, the jeweler's mirror - Not even the finest
hair is unnoticed.”
48
今 jin1 有 you3 頓 dun4 漸 jian4 緣 yuan2 立 li4 宗 zong1 趣 qu4C28
now, today, at have, own, sudden, pause, gradually, because of, stand, let stand source, origin, meaning,
present (also in possess, exist, a time, a turn, advancing, by reason, fate establish, set, basis, essence, approach,
C2) to be, there is, to stamp the degrees, to flow, destiny, affinity, construct, to lineage, a kind, course (as in
there are (also foot, to put in to soak, to reach connection, to set up, to fix, kindred, a class, the 6 courses
in C11, 16, 38, order, to follow, cause, immediately ancestry, ancestor, or realms), to
39) prepare, to karma, clan, school (as of advance
injure, lose, conditions – art, teaching, etc, as quickly, to
discard, stop, Sp.440 (hem, in Sotoshu), sect, hasten to, bias,
bow, kowtow, margin) (also in main doctrine, tendency,
arrange, at C25) syllogism, interesting. To
once, at one proposition, breed, to urge
time, conclusion Sp.255
immediate – (also in C22, 29, 30)
Sp.419
JT: いま頓漸あり、宗趣を立するによつて Notes: In Sandokai see (lines 3-4):
JR: ima tōnzēn ari shūshu o rīssuru ni yōtte 人根有利鈍 While human faculties are sharp or dull,
CT: Now there are sudden and gradual in connection with which are 道無南北祖 the Way has no northern or southern ancestors.
set up basic approaches. Theoretical elaborations of sudden (enlightenment) and
CF: Now there are sudden and gradual, On which are set up gradual (cultivation) began in India and became a major issue in
approaches to the source. Chinese Buddhism. The Platform Sutra presents key differences
CL: Since there are instant and gradual aptitudes (Our) sect sets up between the Southern and Northern schools of Zen in terms of
(five) different phases. sudden vs gradual. Polarized views of sudden and gradual have
FW: Presently, the sudden and gradual [teachings] have created their basis in differing views of the awakened nature and the
sectarian approaches; nature of delusion. The import of “Sudden Awakening” is to
HJ: Now there are sudden and gradual [conditioned-states], [And] by emphasize an epistemological chasm between delusion and
connection [there] arise ‘teachings’ and ‘approaches’. realization – the light of delusion never reveals the darkness of
JC: Now there are [views of enlightenment such as] sudden and realization (even though they do interpenetrate). From the
gradual, Upon which different approaches are established. Platform Sutra:
NF: So there are sudden and gradual and schools and approaches are Shenxiu’s poem (gradual practice): “Our body is the Bodhi-tree, /
established. And our mind a mirror bright. / Carefully we wipe them hour by
RB: Nowadays there is the sudden, and the gradual school hour, / And let no dust alight.”
RM: Now we have, abrupt and gradual. Huineng’s poem (sudden enlightenment): “There is no Bodhi-tree,
SA: Now we have abrupt and slow And separated do the sects become / Nor stand of a mirror bright. / Since all is void, / Where can the
SY: Now there is sudden and gradual (enlightenment) In order to dust alight?”
establish the fundamental guidelines. MW: Sudden and gradual became an issue of contention
TH: Through the teachings of sudden and gradual, among the students of Huineng. The Sandokai criticizes the this
TN: Now there are sudden and gradual schools kind of splitting. It’s not one or the other – we need both.
TP: Now there are sudden and gradual, in which teachings and HJ: It is most likely that the author was using shu-shu here for
approaches arise. the sudden and gradual states of mind e.g. shu (宗) – sudden-
TS: Because the basic teachings of sudden and gradual have been set teachings for quick aptitudes and propensities; and shu (趣) –
up, approaches for gradual aptitudes and propensities.
WP: Now there is sudden and gradual because principles and SY: We cannot say what Zen is – but we must speak – to
approaches have been set up; grow, realize and pass it on.
ZC: Now there are sudden and gradual in which teachings and
approaches arise.
CW: In both sudden and gradual, basic approaches are set up.
(Taigen Dan Leighton translates this line: Now there are sudden and
gradual and teachings and approaches arise.)
49
宗 zong1 趣 qu4 分 fen1 矣 yi3 即 ji2 是 shi4 規 gui1 矩 ju3
C29
M6896 N1294 M1617 N4544 M1851 N578 M2938 N? - M495 N3886 M5794 N2120 M3618 N4285 M1548 N3171
source, meaning, separate, particle of then, therefore, indeed, yes, A pair of carpenter’s
origin, basis, approach, discriminate, completed promptly, right, to be, compasses,a square, ruler,
essence, course (as in divide, small action (suffix), immediately, demonstrative circle or disc Æ scale Æ rule,
lineage, a the 6 courses or unit of time, denoting that the quickly, now, pronoun, this, custom, usage, pattern,
kind, kindred, realms), to share, sense has been accordingly, that (also in C1, rules, regulations custom, usage,
a class, advance distinguish, fully expressed even if, to 11, 13) (gi of shingi), true
ancestry, quickly, to 1/10 of an inch approach customs, law (carpentry)
ancestor, hasten to, bias, and of things compass and square Æ custom,
clan, school tendency, generally usage, standard, rule, principle
(as of art, interesting. To (may refer to monastic
teaching, etc, breed, to urge regulations?)
as in
Sotoshu),
sect, main
doctrine,
syllogism,
proposition,
conclusion
Sp.255
JT: 宗趣わかる。すなわちこれ規矩なり、 Notes: In Sandokai, standards
JR: shūshu wakaru sunawachi kore kiku nari (規矩): 勿自立規矩 (line
CT: Once basic approaches are distinguished then there are guiding rules. 38): don’t set up standards of
CF: Once approaches to the source are distinguished, Then there are guidelines and rules. your own.
CL: The Sect's division so established Is nothing but its mode (of teaching). MW: Each has their own
FW: Once they are distinguished There are then customs and standards. way – don’t compare as right or
HJ: [The] ‘teachings’ and ‘approaches’ become distinguished, Specifically [within] this standard- wrong. If its genuine, its
template [of the five-stages]. incomparable.
JC: Once different approaches are distinguished, Then there are guidelines.
NF: Once schools and approaches are distinguished then there are standards.
RB:.The sect is set up, and divides itself, according to its teaching methods.
RM: Sects become separated by setting up doctrines and practices, and these become standards of
religious conduct.
SA: By setting up of doctrines, practices, And these become the standards that we know Of all religious
conduct.
SY: When the fundamental guidelines are clear They become the rule.
TH: Different methods have arisen.
TN: With principles, approaches so standards arise.
TP: With teachings and approaches distinguished, each has its standard.
TS: the Zen school has become divided. These ways have become standard.
WP: With the distinction of principles and approaches, standards arise.
ZC: Once basic approaches are distinguished, then there are guiding rules.
50
宗* zong1 通* tong1 趣 qu4 極 ji2 真 zhen1 常 chang2 流 liu2 注 C30
zhu4
source, origin, thoroughly meaning, The ridgepole real, actual, true, common, flow, circulate, Water flowing,
basis, essence, comprehend, approach, of a house Æ genuine - Sp.331 normal, regular, drift, current, concentrate,
lineage, a kind, reach, course (as in very, reach, the (also in C24), M: frequent, always, float, spread, focus, direct,
kindred, a class, penetrate, pass the 6 courses end of, in Buddhism, permanent, wander (used as pour, to
ancestry, through, or realms), to extreme, used as one’s constantly, in samsara, comment on, to
ancestor, clan, common, advance utmost, nature usually, transmigration), fix the mind on,
school (as of communicate, quickly, to furthest, final, habitually, a descend, to stake
art, teaching, circulate, to go hasten to, end, highest rule, a principle unstable, weak
etc, as in through, to bias, rank, exhaust continuous flow, ceaseless - Sp.
Sotoshu), sect, succeed, to tendency, 328 (WP indicates that this refers
main doctrine, understand, interesting. to a “[defiled] outflow” (asrava)
syllogism, thoroughly, all, To breed, to which is not supported by Sp.328
proposition, universal, the urge (asrava is listed on p.214)), M: no
conclusion whole, illicit fixed place of abode, a disease
Sp.255 intercourse, in with inflammatory swellings
collusion with
(also in C22)
JT: 宗通じ趣きわまるも、真常流注、 Notes: 宗*通* - CV variant has these characters reversed in
JR: shū tsūji shu kiwamaru mo shīnjō ruchū order: 通宗.
CT: But even though the basis is reached and the approach “Reality constantly flows” may relate to Dongshan’s teaching
comprehended, true eternity still flows. of Going Beyond Buddha: (WP: pg 55, section 95): The Master
CF: When the source is reached, the approach thus finished, True addressed the assembly, saying, “To know the existence of the
eternity still flows. person who transcends the Buddha, you must first be capable of a
CL: When the Sect is known and its phases reached, True eternity bit of conversation.” A monk asked, “What sort of person is he
emerges in an endless flow. who transcends the Buddha?” “Not a Buddha,” replied the Master.
FW: Although penetrating the essence is the ultimate approach; The Also from the Record of Dongshan: (WP pg 28 section 11)
essential has no fixed abode. “Since you are conducting this memorial feast for the former
HJ: Teachings [when] passed out approach culmination, [In which] master, do you agree with him or not?” asked the monk. The
Truth [perceived] endlessly flows into [you]. Master said, “I agree with half and don’t agree with half.” “Why
JC: When the basis is mastered and the approach is followed through don’t you agree completely?” asked the monk. The Master said,
to the end, True Eternity flows on. “If I agreed completely, then I would be ungrateful to my former
NF: If you get stuck in the limitations of the schools and approaches master.”
you’ll have endless outflows. Similar to Shitou’s “There are no northern or southern
RB: The sect is pervasive, and the features Complete, and truth flows ancestors,”(see the notes to C28) “Reality constantly flows” may
out endlessly. also be read in terms of not affirming a substantive difference
RM: Even if we penetrate the doctrines and practices, we get between sudden and gradual.
nowhere if delusive consciousness flows within the eternal truth. Baizhang: “If your present mirror awareness just does not dwell
SA: Even should We penetrate these doctrines, practices, And then on anything, whatever may exist or not, mundane or transcendent,
delusive consciousness flows through The 'ternal Truth, no progress and also does not make an understanding of nondwelling, and also
shall we make. does not dwell in the absence of understanding, then your own
SY: Realization of the basic principle is the ultimate standard, mind is enlightened, Buddha.” (pg 39)
Genuine, constant, yet flowing, CL: This is position (3) 'Host coming to light' and is not the
TH: Even though you master such teachings, The truth keeps on perfect enlightenment, for true eternity only emerges in an
escaping. endless flow but is still not all-embracing.
TN: Penetrating the principle [sudden], mastering the approach HJ: ‘[perceived]’ is used here because the author is talking
[gradual], The genuine constant continues outflowing. about perceived truth-realization. Truth endlessly flows anyway
TP: Whether teachings and approaches are mastered or not, reality (Tathagate).
constantly flows. Kishizawa Ian-roshi asked Nishiari Bokusan-roshi something
TS: Even though you master such teachings the truth keeps on like: “The sounds of the bell, the raindrops on the roof, the water
escaping. splashing along the gutter – where do they meet?” Nishiari
WP: Even if one penetrates the principle and masters the approach, Bokusan-roshi replied, “Bring me the mirror and I’ll break it for
the true constant continues as a [defiled] outflow. you.” Kishizawa Ian-roshi asked, “What does that mean?”
ZC: But even though the basis is reached and the approach Nishiari Bokusan-roshi replied, “True eternity still flows.”
comprehended, true eternity still flows.
JW: “True eternity emerges in an endless flow.”
51
外 wai4 寂 ji4 中 zhong1 搖 yao2 係* xi4 駒 ju1 伏 fu2 鼠 C31
shu3
out, outside, still, silent, in, between, wag, swing, bind tie up, colt, fleet, swift, crouch, rat, mouse, squirrels,
external, quiet, within, among, wave, shake, involve, sun, a foal, strong crawl, lie moles, hidden, secret
foreign, desolate, central, center, scull, sway, relation, to hidden,
beyond, tranquil, middle, in the move, toss, belong to, suppress,
barbarous, solitary (also midst of, hit agitate consequences, secret,
extraordinary in C25) (target), to hit to be, is, are conceal,
the center, to be bend
affected by, to down,
fall into a trap, prostrate,
attain (also in yield, to
C21, 40, 47 and suffer,
in the titles of humble
the 5 positions
– see below)
JT: 外寂に中搖くは、つなげる駒伏せる鼠、 Notes: 係* - CV variant character: 繫 (M2458) – to
JR: hoka jaku ni uchiugoku wa tsunageru koma fukuseru nezumi bind, to gird, to be attached to.
CT: Outwardly still while inwardly moving. Like a tethered colt, a trapped rat, SY: “These eight lines (C31-34) describe people
CF: To be outwardly still while inwardly stirring Is to be like a tethered colt, a who have experienced false enlightenment. Although
trapped rat. they seem to be enlightened and free of vexation, their
CL: Still without, it moves within, Like a tethered colt and hidden rat; vexations are only tamed and suppressed. The
FW: Outwardly quiet, inwardly anxious, Like a hobbled colt or a cowering rat. fundamental problems have not been resolved…These
HJ: Outside still, inside trembling. Tethered pony, crouching mouse. eight lines especially address people who practice
JC: Outwardly still, inwardly moving—[Sentient beings are] like tethered colts samadhi. Ch’an is not opposed to samadhi, but it is
or trapped rats. opposed to attachment to the samadhi experience.
NF: You’ll be still on the outside but shaky on the inside like a horse tied fast or Samadhi is better than any other worldly experience.
a mouse frozen with terror. There is tremendous risk of becoming attached to
RB: However, there is stillness without, But agitation within, like a tethered it…Samadhi produces a calm mind, a stable mind.
horse, or a rat under A tub. Some wisdom may manifest. It enhances strong faith in
RM: If we are outwardly calm but inwardly disturbed, we are like a tethered the practice. But it is not Ch’an. The tethered horse and
horse or a mouse in a cage. frozen mouse refer to such a mind…a person in
SA: If outwardly all calm we do appear And yet within disturbed should be we samadhi suppresses but does not eradicate
are As if a tethered horse, or as a mouse Within a cage. vexations…Samadhi is a temporary, worldly
SY: With still body but racing mind, Like a tethered horse or a mouse frozen experience.”
by fright. From the Record of Dongshan: (WP pg 57, section
TH: Sitting still, yet inwardly moving, Like a tethered colt, a trapped rat. 104) The Master asked a monk, “What is the most
TN: A tethered horse, a mouse frozen in fear, Outwardly still but inwardly tormenting thing in this world?” “Hell is the most
whirling: tormenting thing,” answered the monk. “Not so. When
TP: Outside still and inside trembling, like tethered colts or cowering rats. that which is draped in these robe threads is unaware of
TS: You may sit still but waver inside– a tied-up horse, or a cowering rat. the Great Matter, that I call the most tormenting thing,”
WP: Externally calm, internally shaking, like a tethered charger or a hiding rat; said the Master.
ZC: Outwardly still while inwardly moving, like a tethered colt, a trapped rat
CL: When true eternity flows, outwardly the student looks still but inwardly he is moving. It is like a colt tied to a stake or a rat
in hiding, both being ready to run at the first opportunity available, just like the mind which is still moving and is prone to cling to
the illusion of enlightenment.
VH: (Glossary entry for Donkey hitching post): A donkey hitching post is a post hammered into the ground, to which a donkey
is tied. It is used in Zen verses as a symbol of unfreedom, that which prevents one from free movement, a hobble.
HJ: [The second half of this line] is a paired simile for the [first half of the line], using the idea of a tethered horse and a trembling
mouse to represent stillness outside and trembling inside, respectively.
Deshimaru: The basest material became the purest garment, because everybody respects the monk’s robe and kesa. The basest
material becomes the most pure: that is the whole foundation of Mahayana. It’s the same thing with our mind, our bonno. You don’t
need to look on the outside, only inside. If you look at yourself you will see that you’re not so wonderful. Everybody is full of
contradictions. In the Hokyo Zanmai it says, “A rat in a hole and a tethered horse may be standing quietly, but inside they are longing to
escape.” It’s the same with our minds during zazen. They’re always looking for something. It’s the same for me, and even for great
masters. Buddha, too, suffered from this problem. It is the weakness of mankind. Through zazen you can direct and regulate your mind.
If the rat is weak it quickly dies. It’s like the story of the taming of the shrew. If the mind is well-guided it can be changed. A weak
person cannot become great. It is better to be strong and have strong illusions. If we have great illusions we will have a great Satori. The
basest clothes become the symbol of the highest spirituality. That is the principle of Mahayana. There are enormous contradictions in
the human race. The forebrain and thalamus have conflicting functions. If we have a purely intellectual approach to life we are assailed
by contradictions and are always suffering.
52
先 xian1 聖sheng4 悲 bei1 之 zhi1 為 wei4 法 fa3 檀 tan2 度 du4
C32
first, former, holy, sacred, sorrow, grief, it, ‘s (marks for, to, for the
dharma, law, giving, dana degree, system,
previous, sage, sorry, sad, preceding as sake of, rules, truth, (phonetic), manner,
senior, past, reverend, mourn, regret, modifier), her, because, on religion, thing, giver, donation, consider,
ancient, divine, used lament, him, them, goto account of, regulations, charity, paramita: to
foremost, for “saint,” sympathize wherefore, by,method, model, bestowing, ferry over, to
before, in imperial (has a positive do, handle, principle, way, almsgiving save – Sp.301,
front, sense in make, govern, manner, system, (sandalwood, perfection,
deceased Buddhism: act, be, to reason, process, hardwood) calculate,
karuna – practice, to act
doctrine, religion, estimate, guess,
compassion out, to cause technique, art, rule, law, a
(Dahishin – the (also in C10, rites, anything limit, a
mind of great 11, 19, 33) Buddhist, duty, measure, an
compassion is all things, code, interval in
大悲心)) “that which has music, to pass,
entity and bears cross over
its own dana paramita, the perfection of
attributes,” 2nd giving – Sp.458
jewel, something
like “spiritual” –
Sp.267 (also in
C32)
JT: 先聖これを悲しんで、法の檀度となる。 Notes: This may be read in terms of
JR: sēnshō kore o kanashīnde hō no dāndo to naru the principle of response that also figures
CT: the ancient saints pitied them and bestowed upon them the teaching. in C5 and C21.
CF: Sages of yore took pity on this And gave out teachings for it. Dana Paramita is the 1st of the 6
CL: This is what saddened saints of old. You should act as a bestower of the Dharma paramitas. The other five paramitas are
FW: Compassionately moved, The sages of old completely bestowed the Dharma. sila (moral conduct), kshanti (patience),
HJ: Ancient sages were grieved by this, Making [the] staff [of the] law. virya (perseverance), dhyana (meditation)
JC: The former sages pitied them, And created the teaching to bestow on them. and prajna (wisdom).
NF: Seeing this the ancient sages were sad and manifested the dharma as a perfect gift to us. HJ: ‘Danda’ – originally a stick or
RB: The saints of old grieved at this, and became parishioners of the law. staff [sometimes] acquires the meaning of
RM: Pitying this plight, the former sages became dispensers of the teaching. a rod as an instrument of punishment
SA: So, pitying this plight, The former sages teaching all dispensed. [Middle Length Discourses of the Buddha,
SY: Past sages pitied them And liberated them with Buddha Dharma. Trans. Bhikhu Nanamoli and Bhiku Bodhi,
TH: The Ancestors pitied them, And offered them the teachings. MN 56, note 579, Pali Text Society,
TN: Compassionate sages freed them with teaching. 2002]. The word is the same in Sanskrit.
th th
TP: The ancient sages grieved for them, and offered them the dharma. The 7 (dan) and 8 (do) Kanji in [C32]
TS: The Ancient Teacher pitied us and transmitted the dharma. are therefore, taken to be Chinese/Japanese
WP: The former sages, having compassion for such people, made a gift of the Dharma. approximations for the syllabic sounds for
ZC: -The ancient sages pitied them and bestowed upon them the teaching. Danda.
53
隨 sui2 其 qi2 顛 dian1 倒 dao3 以 yi3 緇 zi1 為 wei4 素 su4
C33
M6
33
M5523 N5021 M525 N590 7 N5140 M6134 N487 M2932 N348 M6931 N? –shi M7059 N138 M5490 N3511
follow, listen to, his, her, its, upset, fall over, lie by means of, black silk, for, to, for the white (silk), plain,
submit, to their, that, upsidedow down, take thereby, so as black garments sake of, formally,
accompany, this n, turns, turn to, therefore, (used for because, on vegetarian, simple,
subsequently, (emphatic, overturn, around consider as, in monastic robes account of, original, matter,
then, according inperative, confuse, order to, and may wherefore, by, usual, normality, as
to, accord with, interrogative fall, peak, taking, by, connote monks do, handle, a rule, commonly,
together, particle) crown, top, through, with, and by make, govern, original color or
instantly summit, because, on extension holy, act, be, to state, – Sp.336,
crazy, account of and true) – practice, to act unornamented,
joggle, jolt, (also in C38, Sp.427, M: out, to cause ordinary (con-notes
turn over 39, 40) dark drab (also in C10, 11, lay, secular,
viparyaya – upsidedown, color, used for 19, 32) worldly) (white –
inverted (views), contrary Buddhists from but a different
to reality, to believe things the dark color character – also in
as they seem to be - Sp.475 of their robes C39, also see C3
and C37)
JT: その顛倒にしたがつて、緇をもつて素となす。 Notes: “Black as white” – this may
JR: sono tēndō ni shitagātte shi o mōtte so to nasu be meant in general, or specifically in
CT: According to their delusions they called black as white. terms of yin/yang/I Ching dynamics
CF: The way confusion goes, Even black's considered white; connecting to the five positions (where
CL: And follow his perverted thoughts Turning them upside down (disorderly). black is the real 正 and white is the
FW: In their delusion, People take black as white. seeming 偏), or in terms of
HJ: In accordance with the inversion of it, [They] took black [and] made it white. associations – holy (black) and
JC: Following their delusions, [The sages] called black white. ordinary (white).
NF: Still, people follow their upside down minds and take black for white. Inverted views also appears in the
RB: By this inversion of things, black becomes white.
RM: Matching their teachings to the topsy-turvy delusions of the trainee, the sages used Heart Sutra: 遠離顛倒夢想 – “far
various means, even to the extent of saying that black was white. beyond all inverted views one realizes
SA: Because delusions in the trainees' minds Were topsy-turvy, all the sages true Did match nirvana”
thereto their teachings; thus they used All means, so varied, even so to say That black was AV: white robe [is] a metaphor
white. used to designate the servants in noble
SY: Following their upside-down ways They took black for white. houses. The servants used to wear
TH: According to their delusions, they called black as white. white garments.
TN: In upside down ways folks take black for white. HJ: The inversion of the wrong
TP: Led by their inverted views, they take black for white. view, in this case, that stillness has to
TS: Because of our delusions we say black is white. be presented falsely by a non-still state
WP: In their topsy-turvy state, people take black for white. of mind, rather than being found
ZC: According to their delusions, they called black as white; naturally at the centre of being.
RB: Good (the colour of monk’s
clothes (black)) becomes bad (the
colour of ordinary people’s clothes
(white)).
54
顛 dian1 倒 dao3 想 xiang3 滅 mie4 肯 ken3 心 xin1 自 zi4 許 xu3
C34
upset, fall over, lie think, plan, extinguish, willing, heart, mind, self, private, promise Æ allow,
upsidedown, down, take conception, wipe out, consent to, intelligence, personal, from, permit, betroth,
overturn, turns, turn speculate, call to exterminate, permit, soul, spirit, of itself, acknowledge,
confuse, fall, around mind, consider, destroy, die affirm, accept, moral nature, spontaneously, forgive, vow,
top, peak, idea, reflect, undertake, affection, naturally, (the authorize (perhaps,
summit, crazy, expect, wish, choose intention nose) excess, very, about,
jolt, joggle meditate, a a place, a sound)
viparyaya (or viparyasa) – see function of
C33 mind, samja:
perception (the
3rd skandha) –
Sp.399
JT: 顛倒想滅すれば、肯心みずから許す。 Notes: In early Buddhism there are 4 inverted views:
JR: tēndō somessureba kōshīn mizukara yurusu 1) looking for the permanent in the impermanent, 2)
CT: When erroneous imaginations cease the acquiescent mind realizes itself. looking for ease in suffering, 3) looking for the self in
CF: When confused imagination ends, Mind in its simplicity realizes itself. what is not the self, 4) looking for the lovely in the
CL: When his inverted views have been wiped out, For his quest will make up repulsive. (They are sometimes also translated as
his mind. “mistaking what is impermanent as permanent…”)
FW: The cessation of delusive thinking Allows the heart to self-reveal. They are four “mis-searches” or “reversals of the
HJ: [When] the overturning, collapsing, idea [was] destroyed, [with] truth” and are viewed as the root of all unwholesome
consenting-mind [they] personally approved. dharmas. Mahayana Buddhism adds a fifth inverted
JC: When their deluded thoughts are extinguished, The willing mind view: viewing unreal dharmas as real. In a sense, this
acknowledges itself. undercuts the first 4 inverted views, as dharmas are
NF: But when the conceptions of the upside down mind fall away the accepting not really impermanent, but unborn. Then, “suchness
heart naturally forgives itself. alone lies outside the range of perverted knowledge.”
RB: When it is destroyed, acceptance is assured. (From Edward Conze, Buddhist Thought in India, pp.
RM: Abandoning delusive thought brings satisfaction. 39-46 & 204-211)
SA: Delusive thought if lost, Abandoned, will all satisfaction bring; Reference to these 4 views also appears in the 6th
SY: When inverted thinking disappears, They realize Mind of their own accord. line of the Enmei Jukku Kannon Gyo: 常樂我淨: jo
TH: When delusions disappear, The natural mind reveals itself. raku ga jo: permamnence, ease, self and purity. This
TN: When inverted thinking falls away They realize mind without even trying. seems to be following the Mahayana Nirvana Sutra
TP: When inverted thinking stops, the affirming mind naturally accords. which turns the teaching of the 4 inverted views
TS: When delusions disappear understanding reveals itself. upside down in reference to the Tathagata who/which
WP: But when their topsy-turvy thinking is destroyed, the acquiescent mind is should be viewed in terms of permanence, ease, self
self-acknowledged. and purity.
ZC: When erroneous imaginations cease, the acquiescent mind realizes itself
CL: Thus he is still wrong for his clinging to the illusion of enlightenment which he should wipe out in order to be perfectly
enlightened. This clinging to enlightenment is compared to 'blocking gold' on the abstruse path. (Luk also connects this to a gatha
on the 2nd position.)
RA: When the attribution of substance which is erroneous imagination ceases and our body and mind, self and relationships arise
without that erroneous imagination, this is the realization of the acquiescent peaceful mind. This is always happening. The dependently
co-arisen mind, the dependently co-arisen relationship is acquiescent. It’s docile. Docile comes from the Latin docere which means
teach. A docile mind is a mind which can be taught. It is a mind that willingly accepts training. Some people are docile but they aren’t
firm. Things that dependently co-arise are firm. Nothing “sort of” happens. Flowers are strictly flowers and when they first blossom
they are firm in their blooming. They are firm just as they are, and when they die they’re firmly dead. Nothing is not firm in its
dependently co-arisen being. Everything that arises that way is also docile. It can learn from all circumstances. Its firmness is in the
fact that it learns from all things. This is the way our relationships originally are, as they first appear by the auspices of the entire
universe. This is the dependently co-arisen mind in the absence of erroneous imagination, in the absence of attribution of self.
MW: It is not clear who this is referring to – it could be about attachment to either samadhi or prajna. Actually, they arise together,
and we should not lean towards either one.
55
要 yao4 合 he2 古 gu3 轍 che4 請 qing3 觀 guan1 前 qian2 古 gu3
C35
necessary, fit, match, old, classic, wagon ruts, ask, request,observe, in front, past forward, old, classic,
essential, want, combine, unite, ancient, wheel tracks, invite, please,
view, behold, formal, preceding, ancient,
wish, need, join, gather, antique, a precedent to desire, togaze on before preceding,
require, must, agreement preceding engage, appearance, antique
aim, necessity, with, side-by- a precedent see, antiquity, past ages, olden times (in
important, to side, pair, contemplate, China, the past is in front (because we
summarize (be agree, total, the vipassana: can see it) and the future behind
about to, if, to whole, shut, look into, (because we cannot see it))
force, demand) enclose, close study,
examine,
insight,
discern –
Sp.489 (also
in C36)
JT:古轍にかなわんと要せば、請う前古を觀ぜよ、 Notes: SY: “The ancient track is the path
JR: kotetsu ni kanawān to yōseba kō zēnko o kānzeyo traveled by the ancient Buddhas. If we
CT: If you want to conform to the ancient way, please observe the ancients of former times. want to attain Buddhahood, then we must
CF: If you want to conform to the perennial way, Please observe ancient precedent: traverse this path. Some may feel that
CL: To be in accord with the ancient Path, Just look back to the olden times their personal path is just as good as the
FW: If you wish to accord with the ancient tracks, Just observe the ancient’s of the past. Buddha path, but this is not true…A
HJ: [If you] aim to follow [the] ancient track, Please look [to] ancient times. Ch’an practitioner can use the ancient
JC: If you want to follow the ancient track, Please observe the ancients: track to clarify his experience, but it is
NF: If you aim to walk the tracks of the ancients I invite you to contemplate what the ancients possible he may use his own knowledge
did. and misinterpret the sutras, especially if
RB: If you want to walk the olden way, I urge you to meditate on the wisdom of the past. his experience is not genuine. This is
RM: If you want to follow in the old footsteps, observe the ancient examples. dangerous.”
SA: If you in ancient footsteps wish to walk, Observe examples old. MW: From here until the end we get
SY: If you want to merge with the ancient track Then contemplate the ancients. examples.
TH: If you want to follow the ancient path, Please observe the Ancients of former times.
TN: If you want to follow the ancient path Then consider the ancients:
TP: If you want to follow in the ancient tracks, please observe the sages of the past.
TS: If you wish to conform to the old ways, take a lesson from the past.
WP: If you wish to conform with ancient tracks, please consider the ancients:
ZC: If you want to conform to the ancient way, please observe the sages of former times.
56
佛 fo2 道 dao4 垂 chui2 成 cheng2 十 shi2 劫 jie2 觀 guan1 樹 C36
shu4
buddha, Path (the Way, be about to, completed, ten, tenth, kalpa: aeon, see, observe, tree, plant, set up,
awakened, from the truth, road, on the verge finished, fixed, complete, era, age, an view, behold, establish, to plant,
budh: to be street, method, of (let down, attain, whole, perfect inculcaluable gaze on, erect, sow grain
aware of, doctrine, suspend, accomplish, period of appearance,
observe, Sp.225 principle, hand, down, perform, time – contemplate
(also in C1) reason (also: hang down, to become, Sp.232, (take vipassana: look
Taoism, to let fall, to perfect, by force, into, insight,
speak, to tell, condescend, succeed (also coerce, study, examine,
words, to lead, to be in C6, 19) disaster, discern – Sp.489
guide) favorable to) plunder, to (also in C35)
the Buddha Way rob openly)
JT: 佛道を成ずるになんなんとして、十劫樹を觀ず。 Notes: WP: This is not the tradtitional Buddha,
JR: butsudō o jōzuru ni nānnān to shite jīkkōju o kānzu Shakyamuni, but the Buddha
CT: When about to fulfill the way of Buddhahood, one gazed at a tree for ten aeons. Mahabhijnanabhibhu (the Buddha of Supreme
CF: When about to fulfill buddhahood, One meditated under a tree for ten eons, Penetration and Surpassing Wisdom).
CL: When the Buddha before he won enlightenment, Contemplated the tree (of According to the Hua Ch’eng yu section of the
wisdom] for ten aeons, Avatamsaka Sutra, he is said to have spent ten
FW: When about to fulfill the Buddha Way, One gazed at a tree for ten aeons; kalpas in meditation before attaining
HJ: [When the] Buddha about to accomplish [the] way [to Enlightenment], Buddhahood. His prolonged meditation became
Contemplated [beneath the Bodhi]-tree for ten aeons [kalpas]. a popular topic in Ch’an literature. See The
JC: When about to accomplish the Buddha Path, [The ancient buddha Gateless Gate (Wu men kuan), case 9, and The
Mahabhijnanabhibhu in The Lotus Sutra] gazed at a tree for ten eons. Record of Lin-chi (Sasaki, p. 32).
NF: Just on the verge of becoming a buddha one held back and contemplated a tree for “Tree contemplation” (觀樹): In the Lotus
10 kalpas, Sutra Ch 2, Kumarajiva’s translation,
RB: To become a buddha By millions of years of tree-gazing, Shakyamuni Buddha states in verse form: When
RM: In an effort to take the final step to enlightenment, a former Buddha trained I first sat in the place of practice
himself for 10 kalpas, gazing at the Bodhi tree. (我始坐道場) / and gazed at the tree and
SA: That he could take The final step to true enlightenment, A former Buddha trained
himself for ten Long kalpas gazing at the Bodhi tree. walked around it, (觀樹亦經行) / for the
SY: At the completion of the Buddha Path Ten kalpas of contemplation will be space of three times seven days (於三七日中)
established. / I pondered the matter in this way.
TH: Some try to attain the Buddha Way By gazing at a tree for ten eons (思惟如是事).
TN: The buddha, completing the path, still sat for ten eons.
TP: One on the verge of realizing the Buddha Way contemplated a tree for ten
kalpas.
TS: People trying to attain the buddha way by gazing for ten eons at a tree
WP: The Buddha, on the verge of accomplishing the Way, spent ten kalpas beneath
the tree of contemplation;
ZC: When about to fulfill the way of buddhahood, one gazed at a tree for ten eons,
VH: A kalpa is an ancient Indian unit for measuring time. Immeasurably long, its leangth is explained metaphorically as the length
of time it takes for the kalpa stone to wear away…Imagine a huge stone cube forty yojana (estimated ~7-160 kilometers) in width,
length and height…Suppose a yojana is 100 kilometers; then the kalpa stone is a huge cube 4,000 kilometers on each side. Once a
century, an apsara (angel) from heaven flies across its surface, dragging its gossamer sleeves across the stone’s face. A kalpa will have
passed when the friction from its sleeves has worn away the stone.
MW: The story being referred to is about practicing with no gaining idea. It is like the 5th position – going beyond enlightenment.
When you sit zazen, ten kalpas and 2 minutes are the same – just a number.
Gateless Gate 9: A monk asked Seijo: Ì understand that a Buddha who lived before recorded history (大通智勝佛) sat in
meditation for ten cycles of existence (十劫坐道場) and could not realize the highest truth,(佛法不現前)and so could not become
fully emancipated. Why was this so?'(不得成佛道時如何) / Seijo replied: `Your question is self-explanatory.' / The monk asked:
`Since the Buddha was meditating, why could he not fulfill Buddahood?' / Seijo said: `He was not a Buddha.' (為伊不成佛)
(alternate translation: “He was a non-attained Buddha.”)
Morton Schlutter (from The Koan, edited by Heine and Wright, pp. 182): “One text that is sometimes cited as ecivdence for a Silent
Illumination approach in the earliest Ts’ao-tung tradition is the famous Pao-ching san-mei. This beautiful poem does seem like a
celebration of the inherently enlightened nature of all sentient beings and, in holding up the Buddha’s contemplation under the tree as a
model, it can be understood to advocate indirectly a meditation in which this enlightened nature becomes apparent.” (more of this excerpt
can be read in the notes section to the title)
CT: Mahabhijnanabhibhu, an ancient buddha mentioned in the Saddharmapundarika or Lotus scripture, sat for ten aeons on the
site of enlightenment, but did not realize perfect enlightenment or attain buddhahood, even though he sat with his body and mind
57
perfectly still. Then gods from the heavens of the thirty three celestial kingdoms built a seat for him. When he sat on the seat, other
gods and goddesses rained flowers around him for ten aeons, then still others played music for ten more aeons. After ten aeons the
buddha became enlightened and realized the truth. The scripture calls stillness and quiescence the ultimate nature of
all things, but also an illusory citadel for those on the path to rest awhile, not an individual salvation because there is no self. The
flowers and music represent the world of particulars, part of the sphere of knowledge of an omniscient buddha. Dongshan seems to
use this old story with a slightly different emphasis; he recommends sitting for ‘ten aeons’ to make sure that there is no leaking of
views, emotions, etc., when the celestial flowers begin to fall. This is consistent with the Cao-Dong saying emphasized by Dōgen,
‘eighty or ninety percent complete,’ alluding to eternal bodhisattvahood, remaining in the causal state in this world to help deliver
infinite beings to the other shore of the ocean of suffering, without craving personal liberation to the extent of willfully becoming
totally extinct.
CL: A reference to the Lotus Sutra. The literal meaning is: the Buddha spent ten aeons to wipe out the illusion of illumination
before his complete enlightenment, but the living meaning is: the Chinese number 'ten' means 'perfection' and is the equivalent of
the Western 'one hundred per cent' or completeness; the Buddha wiped out this illusion of enlightenment, i.e. perfection or
completeness, thus leaping over the 'ten aeons' or 'one hundred per cent enlightenment' to attain the 'host in host' state.
Excerpt from Ch 7 of the Wonderful Dharma Lotus Flower Sutra (妙法蓮華經) (Saddharma-pundarika sutra):
The Buddha announced to the monks: "The Buddha Great Universal Wisdom Excellence (大通智勝佛)had a life span of five
hundred and forty ten thousand million nayutas of kalpas. This Buddha at first sat in the place of practice and, having smashed the
armies of the devil, (其佛本坐道場破魔軍已) was on the point of attaining anuttara-samyak-sambodhi,
(垂得阿耨多羅三藐三菩提) but the doctrines of the Buddhas did not appear before him.(而諸佛法不現在前) This state
continued for one small kalpa, and so on for ten small kalpas, (如是一小劫乃至十小劫) the Buddha sitting with legs crossed,
body and mind unmoving, (結加趺坐身心不動)but the doctrines of the Buddhas still did not appear before him.
"At that time the heavenly beings of the Trayastrimsha heaven had earlier spread a lion seat measuring one yojana in height underneath
a bodhi tree for the Buddha, intending that the Buddha should sit on this when he attained anuttara-samyak-sambodhi. As soon as the
Buddha took his seat there, the Brahma kings caused a multitude of heavenly flowers to rain down, covering the ground for a hundred
yojanas around. From time to time a fragrant wind would come up and blow the withered flowers away, whereupon new ones would
rain down. This continued without interruption for the space of ten small kalpas as an offering to the Buddha. Up until the time he
entered extinction, such flowers constantly rained down. The four Heavenly Kings as their offering to the Buddha constantly beat on
heavenly drums, while the other heavenly beings played heavenly musical instruments, all for ten small kalpas. Until the Buddha
entered extinction, such was the state of affairs.” (Burton Watson translation)
Record of Linji, section 21: Someone asked, "[The Sutra says[ The Buddha of Supreme Penetration and Surpassing Wisdom Sat
for ten kalpas in a place of practice, But the buddhadharma did not manifest [itself to him], And he did not attain the buddha-way. I
don't understand the meaning of this. Would the master kindly explain?" The master said, "'Supreme Penetration' means that one
personally penetrates everywhere into the naturelessness and formlessness of the ten thousand dharmas. 'Surpassing Wisdom' means to
have no doubts anywhere and to not obtain a single dharma. 'Buddha' means pureness of the mind whoe radiance pervades the enitre
dharma realm. 'Sat for ten kalpas in a place of practice' refers to [the practice of] the ten paramitas. 'The buddhadharma did not
manifest' means that buddha is in essence birthless and dharma (dharmas) is essence unextinguished. Why should it manifest itself! 'He
did not attain the buddha-way': a buddha can't become a buddha again. A man of old said, 'Buddha is always present in the world, but
is not stained by worldly dharmas.' Followers of the Way, if you want to become a buddha, don't go along with the ten thousand things.
When mind arises, all kinds of dharma arise; When mind is extinguished, all kinds of dharmas are extinguished. When mind does not
arise, the ten thousand dharmas have no fault. Neither in this world nor beyond this world is there any buddha or dharma; they niether
reveal themselves nor are they ever lost. Even if such things existed, they would only be words and writings for placating little
children, expedient remedies for illnesses, displays of names and phrases. Moreover, names and phrases are not of themselves names
and phrases; it is you, who right now radiantly and vividly perceive, know and clearly illumine [everything] - you it is who affix all
names and phrases." (Ruth Fuller Sasaki translation and commentary: "Though the interpretations of both Baizhang and Rang (quoted
in the Mumonkan) differ from that offered in the…text by Linji, in each case the passage is used to illustrate the Chan doctrine that,
since all beings are already buddhas, there is no need for further striving.
58
如 ru2 虎 hu3 之 zhi1 缺 que1 如 ru2 馬 ma3 之 zhi1 馵 C37
Zhu4
M3137 N1189 M2161 N4105 M935 N280 M1708 N3630 M3137 N1189 M4310 N5191 M935 N280 M1371 N? -yome
if, supposing, as tiger, brave, ‘s (marks be short of,
if, supposing, Horse, ‘s (marks horse with white
good as, equal fierce, surname, preceding as lack, gap, as good as, surname preceding as back legs, a horse
to, as if, like, as, an emblem of modifier), it, deficit, broken
equal to, as if, modifier), it, with the near hind
tatha: so, thus, bravery and her, him, defective, like, as, tatha: her, him, them, leg white (whiteness
in such manner, cruelty, used in goto deficiency,so, thus, in goto – also see C3, C33
used in the geomancy to vacancy such manner, and C39)
sense of indicate the yin used in the
ultimate reality, or negative sense of
the nature of all principle of ultimate
things, such, nature, it is reality, the
bhutatathata, associated with nature of all
sunya(空): wind things, such,
empty,– Sp.210 bhutatathata,
(also in C1, 7, sunya(空):
12, 14, 20, 46) empty,–
Sp.210 (also
in C1, 7, 12,
14, 20, 46)
JT: 虎の缺たるがごとく、馬の馵のごとし。 Notes: WP: In popular lore the tiger is noted for
JR: tora no kaketaru ga gotoku uma no yome no gotoshi eating all of its prey but the ears. The significance of
CT: Like a tiger leaving part of its prey, a horse with a white left hind leg. this as well as the whitened left hind leg of a charger
CF: Like a tiger wounded, like a horse tied. is not entirely clear, but Yanagida suggests that they
CL: Like a tiger that leaves behind (a portion of) its prey, (And) a horse are indicative of vulnerability and power, the tiger as
(indifferent to) a left hind leg that's white. master of the mountain beasts and the spirited horse
FW: Like a tiger with a blemish, A horse with a white hind leg. as one whose hind leg has whitened with age. (Mel
HJ: Like a tiger with something lacking, Like a horse with a left hind leg that is said it should say “venerability and power” not
white. “vulnerability”)
JC: Like a tiger leaving part of its prey, Like a horse with a white hind leg. SY: “These two lines refer to a practitioner who
NF: Like a lame tiger, like an old horse. neglects the sutras in his quest for Buddhahood. A
RB: It is like a disfigured tiger, or a hobbled horse. lame tiger cannot hunt and is at the mercy of other
RM: This restricting of original freedom is like a tiger with tattered ears or a animals. A shoeless horse cannot run far and is of no
hobbled horse. use in battle. Similarly, without the guidance of the
SA: If thus restrained, freedom original Is like a tiger that has tattered ears Or sutras to teach, test and affirm attainment, a
like a hobbled horse. practitioner is in peril.
SY: Like a tiger’s lame foot, Like a shoeless horse,
TH: They are like a tiger with tattered ears Or a hobbled horse.
TN: Like a tiger leaving a trace of the prey, Like a horse missing the left hind
shoe,
TP: Like a battle-scarred tiger, like a horse with shanks gone grey.
TS: are like a tiger with tattered ears or a hobbled horse.
WP: Like the tiger which leaves some remains of its prey, and like the charger
whose left hind leg has whitened.
ZC: Like a battle-scarred tiger, like a horse with shanks gone gray.
MW: When you see someone who has been through war or spiritual battles or other trials, who have been engaged in some
difficulty, they come out with scars but with a noble quality. They’ve been through a lot.
HJ: Previous interpretations for this line differ…like a tiger leaves behind (a portion of) its prey…is probably right, because the
image of a tiger returning for a portion of its prey implies a high degree of concentration…It is most likely, as with other parts of the
sutra, that the images are similes for the ideas given in previous lines. In this respect, [C36] has two ideas, contemplation
(concentration, because this is a sutra from a Dhyana school), and time (aeons), which would be fulfilled by the tiger returning for a
portion of its prey and the horse being old and indifferent to time, respectively.
CL: A tiger never eats the ears of its prey and a horse is indifferent to its white left hind leg; they are cited to show that a man
in quest of enlightenment should never grasp this illusion of enlightenment which he should cast aside with the same indifference
as the tiger and the horse.
VH: Daichu literally means “big bug,” but it is a colloquial expression for a tiger that has lost its fierce appearance. Its tail has
been singed, as shown by the expression “the big bug with the burnt tail,” and it is also said to be toothless…verses often pair and
contrast the feeble “big bug” and the “fierce tiger,” as in “This big bug with the burnt tail was orginally a tiger” (ZS 7.219). The
contrast is important, since daichu is one of several phrases, like “withered old drill,” which describe the kareta aspect of a mature
Zen practitioner…
Kareta, meaning “old, withered,” is an extremely important concept in Zen practice. A mature monk of accomplishment
59
strives to embody Zen totally, to radiate awakening, wisdom and compassion in every word and deed. But because this awakening
itself becomes an object of conceptualization and attachment, the truly serious practitioner must undergo a second awakening to
rid himself of the first awakening, the “stink of Zen.” Thus beyond the mature stage of Zen practice in which a person’s
awakening radiates through words and deeds, there is a further stage in which the practitioner exudes no trace of awakening. Once
the practitioner rids himself of any whiff of Zen awakening, he is called kareta, “withered.” Many images express the complete
ordinariness of the kareta master, such as the “big bug,” the tiger who has lost its tail and teeth. Another image is that of an “old
drillhead,” which suggests a wizened master who has lost the sharpness of youth.
(Hakuin's description of the 5th Rank resonates with the idea of Kareta - see the Hakuin commentary in the Supplementary
section on the Five Positions. He quotes a poem: "How many times has Tokuun, the idle old gimlet, Not come down from the
Marvelous Peak! He hires foolish wise men to bring snow, And he and they together fill up the well.")
ZS 8.254: The blue dragon takes to the water, the old tiger lives in the mountains. (a similar passage appears in Dōgen-zenji’s
Fukanzazengi.)
RB: It was said that a tiger which injured a man had a blemish on its ears.
(A tiger leaving part of its prey may express a vigrous and powerful tiger in the prime of life which is not concerned with
guarding its kill, confident that another successful kill is just around the corner…)
(Stucturally, it could be that C31-34 represent a grouping focuesed on the ordinary sentient being and C35-37 focused on the
outstanding practitioner or exemplar. In both cases, two instances of animal imagery is employed - the tethered colt & trapped rat
contrasted with the powerful and vigorous tiger and horse. To some extent, this general contrast is replayed in C38-39 - the
common are contrasted with those capable of wonder.)
From Eric Greene: regarding the white-legged horse, its something of a long shot...I came across a different character actually, one
that also means, in its earliest usage, a horse with a white leg. Now, while the "horse-with-a-white-leg" character that appears in the
Hokkyozammai is quite rare, this other character appears in many other contexts, and seems to mean, in general, a very fast good
horse (the Chinese have lots of words for fast horses...). It can also mean to surge forward, or raise up (in the manner of a fast horse
one might assume). The character is also frequently found in conjunction with the word "dragon", and together, (that is litterally
'dragons+white-legged-horses), the compound means a racing dragon. It also refers to the name of a famous general from the Jin
dynasty noted for his valor. It also turns out, though here I'm reaching a bit, that this other character for white-legged-horse was
pronounced (back in the day) similarly (though not identically) to the character for "elephant." This made me think of the well known
Buddhist expression "dragons and elephants." I got started thinking about this because I came across a reference in a biography (6th
century) to someone refered to as "a dragon-white-legged-horse of the Chan world." Now here, it seems quite likely that 'dragon-
white-legged-horse' is a reference to that famous general I mentioned...but the point is that there are a range of associations with this
other character whose base meaning is "white-legged-horse."
Thus what I'm wondering is, perhaps the author of the hokkyo zammai was really thinking about this other character, and merely
subsituted the more obscure character in order to make the poem rhyme, for it does indeed appear on a rhyme-line. Such substitution
is quite common in Chinese poetry of all kinds. Again, the base meanings of the two characters (as given in the early dictionary the
'Er-ya') are identical. If so, then "the horse with shanks gone grey" (which if I'm right is a terrible translation) would simply mean a
very fast good horse, perhaps with some overtones of the things I mentioned above.
This makes some sense. In the earlier line we are told that the person in question was 'contemplating a tree for ten kalpas',
diligently pursing enlightenmenet I suppose...then, the "tigger chasing his prey" and the "very fast horse" are just simply descriptions
of the energetic manner of this pursuit.
60
以 yi3 有 you3 下 xia4 劣 lie4 寶 bao3 几ji1 珍 zhen1 御 yu4
C38
by means of, there is, under, low bad, inferior, treasure, jewel, small table, precious, valuable, drive, ride, chariot,
thereby, so as have, own, class, low slightly, vile, precious, rare, desk, bench rare, imperial, manage, honorable
to, therefore, possess, quality, below, degraded, honorable, (quiet, self- unusual, to prize clothing, to offer a
consider as, in exist, to down, inferior, inadequate valuable (also composed) present to, an
order to, by, be, there bring down, in title, C12) attendant, imperial,
through, with, is, there put down, to to invoke, to meet
because, on are (also in lay – as eggs,
account of (also C11, 16, to issue, lower
in C33, 39, 40) 28, 39) down, beneath,
inside,
descend, fall
base, mean vulgar, very
inferior
JT: 下劣あるをもつて寶机珍御 Notes: WP: The ‘jeweled footrest and brocade robes’ alludes to
JR: geretsu aru o mōtte hōki chīngyo the story in the Hsin chieh (‘Faith Discernment’) chapter of the
CT: Because there is the base there are jewel pedestals, fine clothing. Lotus Sutra in which a prodigal son, who had run away from
CF: Because of the existence of the lowly, There are precious home and wandered about for many years, finally returns home
furnishings and fine clothes; and, seeing his father dressed in brocade robes, feet resting on a
CL: There are those of low spirituality Who cannot forsake their jeweled footrest, does not recognize him. The father employs
cherished clingings, his son in menial tasks, for which the son is very grateful,
FW: As there are the base and inferior, There are jeweled and precious never suspecting the true wealth to which he is heir. As the
things. father is dying, the secret is finally revealed to the son. This is
HJ: Since there exist [those of] extremely-inferior [capabilities], [with] explained in the chapter as similar to the ignorance of those
treasure tables, rare-esteemed. who are content with progress toward nirvana, never realizing
JC: Because there are the lower sort, [The devas provide enticements to their true potential as ‘sons of the Buddha.’ (quoted below, the
enlightenment-like] jewel pedestals and precious garments. Lotus Sutra has 寶机 instead of 寶几(寶机 is also in the
NF: Because there is the plain there are jeweled tables, imperial robes. Japanese translation))
RB: As there are low and vulgar things, so there are treasures and CL: They are those who have attachments to worldly
rarities: feelings.
RM: The sage tells a trainee who feels inferior that he has a jeweled MW: This is alluding to those with a materialistic
diadem and footrest and a rich robe. relationship to practice – building fancy temples, having
SA: The sage will tell A trainee, who is feeling he is low And all fancy ceremonies, with expensive clothes and jeweled tables
inferior, that on his head There gleams a jewelled diadem, and on His – a big show of religion with no spirituality.
body rich robes hang and at his feet There is a footrest. C38-39 may resonate with the Sandokai, line 26:
SY: Because there is a defect They seek the jeweled bench and the 尊卑用其語 - revered and common, each has its speech.
priceless halter.
TH: With low aspirations, You will see jewel pedestals, fine clothing.
TN: For those whose ability is under the mark A jeweled footrest and
brocaded robe.
TP: Because some are vulgar, jeweled tables and ornate robes.
TS: A greedy mind sees rare treasures.
WP: For the benefit of those with inferior ability, there is a jeweled
footrest and brocade robes;
ZC: Because there is the common, there are jewel pedestals, fine
clothing;
Lotus Sutra, Chapter 4: “At that time the impoverished son drifted from one kind of employment to another until he came by chance
to his father's house. He stood by the side of the gate, gazing far off at his father, who was seated on a lion throne, his legs supported by a
jeweled footrest (遙見其父踞師子床寶机承足), while Brahmans, noblemen, and householders, uniformly deferential, surrounded
him. Festoons of pearls worth thousands or tens of thousands adorned his body, and clerks, grooms and menservants holding white fly
whisks stood in attendance to left and right. A jeweled canopy covered him, with flowered banners hanging from it, perfumed water had
been sprinkled over the ground, heaps of rare flowers were scatted about, and precious objects were ranged here and there, brought out,
put away, handed over and received. Such were the many different types of adornments, the emblems of prerogative and marks of
distinction.
"When the impoverished son saw how great was his father's power and authority, he was filled with fear and awe and regretted he had
ever come to such a place. Secretly he thought to himself; This must be some king, or one who is equal to a king. This is not the sort of
place where I can hire out my labor and gain a living. It would be better to go to some poor village where, if I work hard, I will find a
place and can easily earn food and clothing. If I stay here for long, I may be seized and pressed into service! Having thought in this way, he
raced from the spot.
61
… the father knew that his son was of humble outlook and ambition (父知其子志意下劣), and that his own rich and eminent
position would be difficult for the son to accept. (The characters 下劣 also appear at three other places in the chapter.)(The father’s wealth
represents the great treasure of Buddha’s realization.)
The Buddhas possess rarely known, / immeasurable, boundless, / unimaginable great / transcendental powers. / Free of outflows,
free of action, / these kings of the doctrines / for the sake of the humble and lowly (能為下劣) / exercise patience in these matters; /
to common mortals attached to appearances / they preach in accordance with what is appropriate. / With regard to the Law, the Buddhas
/ are able to exercise complete freedom. / They understand the various desires and joys / of living beings, / as well as their aims and
abilities, / and can adjust to what they are capable of, / employing innumerable similes / to expound the Law for them.
(Also, the character 窮 used throughout the chapter (as in “impoverished son” (窮子)) relates to “lowly or inferior” (下劣).)
Lotus Sutra connections to C39: Alarmed or fearful - 驚 - : As in C38, this may be a reference to chapter 4 of the Lotus Sutra. In the
parable, just after the king has recognized his son: "Thereupon he dispatched a bystander to go after the son as quickly as possible and bring
him back. At that time the messenger raced swiftly after the son and laid hold of him. The impoverished son, alarmed and fearful, cried out in
an angry voice, (窮子驚愕稱怨大喚)'I have done nothing wrong! Why am I being seized?' But the messenger held on to him more
tightly than ever and forcibly dragged him back.
Also – in Chapter 2: “If I speak of this matter, then the heavenly and human beings throughout the worlds will all be astonished and
doubtful." (一切世間諸天及人皆當驚疑).Also in Chapter 3, Shariputra: “At first, when I heard the Buddha's preaching, / there
was great astonishment and doubt in my mind.” (心中大驚疑) Also in Chapter 3: At that time a fire suddenly broke out on all sides,
spreading through the rooms of the house. The sons of the rich man, ten, twenty perhaps thirty, were inside the house. When the rich man saw
the huge flames leaping up on every side, he was greatly alarmed and fearful (即大驚怖)and thought to himself, I can escape to safety
through the flaming gate, but my sons are inside the burning house enjoying themselves and playing games, unaware, unknowing, without
alarm or fear(不覺不知不驚不怖). The fire is closing in on them, suffering and pain threaten them, yet their minds have no sense of
loathing or peril and they do not think of trying to escape!
In the parable in Chapter 3, the wealthy father gives a cart driven by a white ox to all of his children after they escape from the burning
house: "Shariputra, at that time the rich man gave to each of his sons a large carriage of uniform size and quality. The carriages were tall and
spacious and adorned with numerous jewels. A railing ran all around them and bells hung from all four sides. A canopy was stretched over
the top, which was also decorated with an assortment of precious jewels. Ropes of jewels twined around, a fringe of flowers hung down, and
layers of cushions were spread inside, on which were placed vermillion pillows. Each carriage was drawn by a white ox (駕以白牛), pure
and clean in hide, handsome in form and of great strength, capable of pulling the carriage smoothly and properly at a pace fast as the wind. In
addition, there were many grooms and servants to attend and guard the carriage.” (In the Lotus Sutra, the white ox represents the One
Vehicle. Chan/Zen later identified itself with the One Vehicle.)
C38-41 can be viewed as one thought similar in meaning to a point expressed in the Sandokai:
C38 expresses the Northern School, dull faculties, gradual practice.
C39 expresses the Southern School, sharp faculties, sudden enlightenment
C40-41 express how waking up, intimacy, appropriate response and a true meeting of teacher and disciple are beyond the power of skill.
The Sandokai (lines 3-4) states, “People’s faculties may be sharp (C39) or dull (C38) But in the way there are no northern or southern
ancestors. (C40-41)”
Taigen Leighton: (On C38 & C39) Each of us has our particular ways of preserving it well (C2). We each have our own ways of doing
this. All of us have some simplicity, so the dharma presents itself with beautiful images, beautiful robes. Part of us is drawn to aesthetic
displays, aesthetic demonstrations of the richness of suchness. This is one way to connect with the possibility, the reality of suchness. For
those capable of wonder, there are cats and white oxen. Part of the awareness we come to engaging the dharma of suchness is openness and
simplicity - the possibility of being like an infant (C14), the infant's mind is open and available, it hasn't separated everything into this and
that, all the ways we divide the world. But for babies, everything is one. One of the themes of this text is the balancing that is part of taking
care of suchness - a balancing of the ultimate and the world of the conventional. Two sides of our practice - how bring the ultimate into the
particular situations of our life. The five ranks (C18-20) looks at this. Here, Dongshan here makes reference to how Buddhas and Ancestors
don't know it is. They don't know "just this". Cats and cows do. A kind of collectedness and presence that cats and white oxen - its OK - here
it is, the dharma of suchness. We need both sides - we need the jeweled tables and ornate robes, the fantastic displays, to help inspire us to
see our own way of expressing this dharma of suchness. This is a creative practice. We take a particular form with a particular position until
the bell rings. Right in this - We are creating this possibility of suchness. Each of us has a way of expressing this creatively...We each have
some way of expressing our suchness in the world and responding to the problems of society…How are we going to preserve it well?
Common, and wide-eyed - there are many ways - each of us has our own gift - our own way of taking care of suchness in the world. And as
we engage it, it can grow and develop. The world needs us. Sometimes its jeweled tables and ornate robes, and sometimes its cats and cows.
62
以 yi3 有 you3 驚 jing1 異 yi4 貍* li2 奴 nu2 白 bai2 牯 gu3
C39
M2932 N348 M7533 N3727 M1140 N5229 M3009 N3008 M3863 N4482 M4753 N1186 M4975 N3095 M3457 N? -ko
by means of, there is, frighten, different, un- a fox-like slave, servant, white, pure, cow, bull, ox, a
thereby, so as have, own, surprise, usual, strange, animal, fox, term of unblemished, male
to, therefore, possess, alarm, startle,extraordinary, wild cat, deprecation bright, clear,
consider as, in exist, to be, wonderful, eccentric, raccoon obvious, simple,
order to, by, there is, there amazing other, foreign, easy to
through, with, are (also in heterodox, understand, to
because, on C11, 16, 28, wonder, miracle, startled by the
cat, otter explain, inform,
account of 38) unusual, marvelous, frightful, express, empty,
(also in C33, astonishing vain, naked, free,
38, 40) plain, common,
ordinary (white –
but a different
character – also
in C33, also see
C3 and C 37)
JT: 驚異あるをもつて黧奴白牯、 Notes: 貍* - AV variant character: 黧 (M3878) – a dark,
JR: kyōi aru o mōtte rinu byākko sallow color.
CT: Because there is the startlingly different, there are house cat and WP: Nan-ch’uan is recorded as saying, ‘It is frequently said,
cow. “Patriarchs and Buddhas do not know reality. Wildcats and
CF: Because of the existence of the unusual, There are house cats and white oxen do.”’ The passage goes on to explain that this is
cattle. because in these animals there is not the least discrimination.
CL: While others are of quick propensities Like (agile) cats and SY: These verses (C38-39) describe the person who is a
bullocks white. diligent practitioner but who has not yet uncovered his
FW: As there are the astounding and strange, There are cats and white precious mirror. He wears Buddha’s teachings like adornments
oxen. to impress other people with his intellectual knowledge and
HJ: And there exist [those of] amazing uncommon [capabilities], defective practice. However, when he genuinely experiences
[Like] racoon-[dogs], [and] white-oxen. for the first time that the precious mirror is already within him,
JC: Because there are the startlingly different sort, [The world he is astonished; and he realizes that before his experience was
furnishes mundane examples of inherent enlightenment-like] cats and no better than a dull and stupid ox.”
cows. MW: Maybe “open-eyed” is better…Cats have a certain
NF: Because there is the extraordinary there are wildcats and white oxen. presence. They are always contained and keep composed.
RB: as there are astounding and queer Things, So there are cats and They always land on their feet. Zen students should be like
white cows. this. The white oxen is purity, as in the ten ox-herding
RM: If the trainee hears this with doubt and surprise, the sage assures pictures. This couplet is being contrasted with the previous
him that some kind of cats and a white cow are perfect as they are. one.
SA: If the trainee hears This teaching with surprise and doubt, the sage ZS 4.673: The white ox on the bare ground. (from the
Assures him that of cats there are some kinds, As also some white Rinzai roku, probably a reference to the Lotus Sutra)
cows, that perfect are Just as they are. HJ: The kanji (ri) is a tanuki, a racoon like animal, which
SY: Because you are astonished You become sallow slaves and white is cunning and clever. This is coupled with the Kanji 奴(nu),
oxen. which means a manservant, or lower-class person. Together,
TH: And with a sense of wonder, You will see black badgers and white there is no direct translation and we represent this as ‘racoon-
bulls. dog’. The other paired kanji (白牯, byakko) is a white-oxen, an
TN: For others who still can manifest wonder There's a house cat and animal with solid obedient strength when trained. Together
cow. these animals represent the qualities Master Liang Chiai Sama
TP: Because others are wide-eyed, cats and white oxen. believed were necessary in those of ‘amazing uncommon
TS: A surprised mind sees raccoons and white bulls. capabilities’ and would respond well to ‘sudden teachings’
WP: For the benefit of those capable of wonder, a wildcat or white ox. CL: They are those who have attachments to saintly
ZC: Because there is the startlingly different, there are house cat and interpretation.
cow.
(ZC2002:Because some are wide-eyed, cats and white oxen.)
Case 69 from the Book of Serenity: Nanquan said to the assembly, "The buddhas of past, present, and future do not know it is
(三世諸佛不知有): cats and cows know it is (狸奴白牯卻知有)." (Added sayings: “The buddhas of past, present, and future do
not know it is” - just because they know it is, and: “Cats and cows know it is.” - just because they don’t know it is.) (See below for
excerpts from Wansong’s commentary)(also note that in the original Chinese of the koan – it is a “white ox” - 白牯)
(This next passage is quoted in relation to the Nanquan quote and for it’s portrayal of Dongshan’s teacher, Yunyan, and also
because of a possible connection between “different kinds” and C38 and 39) Nanquan asked a lecturer, "What is the ultimate principle
of the Nirvana Scripture?" The lecturer said, "Thusness is the ultimate principle." Nanquan said, "As soon as you call it 'thus,' it has
already changed. Monks in the present time should act in the midst of different kinds. (今時沙門須向異類中行始得)"(Note the
63
“different” of “different kinds” is the same as the fourth character of C39 as in “startingly different.”)(Leighton and Okumura fn 76, pg
508 of Dōgen’s Extensive Record “The practice of ‘different kinds’ is recommended by Nanquan, referring to practice within
distinctions of the world.”)
…When Daowu went to Nanquan, Nanquan asked, "What is your name?" Daowu said, "Zongzhi (Source Knowledge)." Nanquan said,
"Where knowledge doesn't reach how can you take as source?" Daowu said, "Just don't speak of it." Nanquan said, "Clearly if you
speak of it then horns grow on the head." Three days later, as Daowu and Yunyan were in the back room mending, Nanquan passed by
and asked, "The other day we said, 'Where knowledge doesn't reach, just don't speak of; if you speak of it, horns grow in the head' -
how do you put it into practice? Daowu immediately got up and went into the meditation hall; Nanquan then left. Yunyan asked
Daowu, "Little brother, why didn't you answer the teacher just then?" Daowu said, "You are so sharp." Yunyan didn’t get it, and
instead went to ask Nanquan, "Why didn't Daowu answer that issue just then?" Nanquan said, "He is acting within different kinds.”
Yunyan said, "What is acting within different kinds?" Nanquan said "Haven't you been told, 'Where knowledge doesn't reach, just don’t
speak of; if you speak of it, then horns grow on the head.' You must go act within different kinds.”
Yunyan still didn't understand. Daowu knew he didn't get it, so he said, "This man's affinity is not here. " So he went back together
with Yunyan to Yaoshan. Yunyan subsequently related the foregoing story to Yaoshan, who said, "How did you understand this time
there, that you have come back?" Yunyan had no reply. Yaoshan then laughed. Yunyan then asked, "What is acting within different
kinds?" Yaoshan said “I’m tired today; come another time." Yunyan said, “I have come back especially for this." Yaoshan said, "Go
away for now. " So Yunyan then left. Daowu was outside the abbot's room; hearing Yunyan's failure, unconsciously he bit his finger so
hard it bled. He went down and asked his elder brother about what he had asked the teacher about. Yunyan said "The teacher didn't
explain it to me." Daowu hung his head.
When both men were standing in attendance, Yaoshan asked, "Where knowledge doesn't reach, don't speak of-, if you speak of it,
then horns grow on the head." Daowu immediately said good-bye and went out. Yunyan then asked Yaoshan, "Why didn't little brother
Daowu answer you?" Yaoshan said, "Today my back is sore - he understands; you should go ask him." Yunyan then asked Daowu,
"Why didn't you answer the teacher just then?" Daowu said, “I have a headache today - go ask the teacher.”
Later when Yunyan passed on, he sent someone with a letter of farewell to Daowu. After Daowu read it he said, "Yunyan didn't
know it is - too bad I didn't tell him that time. Anyway, even so, actually he was nonetheless a successor of Yaoshan.”…Yunyan was
the teacher of Dongshan, the source of the whole branch - over and over, time and again, he didn't understand this matter: I have
thoroughly recorded this, to give people of later times one-half-power help in looking into it from the side. Was it only Yunyan who
didn't know it is? (This last story conflicts with the usual dates for Daowu (769-835) and Yunyan (740-841).)
Hongzhi (Leighton & Wu translation): If you accord everywhere with thorough clarity and cut off sharp corners without
dependence on doctrines, like the white ox or wildcat [helping to arouse wonder], you can be called a complete person." (footnote:
"Refers to the straightforward, unselfconscious awareness and activity of cats and cows, as compared to those of humans.")
Dogen (Leighton & Okumura translation from Eihei Koroku (p. 194)): 170. Dharma Hall Discourse - Here is a story. Lay
practitioner Ganzhi from Chizhou visited Nanquan, offered breakfast gruel, and requested Nanquan to perform a chant honoring
buddhas. Nanquan entered the hall, struck the upright wooden sounding block, and announced, “Great Assembly, let us recite the
M›h›prajñ›p›ramit› on behalf of [this person, who is like] cats or white oxen.” The layperson immediately departed and went down the
mountain. After eating breakfast gruel, Nanquan left the hall and asked the tenzo (chief cook) if the layperson was still there. The tenzo
said, “He immediately brushed out his sleeves and left.” Nanquan then hit the gruel pot. Dogen said: [Nanquan] chanted the
Mahaprajñaparamita searching for cats or white oxen. Even though Nanquan hit the gruel pot, how can he be as clear as the layman
descending the mountain? Footnote: "Nanquan said, “All buddhas in the past, present, and future do not know it is. Cats and white oxen
know it is.”…This could imply that cats and white oxen have delusions based on how they see the world; whereas buddhas know that
they cannot know the ultimate. But on the other hand, one might understand this saying as describing ordinary, humble creatures,
without discriminating consciousness, as more fully aware even than buddhas. Therefore, cats and white oxen could be an image of the
deluded, karmic self, or an image of awakened awareness…In Nanquan’s original saying, and in Dogen’s comment on this story, cats
and white oxen seem to be considered in the positive, awakened sense."
64
羿* yi4 以 yi3 巧 qiao3 力 li4 射 she4 中 zhong4 百 bai3 步 bu4
C40
M3000 N?-gei M2932 N348 M743 N1453 M3920 N715 M5703 N4603 M1504 N81 M4976 N33 M5363 N2431
legendary by means of, skillful, power, shoot, eject, in, within, one hundred, step, pace, walk,
archer thereby, so as ingenious, strength, force, issue forth, among, between, numerous, stolla land measure
to, therefore, clever, artful, capability, emit, project, central, center, many (all, of five local feet, on
consider as, in excellent, infleunce, aim middle, in the every) foot, to follow in the
order to, by, natural (also ability, a unit of midst of, hit footsteps of
through, with, in C41) strength for (target), to hit the
because, on testing bows, center, to be
account of suffix to affected by, to
(also in C33, indicate power, fall into a trap,
38, 39) strength and attain (also in
movement (also C21, 31, 47 and
in C41) in the titles of the
5 positions – see
below)
to hit the bull’s eye
JT: 羿は巧力をもつて射て百步にあつ。 Notes: 羿* - JV variant character: 藝
JR: gēi wa gyōriki o mōtte ite hyāppo ni atsu (M3014/N4084) – skill, ability, a craft, an art, a calling,
CT: Yi with his archer's skill could hit a target at a hundred paces. a trade, an accomplishment; measure, standard, a limit
CF: With skill an archer can hit a target A hundred paces away, or boundary.
CL: You should, like bowman I, use skill To hit the target a hundred feet away; WP: Yi is noted in traditional Chinese mythology as
FW: Yi, with his archer’s skill Could hit the bull’s eye from a hundred steps. the skilled archer, who, at the command of the
HJ: Art by means of skill [and] strength, Shoots and hits the middle [of a target] from legendary Yao (2357-2257 B.C.) shot nine of the ten
one hundred paces. suns from the sky in order to save the crops. [The
JC: The master archer with his skill and power Could hit the bull's eye from a hundred bowman] refers to an unnamed archer in the Chou pen
paces. chi section of the Shin chi (Records of the Historian)
NF: Yi with his skill and power shot a bulls eye at a hundred paces. who was able to pierce a willow leaf at 100 paces.
RB: I, by his magic power, could hit a target A hundred paces away; SY: If we were as skilled in practice as Hou-I was in
RM: A master of archery can hit a target at 100 yards with his skill. archery, we would make great and swift progress. Our
SA: A master archer hits A target at a hundred yards because He skill possesses skill is honed by the teachings of the sutras. But after
but, we see our self-nature and expeirence ultimate
SY: Hou I used his skill To hit the target at a hundred paces. enlightenment, the skills and sutras are no longer
TH: Yi, with his archer's skill, Could hit the mark from a hundred paces. necessary. They have served their purpose.”
TN: Yi the archer shot nine of ten suns From the sky, saving parched crops, From a poem by Dōgen: “The old bow floating on
Another bowman hit targets at hundreds of paces: water, the Yang house is in shadows.” (fn: Yang was a
TP: With his archer's skill, Yi hit the mark at a hundred paces. legendary skilled archer who could hit a willow leaf at a
TS: Legendary bowman Yi with his skill shoots the mark a hundred paces hundred paces. Leighton and Okumura, Dōgen’s
away. Extensive Record, pg 555.)
WP: Yi used his skill [as an archer], and there was the bowman who pierced the
target at one hundred paces.
ZC: Yi with his archer's skill could hit a target at a hundred paces.
65
箭 jian4 鋒 feng1 相 xiang1 直* zhi2 巧 qiao3 力 li4 何 he2 預 yu4
C41
arrow, type of point of spear, reciprocal, straight, erect, skillful, natural power, what?, why?, prepare, made
bamboo, stem of a sharp point, together, each vertical, meet, ingenious, strength, force, where?, which?, ready, arrange,
plant tip of lance other, mutual, upright, direct, clever, artful, capability, how? in advance,
direction, perpendicular, excellent (also infleunce, concern,
towards, look honest, just, in C40) ability, a unit of beforehand, to
at, see, assist, straightforward strength for be at ease,
minister, testing bows, satisfied,
laksana: suffix to indulgent,
distinctive indicate power, comfortable, an
mark, sign, strength and excursion
indication, movement (also
characteristic, in C40)
designation
Sp.309 (also
in C12, 14,47)
JT: 箭鋒あいあう、巧力なんぞあづからん。 Notes: 直* - AV & JV variant character: 值 (M975) – to hold in
JR: sēmpō āi ō gyōriki nānzo azukarān the hand; to meet, to happen, to turn in course; price, value.
CT: But when arrowpoints meet head on what has this to do with the “Arrowpoints meeting” is also in the Sandokai (lines 33-36):
power of skill? 萬物自有功 Each of the myriad things has its merit
CF: the meeting of arrow points Has nothing to do with skill.
CL: It is the arrow's head that flies straight And not the bowman's 當言用及處 expressed according to function and place.
skill. 事存函蓋合 Phenomena exist; box and lid fit
FW: But when arrowheads collide head-on, Is it only a matter of skill? 理應箭鋒拄 principle responds; arrow points meet.
HJ: [But when two] arrow-heads meet together,Skill and strength,
WP: ‘Two arrow points meeting head-on’ was a popular
what [does it] give [further]?
image that has its origin in the T’ang wen chapter of the Lieh-tzu.
JC: But when the arrow points meet head on, What does this have to
A famous archer named Fei-wei taught his technique to his
do with skill and power?
student, Chi-ch’ang. Chi-ch’ang decided that, were he to kill his
NF: But when arrow points themselves meet in mid-air what has this got
teacher, no one could compete with him. However, in attempting
to do with power or skill?
this, he unknowingly failed. When later the two met on a small
RB: the points of two arrows met in mid-Air,- what a feat!
country road, Chi’ch’ang shot at Fei-wei, who in turn shot his
RM: But to make two arrows meet headon in mid-air goes beyond
own arrow. The two arrows met in mid-flight and fell harmlessly
ordinary skill.
to the ground. As a result, Chi-ch’ang was enlightened to his
SA: to make to meet Two arrows in mid-air, head-on, goes far Beyond
own selfishness and developed a more profound relationship with
the skill of ordinary man.
his teacher. Shih-t’ou also uses this image in his poem Ts’an
SY: As soon as the arrow hits the mark Of what further use is his
t’ung ch’i: “In the case of phenomena, the lid must fit the box;
skill?
compliance with principle is like arrowheads meeting head-on.”
TH: But when arrow points meet head on, How could it be a matter of
CL: ‘I’ was a very skilful bowman in the reign of emperor
skill?
Yao (2357-2257 B.C.). You should use this Dharma to rouse
TN: These skills are small to compare with that in which Two arrow
their inner potentialities.
points meet head on in mid air.
TP: But when arrows meet head-on, how could it be a matter of skill?
TS: When arrowheads meet head-on, is it only a matter of skill?
WP: Two arrowpoints meeting head-on, –how is such great skill
attained?
ZC: But when arrow-points meet head on, what has this to do with the
power of skill?
CT: As seen in the Can Tong Qi, arrowpoints meeting symbolizes principle – mutual interdependence, absolute equality of
dependent forces and entities. The lines before about the excellent and the inferior illustrate relativity. In buddhist science it is
traditionally said that the workings of causes and effects are in fact inconceivable; we are in it, making conceptual models and
devices to make use of what we can find out, but all of this is just a fragment of reality. In deep meditation one truly plunges into the
unknown by not applying any way of knowing and seeing. The meeting of arrowpoints also symbolizes the meeting of minds of
teacher and disciple; regardless of what preparation went before, the actual meeting is not contrived, because it is the simple
agreement of two minds seeing the same one reality.
MW: Here we see the relationship of the seeming and the real, the dark and the light. How could it be skill? It is so fine. More than skill,
it is an inevitability – buddha meeting buddha.
Joan Sutherland: In the everyday world, things are always meeting, coming apart, or being adjusted into relationship, like an endless
Escher print of boxes and lids. Things seem solid, enduring, and we have to work to fit them together. This is one kind of encounter. And
sometimes the meeting is a moment when the universe just is, vibrating in a timeless, changeless present. There's a suddenness and
inevitability and perfection about such a meeting, as when two strangers in the checkout line catch sight of the same thing and smile,
66
their eyes meeting, just for a moment.
HJ: Soto Shu Sutras Book has “how could it be a matter of skill;” However, Master Liang Chiai Sama is probably saying at this
point - testing is complete, of no further use, you have found your match (Enlightened and/or future Patriarchal Mind).
ZS: 4.344: 箭鋒相拄: arrows strike head to head.
ZS 5.394: One who takes careful aim does not hit the target.
ZS: 14.428: He loses the essence by skillful sculpting; The complete figure is not to be seen in worldly learning.
From the commentary to case 7 of the Blue Cliff Record: In the Fa Yen succession this is called “arrowpoints meeting.” They don’t
employ the five positions of prince and minister, or the four propositions; they simply talk of arrowpoints meeting. The style of Fa Yen’s
family is like this; one word falls and you see and immediately penetrate. But if you ponder over the words, to the end you will search
without finding.” (the Clearys note: “This represents question and answer meeting, like two arrows meeting head on in midair, stopping
each other at once; the meeting of minds.”) The main case: A monk (named Hui Ch’ao) asked Fa Yen, “Hui Ch’ao asks the teacher, what
is Buddha?” Fa Yen said, “You are Hui Ch’ao.”
The introduction to Case 17 of the Book of Serenity: A pair of solitary wild geese flap on the ground and fly up high; a couple of
mandarin ducks stand alone by the bank of the pond. Leaving aside for the moment the meeting of arrow points, what about when a saw
cuts a scale beam? (the story is quoted in the notes to C27)
Hongzhi (Leighton and Wu trans): "The entire place is brightly illuminated and spiritually transformed, totally unobstructed and
clearly manifesting responsive interaction like box and cover or arrowpoint [meeting]." (footnote: "Arrowpoints meeting headon in air
depicts the miraculous functioning of the aboslute directly in the phenomenal.")
Hongzhi (Leighton and Wu trans): "If emobdying pure maturity, then you can naturally journey at ease among the ten thousand
changes without touching them and without turning away from them. Box and cover [join], arrowpoint [meet], harmoniously hitting the
mark."
Suzuki-roshi: “two arrow meet together." And there is old story for this. (note: The full story of two arrows meeting in mid-air is
found in The Book of Lieh-tzŭ (Ch'ung-hsu chen-ching, or True Book of the Expanding Emptiness): A. C. Graham, trans., London: John
Murray, 1960, pp. 112-113. This collection of stories and essays is attributed to Lieh-tzu, a Daoist philosopher from the Warring States
Period, but its written form may date from as late as 300 C.E.) There were—in China, in old China, in War Period, (The Warring States
Period extends from 430 to 221 B.C.E.) there were famous—famous archery master [Hiei]. And his disciple, Kisho, you know, were—
was also very good at—in archery [laughs]. And his disciple, you know, became very ambitious, and he [laughs] wanted to compete
with him [Hiei]. And he was waiting for his master's coming with bow and arrow like this [demonstrating]. * Seeing his disciple, you
know, the teacher also, you know, took the bow and arrow and hit—tried to hit first [laughs], but both of them are so good and quick that
arrow meet against [each other] in the air. Shhht! [Laughs.]
67
木 mu4 人 ren2 方 fang1 歌 ge1 石 shi2 女 nuu3 起 qi3 舞 wu3
C42
tree, wood, man, people, now, then, song, lyrics, stone, rock, woman, girl, rise, raise, stand dance, posture,
lumber, timber, mankind, thereupon, at, sing, chant, mineral feminine up, go up, arise, prance,
wooden ( numb, someone else, actually, just praise (also in (barren) begin, start (also brandish, to
without feeling person then (square, the title) in C15) fence
An image, a blockhead region, local, a barren woman
direction,
trend, plan,
method,
device, road)
JT: 木人まさにうたい、石女たつて舞、 Notes: WP: A ‘wooden man’ is a puppet, one of the
JR: bokujīn masani utāi sekijo tātte mō analogies used in the Perfection of Wisdom sutras for a
CT: When the wooden man begins to sing, the stone woman gets up to bodhisattva in possession of the Perfection of Wisdom. For
dance. example, in Edward Conze’s translation of the Perfection of
CF: When a wooden man begins to sing, A stone woman gets up to Wisdom Sutra in Eight Thousand Lines the following
dance. passage occurs: ‘An expert Mason, or mason’s apprentice,
CL: When the wooden man sings his song (And] the stone girl moves to might make of wood an automatic man or woman, a puppet
dance, which could be moved by pulling the strings. Whatever
FW: The wooden man begins to sing And the stone woman gets up to action it were made to perform, that action it would perform.
dance; And yet that wooden machine would have no
HJ: [When the] wooden man sings, And the] stone woman gets up to discriminations. Because it is so constituted that it lacks all
dance. discrimination. Just so a bodhisattva performs the work for
JC: When the wooden man finally sings, The stone woman rises to dance. the sake of which he develops the perfection of wisdom, but
NF: When a wooden man starts singing and a stone woman gets up to the perfection of wisdom remains without discrimination.
dance Because that perfection of wisdom is so constitutded that it
RB: The man of wood sings, The woman of stone gets up and Dances, lacks all discriminations.’ (Astasahasrika Prajnaparamita
RM: In this superior activity of no-mind the wooden figure sings and the Sutra, p. 258 in Conze).
stone maiden dances. Stone Woman Dancing Newsletter: The name “Stone
SA: In this superior activity Of no-mind, See! the wooden figure sings Women Dancing” is taken from a ninth century Chinese
And the stone-maiden dances; Buddhist spiritual text. It symbolizes the concrete and fluid,
SY: When a wooden man breaks into song, A stone woman gets up to the mundane and sacred coming together in the moment to
dance. form a joyous, gratitude-filled dance of life.
TH: When the wooden man begins to sing, The stone woman gets up to MW: The wooden man is a puppet – an egoless person,
dance. this is the side of the guest, the light. The stone woman is
TN: The wooden man breaks into song, A stone maiden leaps up to dance, the side of the host, the dark. This is the harrmonious
TP: The wooden man starts to sing, the stone woman gets up dancing. relationship, the song and dance of perfect harmony with no
TS: Right when a wooden man sings a stone woman gets up and dances. self. Body and mind dropped, without imagination.
st
WP: The wooden man begins to sing, and the stone woman rises to dance; Hongzhi's commentary on the 1 Rank: "The blue sky
ZC: When the wooden man begins to sing, the stone woman gets up clears and the River of Stars’ (Milky Way’s) cold flood dries
dancing; up. At midnight the wooden boy pounds on the moon’s
CC: While the wooden man is singing, The stone maiden starts to dance. door. In darkness the jade woman is startled from her sleep."
TO: The man of wood sings, The stone maiden rises and dances;
VH: A “wooden man” is a puppet and a “stone woman” is a barren woman incapable of bearing children. But in Zen, these negative
connotations are set aside and the terms are given a positive connotation. In heavy, more technical language one can say that in the no-
self of Zen, the vicissitudes of everyday life are lived through effortlessly. In more literary form, we have: Fenyang’s comment on the
fifth position: “Simultaneous realization - the jade woman casts the shuttle on the whirring loom, the stone man beats the drum, boom
boom.” (see the section on the five positions)
VH: the lifelessness of the wooden man…and the barrenness of the stone woman…can connote the no-self of Zen. The stone
woman is often paired together with the wooden man.
Fu-jung Tao-k’ai (7th generation after Dongshan) taught “The path to entering the Way is to be empty inside and tranquil outside,
like water still and frozen. Then all things will brilliantly reflect [each other], and neither submerged nor floating on top all phenomena
will be just thus. Therefore it is said that fire does not depend on the sun to be hot, and wind does not depend on the moon to be cool. A
solid rock contains water, heaven and blindness are both radiance, brightness and darkness are naturally present [within each other], dry
and wet exist in the same place: if you can be like this then the withered tree facing the cliff will flower in the middle of the night, and
the woman of wood carries a basket while in the fresh breeze under the moon the stone man will dance with floating sleeves.” (Morten
Schlutter translation)
HJ: [C42] are similes for the total unification of form (precise) and Absoluteness (Middle) within the enlightened person. This
continually recurring theme is now applied to the individual. The wooden man (form) is now singing, an act which was previously
attributed to the Absolute (middle), e.g. respectively, ‘drumming and singing’. Absoluteness the stone woman radiantly gets up to dance
free from all human emotional expression, with the apparent form of stone in the simile.
68
ZS 5.207: The stone woman gives birth to a child at night.
ZS 7.435: The wooden man does not fear the lion’s roar.
ZS 14.381: The stone woman dances the dance of long life, The wooden man sings songs of great peace.
ZS 14.630: Putting on his shoes, the wooden man went away at midnight, Wearing her bonnet, the stone woman returned at dawn.
ZS 14.656: The wondrous activity is totally enacted in the world, The wooden man walks calmly through the fire.
RB: For the wooden man to sing or the stone woman to dance, all that is necessary is to perform perfectly the ordinary tasts of life
and maintain the natural relations between one person and another.
When Dongshan was a student he asked, “What sort of thing is the mind of the ancient buddhas?” Hsing-p’ing said, “It is your very
mind.” The Master said, “Although that’s so, it’s still a problem for me.” Hsing-p’ing said, “If that’s the way it is, you should go ask a
wooden man.” (WP pg 31)
Dōgen used similar images a number of times as recorded in the Eihei Kōroku (translations and notes (in parentheses) by Leighton
and Okumura): 3.187 “The jade woman recalls her dream of the triple world. The wooden man sits, cutting off functioning of the six
senses.” (this reference is from Hongzhi) 3.235 “The iron ox has a white head and triangular hat; the stone woman in the prime of life is
endowed with hundreds of charms.” (These images…generally refer to the revival or awakening of spirit.) 8.IM2 “The great way
originally has no names or words. Recognizing this principle, still we are compelled to call it the great way. Buddhas and ancestors
appear one after another. The wooden man and iron bull follow on each other’s heels, ascending and descending. However, they leave
no trace to appear before us. But assuredly [the great way] does not depart from this very place, but is always deep and calm. We should
know that when we seek we cannot see it.” (The wooden man is a reference to practitioners free from discriminating mind.) “People and
things thoroughly merge, not separate as two. Do not let the stone woman worship the three stars.” (Both stone woman and wooden man
are images of stillness springing to life. Here the meaning seems to be that the stone woman has never been at all separate from the three
stars, or three forces, and therefore need not worship them.)
Hongzhi: “directly attain the way of lord and minister in cooperation, and the spirit energy of parent and child in harmony. Up in the
lapis lazuli palace, the jade woman rolls her head; in front of the bright moon hall, the stone man rubs his hands.” (Leighton and
Okumura trans, quoted by Dōgen in 4.341 of Dōgen’s Extensive Record.)(see also C44-C45)
Book of Serenity, Case Verse: "A cloud rhino gazes at the moon, its light engulfing radiance; A wood horse romps in spring; swift
and unbridled." Wansong commentary on the 2nd line: "This eulogizes 'breathing out, not involved in myriad circumstances' [from the
main case]. One might say that skillful action has no tracks."
GI: i.e. Cheers from the crowd. The incommensurable power of this precious wish full-filling gem. This realization is beyond any
description, beyond any conceptualization, any causality.
CC: “The idea of universality penetrating into particularity has been…[described] …in illogical and symbolic expressions…
Through the power of universality even the wooden man can sing and the stone maiden can dance. As a matter of fact, when we are
depirved of the sustenance of our universe, we are as dead as the wooden man and the stone maiden. This is the function of
…universality in particularity.”
CL: The wooden man and stone girl symbolize a mind completely stripped of its feelings and passions, like a dead body, ready
for its resurrection, or perception of the self-nature and attainment of Buddhahood.
What is the wooden man singing? The Song of the Jewel Mirror Samadhi? Baba wawa? Country songs?
Shodoka: Can a wooden puppet attain Buddhahood by its practice of not–thinking? (喚取機關木人問)
ZS 7.84: Call a clockwork wooden man and ask.
69
非 fei1 情 qing2 識 shi4 到 dao4 寧 zhu4 容 rong2 思 si1 慮 C43
Luu4
wrong, not, feeling, recognize, go to, arrive, how could it, contain, allow, think, thoughts, be concerned,
negative, non-, sentiment, remember, been to, reach, rather, how permit, bear, contemplate, worry about,
oppose, bad, emotion, inscriptions attain to, to (a much less, it is endure, consider, think over,
not to be, passions, cast on bronze, place), sign of better, term of forgive, admit, ponder, final assume, anxiety,
without, , it is desires, understand, past tense comparison, capacity particle, cetana: anxious, to plan
not the case affections, know, the 5th would that, (looks, volition (a factor
that…(also in sensations – skandha - repose, appearance, of mind present
C7, 11, 45) Sp.349 vjinana: serenity, peace, manner, in every mental
consciousness, peaceful bearing, figure, state)
discrimination, form)
distinguishing,
perceiving,
discerning,
understanding,
comprehendin
g – Sp.473
discriminating consciousness, discriminating thought, more
thinking mind, deluded view analytical than 情識, anxiety, to
brood over
JT: 情識の到るにあらず。むしろ思慮をいれんや。 Notes: SY: “Ordinary
JR: jōshiki no itaru ni arazu mushiro shiryo o irēn ya people might use their reasoning
CT: It's not within reach of feeling or discrimination. How could it admit of consideration in thought? or imagination to grasp this, but
CF: This cannot be reached by subjective perception; How could it be thought about? it would be of no use. An
CL: There is no room to feel and know, To think or to consider. enlighted being, however, sees
FW: This is not reached by feelings or consciousness, And even less so by thinking or deliberations. no difference between sentience
HJ: [It is] beyond feelings and knowledge, Just permit [this] realisation and consider …. and non-sentience. A wooden
JC: This is not something feelings or knowledge can reach: How could there be room for thought? man might very well sing, but it
NF: They’re not reached by deluded mind though they’re contained within thought. would be a soundless song, and
RB: this cannot be done by passion or by learning, it cannot be done by reasoning. a stone woman might dance, but
RM: This is beyond common consciousness—beyond thinking. it would be a dance with no
SA: this is far Beyond all common consciousness, beyond All thinking. movement.”
SY: Since this cannot be understood by reasoning How can it be analyzed? MW: Deliberation does not
TH: This does not come by knowing, Nor does it involve ideas. reach the mirror. It is beyond
TN: They can't be known by mere thought Or feelings, so how can they be analyzed? ideas. You can sit without
TP: It is not reached by feelings or consciousness, how could it involve deliberation? knowing anything.
TS: It’s not within the reach of knowledge nor does it admit ideas. Blue Cliff Record, Case 1:
WP: It is not attained in thought or feeling, so why reflect upon it? Emperor Wu of Liang asked the
ZC: It's not within reach of feeling or discrimination - how could it admit of consideration in thought? great master Bodhidharma,
CC: This cannot be reached by our consciousness. How can you give any thought to this? "What is the highest meaning of
TO: This cannot be done by passion or learning, It cannot be done by discursive reasoning. the holy truths?" Bodhidharma
said, "Empty, without holiness."
The Emperor said, "Who is
facing me?" Bodhidharma
replied, "I don't know. (不識)"
The Emperor did not
understand.
70
臣 chen2 奉 feng4 於 yu2 君 jun1 子 zi3 順 shun4 於 yu2 父 fu4
C44
minister, offer, receive, with respect sovereign, offspring, child, obey, submit with respect to, father, papa,
statesman, serve, respect, to, with monarch, ruler, fruit, seed, male, to, go along with reference daddy, uncle,
official, revere, follow, reference to, chief, lord, 1st young, tender, with, follow, to, compared to, elderly relatives,
subject, retainer present, compared to, zodiac sign (rat, son, posterity, to conform, at the place of term of respect for
dedicate, to at the place of north), treat as one’s persist in, (in, at, on, by, elderly men
receive with (in, at, on, by, gentlemen children, allow, indulge, from, then,
both hands, to from, then, subordinate agree, in interjection,
have the interjection, places or things accordance alas!)
honor to (also alas!) with, favorable,
in C45) prosperous
(also in C45)
JT: 臣は君に奉し、子は父に順ず。 Notes: “Minister and lord” (臣君) are used in
JR: shīn wa kimi ni bushi ko wa chichi ni jūnzu the “five positions of Lord and Vassal” version of the
CT: A minister serves the lord, a son obeys the father. five positions (see section on five positions below)
CF: A minister serves the ruler, A son obeys his father: CL: This is position (4) of 'guest returning to
CL: A minister should serve his prince (And) a son obey his father. host' or 'the seeming uniting with the real'.
FW: A minister follows the ruler; A child obeys the parent. Hongzhi: “directly attain the way of lord and
HJ: A subject serves his ruler [the Absolute], [As] a child obeys its father. minister in cooperation, and the spirit energy of
JC: The minister serves the lord, The son obeys the father: parent and child in harmony. Up in the lapis lazuli
NF: A subject serves the lord, a child obeys a father. palace, the jade woman rolls her head; in front of the
RB: A retainer serves his lord; A child obeys his father. bright moon hall, the stone man rubs his hands.”
RM: The retainer serves the emperor. The child obeys the father. (Leighton and Okumura trans, quoted by Dōgen in
SA: The retainer serves his lord The emperor; his father does the child Obey; 4.341 of Dōgen’s Extensive Record.)(see also C42)
SY: The minister serves his lord; The son obeys his father. SY: In these lines, the lord and father refer to the
TH: Ministers serve their lords Children obey their guardians. state of purity – the Buddha state, and the minister
TN: The minister still serves his lord The child obeys his parent. and son refer to the state of ordinary people. You
TP: Ministers serve their lords, children obey their parents. must move toward the undefiled state by heeding the
TS: Retainers serve their lord; children obey their father. sutras. If you follow your own path, or misintepret
WP: A vassal serves his lord, and a child obeys its father; the sutras, you will fall into outer-path teachings.”
ZC: Ministers serve their lords, children obey their parents; ZS 8.94: Let the ruler be a ruler and the official
an official. Let the father be a father and the son a
son. (Analects XII, 11, by Confucius)
ZS 10.168: Mountains and rivers for thousands of
miles are ageless, But host and guest at every instant
are new.
ZS 12.27: If one wishes to be a ruler, one must be
devoted to the way of the ruler. If one wishes to be a
minister, one must be devoted to the way of the
minister.
奉 is the second of Dongshan’s five positions of
meritorious achievement.
71
不 bu4 順 shun4 非* fei1 孝 xiao4 不 bu4 奉 feng4 非 fei1 輔 fu3
C45
M5379 N17 M5935 N1450 M1819 N5080 M2601 M773 M5379 N17 M1884 N212 M1819 N5080 M1945 N4626
no, not, un-, obey, submit wrong, not, filial piety, no, not, un-, offer, receive, wrong, not, poles to hold up (a
negative prefix to, go along negative, obedience, to negative prefix serve, respect, negative, non-, cart), to prop up,
(negates verbs) with, follow, non-, oppose, honor one’s (negates verbs) revere, follow, oppose, bad, not cheek bone,
(also in C5, 9, conform, bad, not to be, parents, (also in C5, 9, present, to be, without, it protective, assist,
11, 13, 15, 17, persist in, without, it is mourning 11, 13, 15, 17, dedicate, to is not the case complement,
23, 24, 27) allow, not the case 23, 24, 27) receive with that…, it is not helpful, support
indulge, that…, it is both hands, to the case
agree, in not the case have the honor that…(also in
accordance that…(also in to (also in C44) C7, 11, 43)
with, C7, 11, 43)
favorable,
prosperous
(also in C44)
JT: 順ぜざれば孝にあらず、奉せざれば輔にあらず。 Notes: 非* - CV variant character: 不
JR: jūnze zareba kō ni arazu buse zareba ho ni arazu. (M5379/N17) - no, not, un-, negative prefix
CT: Not obeying is not filial and not serving is no help. (negates verbs).
CF: Not to obey is disobedience, Not to serve is not helping. MW: This is about how a person serves
CL: Disobedience (to father)is neglect of filial piety (And) refusal to serve (the buddha-nature. Without service, there is no virtue.
prince) is lack of loyalty. Always obey big mind.
FW: Not to follow is not helpful; Not to obey is not filial. 奉 is the second of Dongshan’s five positions
HJ: Not to obey [is] not filial, Not serving [is] not helping. of meritorious achievement.
JC: Not to obey would be unfilial, Not to serve would be unhelpful. GI: The minister still serves his lord [i.e.
NF: If he doesn’t obey he’s not filial, if he doesn’t serve he’s not loyal. form is emptiness] The child obeys his parent.
RB: Without obedience, there is no faithfulness; without service there is no [i.e. emptiness is form] Not obeying is unfilial,
retainership. [i.e. inseparability of form and emptiness] Not
RM: Without obeying there is no filial piety; without serving there is no advice. serving is a useless waste. [i.e. the duality is
SA: without obedience there is No filial piety and, if there is No service, no advice. also empty] [Where there is no duality, there is
SY: If he doesn’t obey, he is not filial; If the minister does not serve, he is not no need for oneness] i.e. This could be the
supportive. secret transmission: the coded teaching about
TH: Not obeying is not filial, Failure to serve is of no help. the five ranks. It comes down to the
TN: Not obeying is unfilial, Not serving is a useless waste. Tetralemma, staying away from the four
TP: Not obeying is not filial, Failure to serve is no help. extremes. A non-affirmative negation. And
TS: Without obedience there is no respect; without service there is no civic virtue. transcending the four possibilities of any
WP: It is unfilial not to obey, improper not to serve. duality; realizing the Union of the Two Truths,
ZC: Not obeying is not filial and not serving is no help. the harmony of the relative and absolute.
Dogen from Eihei Koroku (Leighton & Okumura translation): 183. Dharma Hall Discourse at the Closing of Summer Practice
Period [1246] Uphold the essence of the true directive. Geese drinking water enjoy its genuine flavor, penetrating the way in a straight
line. Bees taking nectar from flowers do not damage the remaining fragrance. At the end of the practice period we speak in the
repentance ceremony, and the world in all ten directions at the same time speaks the repentance ceremony. The sitting cushions have
fully completed another year of their dharma age, and the world in all ten directions at the same time has fully completed another year
of dharma age. Therefore, those with mind know, and what is without mind attains it. For the guest it functions, in the host it is
venerated. According to their position, their effort is clear; according to their effort, their position is clear. The spirits of father and
children harmonize; the ways of lord and minister join together. (Hongzhi said: “According to their position, their effort is clear;
according to their effort, their position is clear”)
(“Filial piety” and the I Ching references point to the Confucian influence on the formation of Chinese Buddhism, which may be
of equal or greater significance than Taoism, even in Chan/Zen.)
(This image of hierarchy may offend those with an anti-authoritarian inclinations. It is helpful to keep some sense of how these
images and anolgioes functioned in their original context. In medieval Confucianism, correct hierarchical relations were equated with
the universe being in order - i.e., peace, perfection.)
72
潛 qian2 行 xing2 密 mi4 用 yong4 如 ru2 愚 yu2 若* ruo4 魯 lu3
C46
hide, hidden, practice , go, dense, thick, use, employ,if, supposing, stupid, doltish, if, supposing, foolish, stupid,
secret, latent, walk, move, close, careful, apply, operate,
as good as, foolish, fool, assuming, rash, vulgar,
dive, submerge, travel, act, do, intimate, work, service
equal to, as if, dunce, rude, similar, and, as common
dormant, retired circulate, close function, tolike, as, tatha: simple to, like, to
perform, together, consume, putso, thus, in accord with,
conduct, quiet, still, into practice,
such manner, approved
behavior, secret, occult, practical (to, so
used in the
action, esoteric, as to, with, by,
sense of
functioning 密宗: name therefore) (also
ultimate reality,
(also used for for the in C10) the nature of all
samskara: Shingon things, such,
formations, school – bhutatathata,
the 4th Sp.347 (also sunya(空):
skandha) – in C1) empty,– Sp.210
Sp.221 (also in C1, 7,
12, 14, 20, 37)
JT: 潛行密用は、のごとし。 Notes: 若* - AV & JV variant character: 如 (as above).
JR: Sēnkō mitsuyō wa gu no gotoku ro no gotoshi SY: “A great practitioner does not call attention to his
CT: Practice secretly, working within as though a fool, like an idiot. practice. He practices quietly toward Buddhahood. Most
CF: Practice unknown, work in secret, Being like one who is ignorant. people would regard him as an ordinary being, not a saint.
CL: Keep your conduct hidden and your function secret, Appearing as a Nonetheless, such a person possesses great wisdom and
stupid and vulgar man. compassion. He helps sentient beings, and he derives great
FW: Practice secretly, working within; Like a fool or an idiot. benefit from his practice. People might be blind to his
HJ: Hide [your] actions, conceal [your] function, like an idiot, like a fool. wisdom and compassion, however, and call him a dolt or
JC: Hidden practice, secret function, Acting like an idiot or a fool. fool. It does not matter.”
NF: Work intimately and deep, travel disguised as a fool, as an idiot. MW: Hidden practice: this is to do harmonious activity
RB: A splendid action. A mysterious use - this is being like a fool, like a without showing off. Don’t try to stand out.
booby. ZS 10.309: A great recluse hides himself in court and
RM: Unpretentious action and thorough work look foolish and dull. market, A small recluse hides himself in hills and woods.
SA: Such action and Most unpretentious work all foolish seem And dull JW: “From this you can see what a practical and shrewd
SY: To cultivate in hiding, functioning in secret, Like a fool, like a teacher Tung-shan was! Not only the mystical insights of Lao
dullard; Tzu but also his practical roguishness seems to run in the
TH: Practice invisibly, work intimately, Be the fool with no voice. blood of this great master of Ch’an!.”
TN: Practicing inwardly, functioning in secret, Playing the fool, GI: i.e. This is a secret (esoteric) transmission; many
seemingly stupid, would not understand and fall into one extreme or another.
TP: With practice hidden, function secretly, like a fool, like an idiot. Don’t make it known that you know. – The esoteric practice
TS: Conceal your practice, work inside. Be ignorant, look foolish. consist of not rejecting the five aggregates and the five
WP: Working unobserved, functioning secretly, appearing dull, delusions/poisons, but instead transmuting them into the five
seemingly stupid– Buddhas (or five kayas) and the five wisdoms. This
ZC: Practice secretly, working within, like a fool, like an idiot. transmutation is done by seeing through their real nature as
JW: Keep you good deeds hidden and your function secret; That you described in this text. The non-esoteric practice (like in
may appear as a stupid and dull-witted man. Hinayana) consist of rejecting everything that is unwholesome.
ZS 8.247: His training is hidden, his practice secret; he seems a fool or For beginners these two ways may seem contradictory; so this
an idiot. (ZS 4.160: Like a fool, like an idiot.) teaching is kept secret.
“When buddhas are truly buddhas, they do not
necessarily notice that they are buddhas.” – Genjo Koan.
HJ: Appearing like a stupid-fool [in foolish company].
ZS 10.304: It is possible to attain his wisdom, But it is
not possible to attain his stupidity.
“Like a fool, like an idiot” – see the commentary to Case
80 of the Blue Cliff Record quoted in the notes to C14. Also,
the verse quoted in Hakuin’s commentary on the five
positions as an object of study in the the fifth position: “How
may times has Tokuun, the idle old gimlet, / Not come down
from the Marvelous Peak! / He hires foolish wise men to
bring snow, / And he and they together fill up the well.” (by
Xuedou Chongxian who collected the cases and wrote the
verses of the Blue Cliff Record (Setcho Juken, 980-1052))
73
但* dan4 能 neng2 相 xiang1 續 xu4 名 ming2 主 zhu3 中 zhong1 主 C47
Zhu3
only, but, be able, can, reciprocal, continue, carry call, name, master, chief in, within, master, chief
however, yet, permitted, mutual, each on, succeed, to rank, title, owner, host, among, between, owner, host, lord,
still, just, if, ability, well, other, inherit, position, lord, ruler central, center, ruler
however, merely, skill, capacity, direction, connect, reputation, middle, in the
singly able, may, towards, look continuous, to fame midst of, hit
power, talent at, see, assist, join on, to add (target), to hit
minister, to the center, to be
laksana: affected by, to
distinctive fall into a trap,
mark, sign, attain (also in
indication, C21, 31, 40, and
characteristic, in the titles of
designation the 5 positions –
Sp.309 (also see below)
in C12, 14,
41)
inherit, succeed, to succeed to
an inheritance
JT: ただよく相續するを主中の主と名く。 Notes: 但* - JV variant character: 只
JR: tada yoku sōzoku suru o shuchū no shu to nazuku. (M946/N874) – only, but, yet, merely.
CT: If you can achieve continuity, this is called the host-within-the-host. Compare with the last lines of Sandokai (lines
CF: If you can achieve continuity, This is called mastery of mastery. 43-44): 謹白參玄人 - I respectfully urge you
CL: If you thus can act without interruption, This is called (the final) host in host. who study the mystery,
FW: To simply do this continuously Is to be the “host within the host.”
HJ: [But] just skilfully [working] continuously [in-succession], [For this then is] 光陰莫虛度 - do not pass your days and nights
called main-principle within main-principle [Host-in-Host]. in vain.
JC: But the ability to continue [the transmission of the Dharma] Is called the host The second to last line of the Fukanzazengi:
within the host. “Continue to live in such a way, and you will be
NF: If you can receive and give away this is called the host within the host. such a person.” (also relates to C1, “The Dharma
RB: To continue this work is to be a master among masters. of Suchness)
RM: But those who continue to practice this Law are called lord of lords. CL: The first two of the last four lines show
SA: but those who practise thus this law Continually shall, in all worlds, be Called the characteristics of the Dharmakaya which is
Lord of Lords unto eternity. free from all worldly feeling and knowing, and
SY: If only you are able to persist, You will be called a master among masters. the last two lines, the continuity of this
TH: For realizing true continuation Is called the host within the host. enlightened state which is called ‘host in host', or
TN: If you can only persist in this [Middle] way, You will see the lord within the 'absolute achievement'.
lord. NH: All of this (C24 – C47) refers to the
TP: Just to continue in this way is called the host within the host. sequence of steps in meditation work and the
TS: Just keep on doing it. This is called host with host. cultivation of practice, and to seeing truth. All of
WP: If one can simply persist in that, it is called the host’s view of the host. you should pay attention to it and study it
ZC: Just to continue in this way is called the host within the host. carefully.
(ZC2002: Just to do this continuously is called the host within the host.) MW: This is consummated practice. There is no
CW: Continuously doing just this is the host within the host. attempt to do something special and everything one
does is beneficial.
ZS 5.220: To maintain focus moment to moment is very difficult.
RA: Don’t try to extend presence for longer and longer periods of time. Bodhisattvas instead work on being present in shorter and
shorter periods of time. (from memory – not a word-for-word transcription)
Dōgen: Eihei Kōroku 4.269 (Dōgen’s Extensive Record, Leighton and Okumura) “The Buddha of the land pervades the body and is
the entire body. The lands of the Buddha are the suchness of reality, and their non-suchness. Can you thoroughly experience this? After
a pause Dōgen said: The host within the host, and the host within the host, go beyond objects and transcend people to establish the
foundation for an empire.” (fn: The repetition in “The host within the host, and the host within the host” expresses that both the personal
Buddha and the lands of the phenomenal world are ultimately the host within the host. This is an expression for the epitome of
suchness, or the ultimate integration and identification of the universal and the phenomenal.)
One of the fasicles of Dogen’s Shobogenzo is entited “Gyoji” – Continuous Practice.
In the record of Hongzhi, Linji’s teaching of the four modes of host and gues (四賓主) are expressed as follow: 賓中賓,
賓中主, 主中賓 and 主中主 (The guest within the guest, the host within the guest, the guest within the host, the
host within the host). Hongzhi apparently correlates these with the five ranks of Dongshan in a section entitled明安五位賓主as
follows: the first rank with 主中賓, the second rank with 賓中主, the third rank with 主中主, the fourth rank with賓中賓, and
74
finally, for the fifth rank, Hongzhi states: 出格自在。離四句絕百非。妙盡本無之妙也 – that the fifth rank goes beyond the
four propositions (maybe including the fourfold formulation of host and guest).
HJ: The present interpretation has been left open, because there may be a double meaning in the instruction i.e. working
uninterruptedly, and also for the succession of the sect.
GI: i.e. If you persist in staying away from the four extremes, going through the four lower ranks, you will see your real face; you
would see the real nature of everything beyond all conceptualization, beyond the four extremes, the fifth rank. The lord within the lord
might refer to the perfection of wisdom: realizing the union of emptiness and the emptiness of emptiness (dependent origination). So it is
emptiness, but not the ordinary emptiness.
SY: If you persist in your practice, and quietly cultivate Buddhadharma, eventually you will pass the most difficult barriers and
reach the fifth level, where vexation and bodhi are the same. You will be a master among masters.”
Practice that is separate from realization ends when one attains realization. Practice based on realization is endless, going on
whether realization is attained or not. It is a practice of taking care (C2), of endless giving.
We are subtly included within the true (C21). Sentient beings are in buddha. When sentient beings live practice based on realization,
this brings buddha into sentient beings - the host within the host.
75
Bibliographies and Supplemental Materials
(Brief introduction to Dongshan and the Song of the Jewel Mirror Samadhi on the first page)
1. Jewel Mirror Samadhi Bibliography
2. Versions Chart
3. Chinese text with Japanese "Current Characters"
4. Dongshan Liangjie - Bibliography - Koans - Lineage
5. I Ching – a few references and brief introduction
6. Samadhi
- Some References
- Quotes, Definitions and Teachings
7. Case 49 of the Book of Serenity (with further comments)
8. Sandokai – Chinese with English translation
9. Pinyin pronuniciation guide
10. Five positions
a) Bibliography
b) General Introduction
c) Dongshan’s Five Positions of the Apparent and the Real (逐位頌 Verses on Positions
One by One)
d) Dongshan’s Five Degrees of Meritorious Achievement 功勳五位頌
e) Caoshan’s Five Positions of Lord and Vassal 五位君臣
f) Introductory prose comments to and a dialogue on the five positions from the Record
of Caoshan
g) Main terms of the Five Positions (small character study)
h) Caoshan’s Elucidation of Dongshan’s Five Ranks
i) Excerpts from Blue Cliff Record, Case 43: Dongshan’s No Cold or Heat
j) Hakuin’s commentary on the Five Positions
k) Background and Context
l) Kodera on the Five Ranks in the development of the Soto School
m) General remarks, quotes and teachings on the Five Positions
n) Shunryu Suzuki on the Five Positions
o) Excerpts from Lai’s article
p) Nan Huai-Chin on Dongshan’s Five Ranks of Meritorious Achievement
q) Mel Weitsman teachings on the five positions
r) The Five Modes of Tungshan by Robert Aitken
s) James Ford on the Five Ranks
t) Extensive excerpts from Alfonso Verdu’s Dialectical Aspects in Buddhist Thought
u) Five Ranks in Japanese Soto Zen
v) Kirigami diagram
1. Jewel Mirror Samadhi (寶鏡三昧歌):

The text used for this study was downloaded from the CBETA (Chinese Buddhist Electronic Text Association) internet site
(see: http://ccbs.ntu.edu.tw/cbeta/result/cbintr.htm) Taishō Vol 47, 1986B, p0525c24 - p0526a19 (where it is
referred to simply as 寶鏡三昧. In Taishō 47, 1986A, it appears as 寶鏡三昧歌 (at p0515a16) under:歌頌.)
JT: Japanese translation: 寶鏡三昧歌 from 曹洞宗諸經要集 (Sotoshu Sutra Book for Chanting)
JR: Romaji of Japanese translation: Hokyo Zanmai from Soto School Sciprtures for Daily Service and Practice, Sotoshu Shumucho,
2001.
CT: Thomas Cleary, Song of the Jewel Mirror Samadhi from Timeless Spring, Weatherhill, 1980. Includes some notes (the
commentaries consulted include Tenkei’s Hokyozammai kimpei and Shigetsu’s Hokyozammai funogo.)(all of Cleary’s notes are
included here)
CF: Thomas Cleary, Song of Focusing the Precious Mirror from Five Houses of Zen, Shambala 1997.
CL: Charles Luk, Seal of the Precious Mirror Samadhi, from Chan and Zen Teaching, Second Series, Shambala, 1971. Includes notes,
especially in relation to the five positions. (all of Luk’s notes are included here)
76
FW: Gil Fronsdal and Mel Weitsman, unpublished translation: Song of the Bright Mirror Samadhi.
JC: JC Cleary trans. from Nan Huai-Chin. Working Toward Enlightenment, Samuel Weiser, Inc 1993
NF: Norman Fischer, Notes toward a possible translation draft of the Jewel Mirror Samadhi (1995?)
HJ: Trans made by Graham Healey & Shindo Gensho (Richard Jones) (at: http://uk.geocities.com/rajonesuk/. )
RB: RH Blythe, The Treasure-Mirror of Heavenly Bliss from Zen and Zen Classics, Vol II, Hokuseido Press, 1964. Some notes and a
critical and dismissive introduction and postscript.
RM: Reiho Masunaga, Hokyzammai from The Soto Approach to Zen, Layman Buddhist Society Press, 1958.
SA: Jiyu Kennett, The Most Excellent Mirror-Samadhi from Zen is Eternal Life, Dharma Publishing, 1976.
SY: Sheng-yen, The Infinite Mirror: Song of the Precious Mirror Samadhi from Infinite Mirror, Dharma Drum Publications, 1990.
Includes line by line commentaryby Master Sheng-yen (excerpts from Sheng-yen’s commentary are included here)
TH: Kaz Tanahashi and Joan Halifax: Song of the Jewel Mirror Awareness. Upaya Liturgy.
TN: Toshu John Neatrour; Sheng-yen; Kaz Tanahashi, The Song of the Jeweled Mirror Samadhi from www.sacred-
texts.com/bud/zen/hz/ha.htm.
TP: Soto Zen Text Project Translation, Precious Mirror Samadhi from Soto School Sciprtures for Daily Service and Practice, Sotoshu
Shumucho, 2001. (Taigen Dan Leighton is primarily responsible for this translation. It was based on his own translation
(significantly influenced by Cleary’s) and then reviewed by Griff Foulk, Carl Bielefeldt, Shohaku Okumura and then a panel
of Soto Zen teachers.)
TS: Kaz Tanahashi and David Schneider: Song of the Bright Mirror Samadhi, from Essential Zen, Harper, 1994.
WP: William, Powell: Jewel Mirror Samadhi, from The Record of Tung-Shan, University of Hawaii, with scholarly notes (all of
Powell’s notes are included here)
ZC: New SFZC Version (2004?): Song of the Jewel Mirror Samadhi
Translations for certain verses only (and some notes):
AV: Alfonso Verdu, Dialectical Aspects in Buddhist Thought. Center for East Asian Studies, Univeristy of Kansas, 1974 -C18-20
CC: Chang Chung-Yuan, Original Teachings of Ch'an Buddhism. New York: Pantheon Books, 1969. “Samadhi as Reflection from the
Precious Mirror” – C3-4, 42-43
CW: Clouds in Water Liturgy: Song of the Jewel Mirror Samadhi (mostly a patch-work compilation of other translations but
C4,C6,C9,C21,C24,C27,C28,C47 are unique)
JW: John C.H. Wu, The Golden Age of Zen, United Publishing Center, Taiwan – C24, 30, 46.
TO: From www.theosophy.org, by “Hermes,” 1988 – C3, C4, C42 and C43.
WL: Whalen Lai: “Sinitic Mandalas: The Wu-wei-t’u Of Tsao-shan,” in Early Chan in China and Tibet, edited by Whalan Lai and
Lewis Lancster. Berkeley Buddhist Studies Series, 1983, pp. 229-257 - C18-C20
ZC2002: The version chanted at SFZC 2002-2003, it is only quoted where it diverges from the TP: Soto Zen Text Project Translation
above – C18, C21, C39, C47
ZS: Victor Sōgen Hori, Zen Sand: The Book of Phrases for Koan Practice. University of Hawaii Press: 2003. (A few lines (Under ZS
with the citation number - C3, C9, C16, C46) and collected quotes from the translated material which relate or comment in
some way on terms and images in the Jewel Mirror Samadhi.)
Notes and commentary only:
(Quotes and summaries from other sources also appear in the notes and commentary field.)
GI: From www.gileht.com. (Gileht’s extensive website has a Madyamaka focus and he probably overreads Madhyamaka teachings
into the Jewel Mirror Samadhi in his comments. He also sees a kind of sub-theme of esoteric Buddhism. Some of his
comments have been included here (C7, 10, 11, 12, 18, 19, 20, 21, 27, 42, 45, 46, 47).)
MW: (Mel Weitsman) From a class on the Precious Mirror Samadhi at Berkeley Zen Center by Sojun Mel Weitsman in the Fall of ‘99
(tapes & handouts available at the BZC library)(notes included here do not represent word-by-word transcriptions).
NH: Nan Huai-Chin. Working Toward Enlightenment, (JC Cleary trans) Samuel Weiser, Inc 1993
(C2,C3,C4,C5,C6,C7,C8,C9,C10,C13,C18,C19,C22,C23,C47).
RA: Tenshin Reb Anderson – comments collected from various talks 1994-2008.(title, C2, C5, C6, C18, C19, C21, C34, C47)
RS: Robert Sharf, Coming to Terms with Chinese Buddhism, A Reading of the Treasure Store Treatise. University of Hawaii Press,
2002 (title, C3, C5, C12, C13, C18, C24, I Ching quotes)
SR: Suzuki-rōshi, Shunryu – comments from transcribed talks. (title, C13 and five positions (section n))
VH: Victor Sōgen Hori, Zen Sand: The Book of Phrases for Koan Practice. University of Hawaii Press: 2003. (combines and
translates the Zen capping phrase collections Zenrin Kushu (Shibayama) and Shinsan Zengoshu (Etsudo)) Some points from
Hori’s introduction, notes and glossary are included here.
Taigen Dan Leighton has plans to release a book on Dongshan’s teachings which will include commentary and annotations on the
Jewel Mirror Samadhi, entitled: Just This Is It: Unfolding the Teaching of Suchness.
77
2. Versions Chart In the version chart below, the variant characters from T1986B (the version used in this study) appear for three other versions,
the one in T1986A, and “Chinese” and “Japanese” versions (from www.sacred-texts.com). Otherwise, □ appears to make the discrepancies clear. In the
study, an asterisk (*) is placed next to Chinese characters when there are differences in the various versions and the notes/commentary for that couplet
contain notes on the alternate characters. The WP (William Powell) translation uses 1986B. Many of the other translations do not specify which
version(s) was used. The different versions may account for some of the differences between the various translations. The variant characters in some
cases do not significantly change the meaning, in other cases they may be copying errors, and in some cases the meaning is shifted.
T47, 1986B, p.525, c24 (=BV) T47, 1986A, p. 515, a17 (=AV) “Chinese Version” (=CV) “Japanese Version” (=JV)
寶鏡三昧 (used in this study) 寶鏡三昧歌 (C18 is from【甲ィ】ed) from www.sacred-texts.com from www.sacred-texts.com
C1 如是之法佛祖密付 □□□□ □□□□ □□□□ □□□附 □□□□ □□□□
C2 汝今得之宜善保護 □□□□ □□□□ □□□□ □□□□ □□□□ □能□□
C3 銀怨盛雪明月藏鷺 □盌□□ □□□□ □□□□ □□□□ □碗□□ □□□□
C4 類之弗齊混則知處 □□不□ □□□□ 髏□□□ □□□□ □而不□ □□□□
C7 背觸俱非如大火聚 □□□□ □□□□ □□□□ □□□□ □□共□ □□□□
C10 為物作則用拔諸苦 □□□□ □□□□ □□□□ □□□□ □□□□ □抜□□
C12 如臨寶鏡形影相覩 □□□□ □□□□ □□□□ □□□睹 □□□□ □□□□
C13 汝不是渠渠正是汝 □□□□ □□□□ □□□□ □□□□ □是非□ □□□□
C14 如世嬰兒五相完具 □□□□ □□□□ □□□□ □□□□ □□□児 □□□□
C18 重離六爻偏正回互如□□□ □□□□ □□□□ □□□□ □□□□ □□□□
C19 疊而為三變盡成五 □□□□ □□□□ □□□□ □□爲□ □□成□ □□爲□
C30 宗通趣極真常流注 □□□□ □□□□ 通宗□□ □□□□ □□□□ □□□□
C31 外寂中搖係駒伏鼠 □□□□ □□□□ □□□□ 繫□□□ □□□□ □□□□
C39 以有驚異貍奴白牯 □□□□ 黧□□□ □□□□ □□□□ □□□□ □□□□
C40 羿以巧力射中百步 □□□□ □□□□ □□□□ □□□□ 藝□□□ □□□□
C41 箭鋒相直巧力何預 □□□值 □□□□ □□□□ □□□□ □□□値 □□□□
C45 不順非孝不奉非輔 □□□□ □□□□ □□不□ □□□□ □□□□ □□□□
C46 潛行密用如愚若魯 □□□□ □□如□ □□□□ □□□□ □□□□ □□如□
C47 但能相續名主中主 □□□□ □□□□ □□□□ □□□□ 只□□□ □□□□
78
3. Chinese text with Japanese "Current Characters"
The “Original” version of the Chinese is displayed and in the next column, “Current” characters appear when they differ.
“Current” characters are newer, simplified or slightly altered characters used in contemporary Japanese, known as Tõyõ
Kanji. (from www.sacred-texts.com)
“Japanese” Version with Current characters or Toyo Kanji
“Original” Chinese Characters
Title 寶鏡三昧歌宝□□□□
C1 如是之法佛祖密附 □□□□ 仏□□□
C3 銀碗盛雪明月藏鷺 □□□□ □□蔵□
C4 類而不齊混則知處 □□□斉 □□□処
C7 背觸共非如大火聚 □触□□ □□□□
C8 但形文彩即屬染污 □□□□ □属□汚
C9 夜半正明天曉不露 □□□□ □暁□□
C10 爲物作則用抜諸苦為□□□ □□□□
C11 雖非有爲不是無語 □□□為 □□□□
C12 如臨寶鏡形影相覩 □□宝□ □□□□
C19 疊而成三變盡爲五畳□□□ 変尽為□
C20 如荎草味如金剛杵 □茎□□ □□□□
C21 正中妙挾敲唱雙舉 □□□□ □□双挙
C24 天眞而妙不屬迷悟 □真□□ □属□□
C25 因緣時節寂然昭著 □縁□□ □□□□
C26 細入無間大絕方所 □□□□ □絶□□
C27 毫忽之差不應律呂 □□□□ □応□□
C28 今有頓漸緣立宗趣 □□□□ 縁□□□
C30 宗通趣極眞常流注 □□□□ 真□□□
C31 外寂内搖繫駒伏鼠 □□□□ 繋□□□
C32 先聖悲之爲法檀度 □□□□ 為□□□
C33 隨其顛倒以緇爲素随□□□ □□為□
C35 要合古轍請觀前古 □□□□ □観□□
C36 佛道垂成十劫觀樹仏□□□ □□観□
C37 如虎之缺如馬之馵 □□□欠 □□□□
C38 以有下劣寶几珍御 □□□□ 宝□□□
C40 藝以巧力射中百步芸□□□ □□□歩
C46 潛行密用如愚如魯潜□□□ □□□□
C47 只能相續名主中主 □□□続 □□□□
79
4. Dongshan (洞山):
His sayings and teaching were compiled in the Tung-shan Ch'an-shih (Koans continued)
Liang-chieh Yü-lu (Tōzan Ryōkai Zenji Goroku Shinji Shobogenzo 12, 30, 49, 55, 62, 72, 77, 78, 82, 84, 93,
洞山良价禪師語録) (Dainihon Zokuzõkyõ, vol. 2 No. 24 98, 148, 172, 198, 199, 220, 222, 225, 228, 277;
大日本續藏經). The text is found in Taishō Daizōkyō, vol. Transmission of the Light 39, 40, 42;
47, 1986 A and B (大正大藏經). Iron Flute 15, 26, 41, 77
Portrait of Dongshan:
Yi Wu: "Tung-shan’s thought was very delicate and
ingenious, and it especially dealt with the mysterious.”
Also see:
Cleary, Thomas. The Five Houses of Zen. Boston and
London: Shambala, 1997.
CC: Chung-Yuan, Chang. Original Teachings of Ch'an
Buddhism. New York: Pantheon Books, 1969.
Dumoulin, S.J., Zen Buddhism: A History, India and China
Ferguson, Andy. Zen’s Chinese Heritage.
Luk, Charles, Chan and Zen Teaching Second Series,
Shambhala
Powell, William F., The Record of Tung-Shan, University
of Hawaii
JW: Wu, John C.H., The Golden Age of Zen, United
Publishing Center, Taiwan
Wu, Yi.The Mind of Chinese Ch'an (Zen). San Francisco:
Great Learning Publishing Company, 1989.
Lineage Summary:
Bodhidharma (d.532)
Dazu Huike (487-593)
Jianzhi Sengcan (d.606)
Dayi Daoxin (580-651)
Daman Hongren (601-674)
Dajian Huineng (638-713)
Qingyuan Xingsi (660-740) Nanyue Huairang (677-744)
Shitou Xiqian (700-790) Mazu Daoyi (709-788)
Yaoshan Weiyan (745-828) Baizhang Huaihai (720-814)
Yunyan Dansheng (780-841)
Shobogenzo fasicles with sayings of and stories involving Dongshan:
Dongshan Liangjie (807-869)
Butsukokjoji (both versions), Ganzei, Gyoji, Jinzu, Kankin, Mujo
Yunju Daoying (d.902) Caoshan Benji (804-901)
Seppo, Sesshin Sessho, Shunju.
- 5 Generations -
Dongshan figures in the following koans:
Furong Daokai (1043-1118)
Blue Cliff Record 43;
Danxia Zichun (d.1119)
Book of Serenity 22, 49, 56, 89, 94, 98;
- 4 Generations - Hongzhi Zhengjue (1091-
Empty Valley Collection 9, 81, 85;
Eihei Dōgen (1200-1253) 1157) “Tiantong”
5. I Ching (昜經):
Wilhelm, Richard, German trans (trans into English by Cary F. energies produces change. The I Ching characterizes situations
Baynes), The I Ching or Book of Changes, Princeton and how they change and gives advice to enable a beneficial and
University Press, 1950. harmonious relation of yang and yin forces and tendencies. It is
Lama Anagarika Govinda, The Inner Structure of the I Ching, regarded as one of the “five books of wisdom” in Chinese
Weatherhill, 1981. culture.
Cleary, Thomas trans. The Buddhist I Ching (by Chih-hsu Ou-i) Master Nan Huai-Chin: “In China’s I Ching this is
Shambala, 1987. (Not very helpful for studying the five called ‘change.’ In Buddhism it is called ‘impermanence.’ The
positions in particular, it is an example of a systematic meaning is the same. Impermanence is the term used from the
Buddhist treatment and use of the I Ching) point of view of the final result. No situation in the world has a
permanent existence, so they are called impermanent. The I
The I Ching is a book of divination and wisdom. It consists of Ching does not follow this route. Instead, it calls this ‘change.’
64 hexagrams which are diagrams composed of 6 lines stacked Change does not refer to phenomena themselves, it is a basic
vertically. The lines are either yang – or yin --. This layer of principle. The basic principle of everything in the world is that it
the text is around 3,000 years old. In addition to the hexgrams, is impossible to change. Having understood this principle, first
there have been added many layers of commentary over the class people guide change, and know what the next step of the
centuries. Original meanings: yang - “banners waving in the process of change will be.”
sun” and, yin – “cloudy or overcast.” Generally, Yang is bright Cleary: “The I Ching is the most ancient Chinese book
and active and yin is dark and passive. They do not represent of wisdom, widely considered a basic guide for conscious
opposites as much as a polarity. The interaction of these polar living. While it has been extensively expounded by the
80
traditional sociologists and psychologists of the Confucian and ☰ 乾 qian heaven creative
Taoists schools, the written records of Chinese Buddhism are
☷ 坤 kun earth receptive
nearly silent on the I Ching. Of course, severeal key phrases and
signs were adopted into commentaries of the Ch’an (Zen), Hua- ☳ 震 zhen thunder movement
yen, and other Buddhist schools, but not extensive explanation ☴ 巽 xun wind gentle
of the I Ching seems to have been written by a Buddhist until ☲ 離 li fire clinging
Chih-hsu Ou-i composed the present work in the seventeenth
☵ 坎 kan water abysmal
century.
“When Buddhism came into China, it picked up certain ☱ 兌 dui lake joyous
key phrases from the Chinese classics to put forth its message in ☶ 艮 gen mountain stillness
the local idiom. Among the classics Buddhists drew from was, In addition to the double li hexagram, other aspects of
naturally, the I Ching. Eleventh-century Ch’an Buddhists used the 5 positions teachings that have their basis in the I Ching
well-known lines referring to effective adaptation, an axial include the terminology of upright and inclined as well as lord
Buddhist theme. Taoist reading of the I Ching is especially and vassal (the lord was associated with the 5th line (counting
marked in the Ch’an-like Treatise on the Avatamsaka Sutra by from the bottom up) and the vassal or minister with the 4th line
the lay adept Li T’ung-hsuan. The celebrated ‘Five Ranks’ or 2nd line.)
device of the ninth –century Ts’ao Tung (Soto) school of Ch’an For a tradition that distrusts words, diagrams, images, or
was in some texts illustrated by trigrams and hexagrams from pictures are a logical choice, but in the end too they are also no
the I Ching, and this association was much elaborated by the more than upaya, expedients.
Soto Zen monks of the seventeenth and eighteenth centuries. Sheng-yen: “In the Song of the Precious Mirror
“I am not aware, however, of any text, before or since Samadhi, ideas are borrowed from the I Ching. The teachings of
this one by Ou-i, that treats the I Ching in a systematic way the Ts’ao-tung sect are difficult to penetrate because one needs
from the point of view of Buddhist teaching and practice…” to have an understanding of many other spiritual and
Ou-i’s own explanation of the overall structure of the I philosophical traditions. For those who are not familiar with the
Ching: “The upper course of the I Ching starts with The concepts of other traditions, Ts’ao-tung teachings are
Creative and The Receptive, and ends with Water (Multiple impenetrable.” And “Although the philosophy of the I Ching
Danger) and Fire. These are symbols of heaven, earth, sun and differs form that of Buddhism, some ideas and imagery serve as
moon. They also represent the qualities of calm and awareness, useful tools to help explain Ts’ao-tung concepts.”
concentration and insight. This course deals with the beginning Yong Ming:
and end of inherent qualities. One-sided cultivation of concentration is pure yin; it corrodes
“The lower course starts with Sensing and Constancy, people and erodes right livelihood. If you use accurate insight to
and ends with Settled and Unsettled. These are symbols of illuminate meditation, all things will naturally be clear as a
sensing and response, getting through impasses. They are also mirror. One-sided cultivation of insight is pure yang; it withers
symbols of potential and teaching calling on one another, people and makes them linger on the way. You should use
benefitting people in all times. This deals with the beginning subtle concentration to help contemplative exercise, like the
and end of cultivated qualities. clear light of the moon removing a film of mist.
“Also, the upper course begins with the inherent Verdu: Pg iv: The use of drawings, emblems, and
qualities of Creativity and Receptivity, and ends with the diagrams is a frequent characteristic of Chinese thought: the
cultivated qualities of Water and Fire. This is the fulfillment of innate intuitive nature of the Chinese explains this tendency to
cause and result of one’s own practice. ‘visualize’ thought. The interpretation of symbolic expression,
“The lower course begins with the potential and both through the literary metaphor and through pictorial
teaching of Sensing and Constancy, and ends with the diagrams is essential to this work.
endlessness of being Settled and Unsettled. This is the From the Treasure Store Treatise: “Its essence is the
fulfillment of the subject and object involved in education and transcendence of yin; its function is the subtlety of yang.”
enlightenment of others. RS: The Shih-shuo hsin-yu records a most interesting,
“This is the general point of the two parts of the I although probably apocryphal, exchange between the Buddhist
Ching.” monk Hui-yiian (332-416) and Yin Chung-k'an (d. 399/400):
Another Cleary exceprt: “In The Buddhist I Ching, yin "Yin Chung-k'an once asked the monk Hui-yiian: 'What is the
and yang commonly stand for concentration and insight, essence of the I Ching?' Hui-yiian replied: 'Stimulus-response
thought-stopping and thought-culivating exercises, but they can (感) is the essence of the I Ching.' Yin said: 'When the bronze
also mean weakness and strength, ignorance and knowledge,
mountain collapsed in the west and the numinous bell responded
inaction and action, and simlar qualities that interact in
opposition and complementarity. (應) in the east, is that [what you mean by] the I Ching?' Hui-
However one speculates on the hexgrams referred to yiian smiled without answering." (p.82) (this passage also
and what they in turn signify, the I Ching was Dongshan’s relates to kanno - 感應 – see the notes to C5 for more on this
choice in this case as a model for expressing his understanding term.)
of a dialectical relationship between the real and the apparent.
The hexagrams are constructed by stacking two of the
eight possible trigrams one on top of the other. The eight Here are the basic I Ching entries for the hexagrams included in
trigrams (with their names and primary attributes) are as the five positions study below, including the Judgement, Image
follows: and changing lines portions of the I Ching text (Wilhelm
translation):
81
- Six at the beginning means: In advancing and in retreating, The
57. 巽 Xun - The Gentle (The Penetrating, Wind) perseverance of a warrior furthers.
The Judgement: - Nine in the second place means: Penetration under the bed. Priests
The Gentle. Success through what is small. It furthers one and magicians are used in great number. Good fortune. No blame.
to have somewhere to go. It furthers one to see the great - Nine in the third place means: Repeated penetration. Humiliation.
- Six in the fourth place means: Remorse vanishes. During the hunt
1 man. Three kinds of game are caught.
The Image: - Nine in the fifth place means: Perseverance brings good fortune.
Winds following one upon the other: The image of the Remorse vanishes. Nothing that does not further. No beginning,
Gently Penetrating. Thus the superior man Spreads his but an end. Before the change, three days. After the change, three
days. Good fortune.
commands abroad And carries out his undertakings. - Nine at the top means: Penetration under the bed. He loses his
property and his ax. Perseverance brings misfortune.
- Nine at the beginning means: Contented joyousness. Good fortune.
58. 兌 Dui - The Joyous, Lake - Nine in the second place means: Sincere joyousness. Good fortune.
The Judgement: Remorse disappears.
The Joyous. Success. Perseverance is favorable. - Six in the third place means: Coming joyousness. Misfortune.
2 The Image: - Nine in the fourth place means: Joyousness that is weighed is not at
peace. After ridding himself of mistakes a man has joy.
Lakes resting one on the other: The image of the Joyous. - Nine in the fifth place means: Sincerity toward disintegrating
Thus the superior man joins with his friends For influences is dangerous.
discussion and practice. - Six at the top means: Seductive joyousness.
- Six at the beginning means: To spread white rushes underneath. No
28. 大過 Da guo - Preponderance of the great blame.
The Judegement: - Nine in the second place means: A dry poplar sprouts at the root. An
Preponderance of the Great. The ridgepole sags to the older man takes a young wife. Everything furthers.
breaking point. It furthers one to have somewhere to go. - Nine in the third place means: The ridgepole sags to the breaking
point. Misfortune.
3 Success. - Nine in the fourth place means: The ridgepole is braced. Good
The Image: fortune. If there are ulterior motives, it is humiliating.
The lake rises above the trees: The image of - Nine in the fifth place means: A withered poplar puts forth flowers.
Preponderance of the Great. Thus the superior man, when An older woman takes a husband. No blame. No praise.
- Six at the top means: One must go through the water. It goes over
he stands alone, Is unconcerned, And if he has to renounce one's head. Misfortune. No blame.
the world, He is undaunted.
- Nine at the beginning means: Being prepared brings good fortune. If
61.中孚 Zhong fu - Inner truth there are secret designs, it is disquieting.
The Judgement: - Nine in the second place means: A crane calling in the shade. Its
Inner Truth. Pigs and fishes. Good fortune. It furthers one young answers it. I have a good goblet. I will share it with you.
to cross the great water. Perseverance furthers. - Six in the third place means: He finds a comrade. Now he beats the
drum, now he stops. Now he sobs, now he sings.
4 The Image: - Six in the fourth place means: The moon nearly at the full. The team
Wind over lake: the image of Inner Truth. Thus the horse goes astray. No blame.
superior man discusses criminal cases In order to delay - Nine in the fifth place means: He possesses truth, which links
executions. together. No blame.
- Nine at the top means: Cockcrow penetrating to heaven. Perseverance
brings misfortune.
- Nine at the beginning means: The footprints run crisscross. If one is
30. 離 Li – Clinging seriously intent, no blame.
The Judgement: - Six in the second place means: Yellow light. Supreme good fortune.
The Clinging. Perseverance furthers. It brings success. - Nine in the third place means: In the light of the setting sun, Men
Care of the cow brings good fortune. either beat the pot and sing Or loudly bewail the approach of old
age.Misfortune.
5 The Image: - Nine in the fourth place means: Its coming is sudden; It flames up,
That which is bright rises twice: The image of Fire. Thus dies down, is thrown away.
the great man, by perpetuating this brightness, Illumines - Six in the fifth place means: Tears in floods, sighing and lamenting.
the four quarters of the world. Good fortune.
- Nine at the top means: The king uses him to march forth and chastise.
Then it is best to kill the leaders And take captive the followers.
No blame.
82
6. Samadhi (三昧 or 定):
Some References:
In the 75 dharmas of the Kusha school under Concomitant Mental Faculties, Caitasika or Citia-samprayukta samskdra -
A. General Functions, Mahabhumika, the 22nd dharma is Samadhi – concentration, or one-pointedness of mind.
Here, samadhi appears on a list of mental factors that are present in every state of mind.
For a systemtic presentation of teachings concerning and the cultivation in practice of Samadhi in the Theravada school, see The Path
of Purification (Visuddhimagga) by Bhadantacariya Buddhaghosa, trans. Bhikku Nanamoli, Buddhist Publication Society,
1991 – pp. 85-369
Another systematic treatment of samadhi and dhyana, etc. can be found in the Abhidharmakosa – Chapter 8: The Absorptions, pp.
1215-1282 (Abhidharma-Kosa-Bhashya, Vasubandhu, French trans. Louis de la Vallée Poussin, 1923, English trans. Leo M.
Pruden, 1986, Volume 4).
For an example of the proliferation of Samadhis in Mahayana teachings, see The Large Sutra on Perfect Wisdom, trans Edward
Conze, University of California Press, 1975 - pp 148-152 (112 Samadhis)
There are also many samadhis described or mentioned in the Avatamsaka Sutra (Cleary, Thomas trans. Flower Ornament Sutra.
Shambala, 1993). Also see below for a quote from that sutra with an example of an all-inclusive samadhi.
The Surangama Samadhi Sutra – The Sutra of the Heroic March Samadhi – this is another example of an all-inclusive samadhi -
trans. Etienne Lamotte Surangamasamadhisutra, Curzon Press, 1998.
trans. John McRae The Surangama Samadhi Sutra, Numata Center for Buddhist Translation and Research, 1998.
Eihei Dōgen Shobogenzo, Treasury of the True Dharma Eye- Jisho Samadhi, The Self-enlightenment Samadhi
Kai In Zammai, Ocean Seal Samadhi, Zammai O Sammai, King of Samadhis Samadhi (and see below)
Koun Ejo: Absorption in the Treasury of Light, tr. Thomas Cleary, Minding Mind, Shambala, 1995
Also see:Minding the Mind, a Course in Basic Meditation trans Thomas Cleary, pub Shambhala, 1995
Shikantaza, An Introduction to Zazen trans Shohaku Okumura, pub Kyoto Soto-Zen Center
Quotes, Definitions and Teachings:

From: Buddhist Dictionary by NYANATILOKA MAHATHERA, 4th Revised Ed, Buddhist Publication Society, 1st Edition 1952:
samádhi: 'concentration'; lit. 'the (mental) state of being firmly fixed' (sam+á+√ há), is the fixing of the mind on a single
object. "One-pointedness of mind (cittass' ekaggatá), Brother Visakha, this is called concentration" (M. 44). Concentration - though
often very weak - is one of the 7 mental concomitants inseparably associated with all consciousness. Cf. náma, cetaná.
Right concentration (sammá-samádhi), as the last link of the 8-fold Path (s. magga), is defined as the 4 meditative
absorptions (jhána, q.v.). In a wider sense, comprising also much weaker states of concentration, it is associated with all karmically
wholesome (kusala) consciousness. Wrong concentration (micchá-samádhi) is concentration associated with all karmically
unwholesome (akusala, q.v.) consciousness. Wherever in the texts this term is not differentiated by 'right' or 'wrong', there 'right'
concentration is meant .
In concentration one distinguishes 3 grades of intensity:
(1) 'Preparatory concentration' (parikamma-samádhi) existing at the beginning of the mental exercise.
(2) 'Neighbourhood concentration' (upacára-samádhi), i.e. concentration 'approaching' but not yet attaining the 1st absorption (jhána,
q.v.), which in certain mental exercises is marked by the appearance of the so-called 'counter-image' (patibhága-nimitta).
(3) 'Attainment concentration' (appaná-samádhi), i.e. that concentration which is present during the absorptions. (App.)
Further details, s. bhávana, Vis.M. III and Fund. IV.
Concentration connected with the 4 noble path-moments (magga), and fruition-moments (phala), is called supermundane
(lokuttara), having Nibbána as object. Any other concentration, even that of the sublimest absorptions is merely mundane (lokiya)
According to D. 33, the development of concentration (samádhi-bhávaná) may procure a 4-fold blessing: (1) present
happiness through the 4 absorptions; (2) knowledge and vision (ñána-dassana) - here probably identical with the 'divine eye' (s.
abhiññá) through perception of light (kasina); (3) mindfulness and clear comprehension through the clear knowledge of the arising,
persisting and vanishing of feelings, perceptions and thoughts; (4) extinction of all cankers (ásavakkhaya) through understanding the
arising and passing away of the 5 groups forming the objects of clinging (s. khandha).
Concentration is one of the 7 factors of enlightenment (bojjhanga, q.v.), one of the 5 spiritual faculties and powers (s.
bala), and the last link of the 8-fold Path. In the 3-fold division of the 8-fold Path (morality, concentration and wisdom), it is a
collective name for the three last links of the path (s. sikkhá).
From the Digital Dictionary of Buddhism:

三昧: Samādhi: The term in Sanskrit means 'putting together' , 'composing the mind' , 'intent contemplation' , 'perfect
absorption.' A high level of meditative concentration; mental training through meditation; the skillful unification of mind and object;
the mental equanimity conducive to and derived from attention perfectly focused on its object. Translated into Chinese as 定.
[cmuller]
三昧地 Samādhi, 'putting together,' composing the mind, intent contemplation, perfect absorption, union of the meditator with
the object of meditation." (M. W.) Also 三摩地 (三摩提, 三摩帝, 三摩底). Interpreted by 定 or 正定, the mind fixed and undisturbed; by 正受
correct sensation of the object contemplated; by 調直定 ordering and fixing the mind; by 正心行處 the condition when the motions of the
mind are steadied and harmonized with the object; by 息慮凝心 the cessation of distraction and the fixation of the mind; by 等持 the
mind held in equilibrium; by 奢摩他, i.e. 止息 to stay the breathing. It is described as concentration of the mind (upon an object). The
aim is 解脫, mukti, deliverance from all the trammels of life, the bondage of the passions and reincarnations. It may pass from
83
abstraction to ecstasy, or rapture, or trance. Dhyāna 定 represents a simpler form of contemplation; samāpatti 三摩鉢底 a stage further
advanced; and samādhi the highest stage of the Buddhist equivalent for Yoga, though Yoga is considered by some as a Buddhist
development differing from samādhi. The 翻譯名義 says: 思專 when the mind has been concentrated, then 志一不分 the will is undivided;
when 想寂 active thought has been put to rest, then 氣虛神朗 the material becomes etherealized and the spirit liberated, on which 智
knowledge, or the power to know, has free course, and there is no mystery into which it cannot probe. Cf. 智度論 5, 20, 23, 28; 止觀 2;
大乘義章 2, 9, 1 3, 20, etc. There are numerous kinds and degrees of samādhi [cmuller ; source(s): soothill]
定: establish, decide, lay down, stipulate, determine, fix, settle, arrange; definitely, certainly [cmuller] Senses:
· meditative absorption; (Skt. dhyāna; Tib. bsam gtan) [s.hodge]
· meditative concentration; (Skt. samādhi; Tib. ting nge 'dzin) [s.hodge]
· meditative equipoise; (Skt. samāhita; Tib. mnyam par gzhag pa) [s.hodge]
· meditatively equipoised; (Skt. samāpanna; Tib. snyoms par zhugs pa) [s.hodge]
· Be decided, be settled, be certain. Certainly, certainty. [cmuller]
· Law, rule, regulation. [cmuller]
· (Tib. ting nge 'dzin) 'Meditation,' 'concentration.
In Yogācāra doctrine, it is one of the 'environment dependent' (別境) mental factors. This ideograph is often used
interchangeably with 止 (zhi) (śamatha). The unification of the mind in concentration; stopping the floating of the mind and
concentrating on one point. A high level of meditative concentration; mental training through meditation; the skillful unification of
mind and object; the mental equanimity conducive to and derived from attention perfectly focused on its object. Most commonly
transliterated as 三昧, like dhyāna, a term for meditation, but especially indicative of a deep level of concentration. The Cheng weishi
lun says: "Its nature is that of causing mind to be absorbed in attention on a contemplated object and not become distracted, and its
function is that of supporting knowledge." 〔成唯識論 (T 1585.31.28b) 〕 [cmuller]
"To fix, settle. samādhi. 'Composing the mind'; 'intent contemplation'; 'perfect absorption of thought into the one object of
meditation.' M. W. Abstract meditation, the mind fixed in one direction, or field. (1) 散定 scattered or general meditation (in the world
of desire). (2) 禪定 abstract meditation (in the realms of form and beyond form). It is also one of the five attributes of the
dharmakāya 法身, i. e. an internal state of imperturbability or tranquility, exempt from all external sensations, 超受陰; cf. 三摩提."
[cmuller ; source(s): soothill]
From the Surangama Samadhi Sutra, pg 11-12, trans John McRae

"There is a samadhi by the name of Surangama (heroic march). All Bodhisattvas who achieve this samadhi will, as you have
described, be able to manifest Parinirvana without undergoing eternal extinction. They will be able to manifest the various forms
without destroying the characteristics of form. They will be able to wander throughout all the Buddha lands without any
discrimination with regard to those lands. They will all be able to meet all the Buddhas but without discrimination with regard to the
universally equivalent essence of the Dharma. They will manifest universal accomplishment of all the practices but will well realize
the purity of those practices. They will be the very highest of those most honored by the gods and humans but will be without any self-
conceit, pride, or laxity. They will manifest autonomous mastery of all the demonic powers but will not depend on demonic practices.
They will practice throughout all the triple realm (the desire, form, and formless realms) but will lack any vacillation with regard to
the characteristics of the dharmas. They will manifest rebirth in all the various modes of existence but will not discriminate with
regard to the characteristics of those modes. They will be skilled in the explanation of all the phrases of the Dharma and able to reveal
their meanings in words, but they will realize that words have the characteristic of universal equivalence and have no discrimination
with regard to words. They will always remain in meditittion as they manifest their teachings to sentient beings. They will practice
total forbearance of the birthlessness of all dharmas but preach that all dharmas have the characteristics of generation and extinction.
They will walk alone, without fear, like lions."
Excerpt from the Avatamsaka Sutra: BOOK THREE The Meditation of the Enlightening Being Universally Good
The enlightening being Universally Good, the great being, sat on a lion throne made of a bank of lotus flowers, and, imbued with the
psychic power of the Enlightened One, entered into concentration. This concentration is called the immanent body of the
illuminator of thusness, which is in all enlightened ones. It enters everywhere into the equal essence of all enlightened ones, and
is capable of manifesting myriad images in the cosmos, vastly and immensely, without obstruction, equal to space. All the whirling
oceans of universes flow along into it; it produces all states of concentration, and can contain all worlds in all directions. The
oceans of lights of knowledge of all the enlightened ones come from here; it can reveal all the oceans of all conditions
everywhere. It contains within it all the powers and liberations of the enlightened ones and the knowledge of the enlightening
beings. It can cause the particles of all lands to be universally able to contain boundless universes. It develops the ocean of
virtuous qualities of all Buddhas, and reveals the ocean of great vows of these enlightened ones. All the cycles of teaching of the
Buddhas flow through it and are guarded and maintained by it, and kept without interruption or end.
From the Platform Sutra (the teachings of Huineng): “Do not make the mistake of saying that samadhi and prajna are two different
things…; samadhi is the body of prajna, prajna is the function of samadhi…Samadhi and prajna are similar to a lamp and its light; if
there is a lamp, then you will have light; if there is no lamp, then you will be in darkness; the lamp is the body of a light, the light is
the function of a lamp; though two things in name, they are one and the same in reality.”
From the Record of Mazu – three excerpts representing a variety of views towards Samadhi:
1. During the K'ai-yiian period of T'ang Dynasty (713-742) he was practicing samadhi at Ch'uan-fa Monastery in Heng-yueh.
There he met Venerable Huai-jang... Huai-jang asked him, "Why are you sitting in meditation?" The Master replied, "Because I want
84
to become a Buddha." Thereupon Huai-jang took a brick and started to polish it in front of the Master's hermitage. The Master asked
him, "Why are you polishing that brick?" Huai-jang replied, "Because I want to make a mirror." The Master asked, "How can you
make a mirror by polishing a brick?" Huai-jang said, "If I cannot make a mirror by polishing a brick, how can you become a Buddha
by sitting in meditation?" The Master asked, "Then what shall I do?" Huai-jang asked, "When an ox-carriage stops moving, do you
hit the carriage or the ox?" The Master had no reply. Huai-jang continued, "Are you practicing to sit in meditation, or practicing to sit
like a Buddha? As to sitting in meditation, meditation is neither sitting nor lying. As to sitting like Buddha, the Buddha has no fixed
form. In the non-abiding Dharma, one should neither grasp nor reject. If you try to sit like a Buddha, you are just killing the Buddha. If
you attach to the form of sitting, you will never realize the principle." Upon hearing this the Master felt as if he had tasted ghee. He
bowed and asked, "How should one's mind be so that it will accord with the formless samadhi?" Huai-jang said, "Your study of the
teaching of the mind-ground is like planting a seed. My teaching of the essentials of the Dharma is like heaven bestowing rain.
Because you have natural affinity, you will perceive the Way." The Master also asked, "The Way is without form; how can it be
perceived?" Huai-jang said, "The Dharma-eye of the mind-ground can perceive the Way. It is same with the formless samadhi." The
Master asked, "Is that still subject to becoming and decay?" Huai-jang said, "If you see the Way trough such concepts as becoming
and decay, meeting and parting, then you do not truly see the Way. Listen to my verse: The mind ground contains various seeds,
Which with rain will come to sprout. The flower of samadhi is formless, How can it decay or become." The Master was awakened
and his mind became detached. He stayed to serve Huai-jang for ten years, gradually deepening his understanding of the profound
mystery.
2. The Patriarch said, "The self-nature is originally complete. If one only does not get hindered by either good or evil things,
then that is a person who cultivates the Way. Grasping good and rejecting evil, contemplating Sunyata and entering samadhi—all of
these belong to activity. If one seeks outside, one goes away from it. Just put an end to all mental conceptions in the three realms. If
there is not a single thought, then one eliminates the root of birth and death and obtains the unexcelled treasury of the Dharma king.
3. “It is in contrast to ignorance that one speaks of awakening. Since originally there is no ignorance, awakening also need
not be established. All living beings have since limitless kalpas ago been abiding in the samadhi of the Dharma-nature. While in the
samadhi of the Dharma-nature, they wear their clothes, eat their food, talk and respond to things. Making use of the six senses, all
activity is the Dharma-nature. It is because of not knowing how to return to the source, that they follow names and seek forms, from
which confusing emotions and falsehood arise, thereby creating various kinds of karma. When within a single thought one reflects and
illuminates within, then everything is the Holy Mind.”
Samadhi does not appear as a major area of inquiry in the koan collections. Here are a few places where it does come up:
- Case 50 of the Blue Cliff Record: A monk asked Yunmen, "What is every atom samadhi?" Yunmen said, "Rice in the bowl,
water in the bucket." This account also appears as Case 99 of the Book of Serenity, in which the commentary includes: “The Flower
Ornament Scripture speaks of entering right samadhi on one atom and rising from right samadhi on all atoms. It also says, ‘Every
atom is thus, every thing is thus.’”
- In the commentary to the verse in Case 17 of the Book of Serenity: “The Sanskrit word samadhi means equilibrium-not
oblivious, not agitated, remaining equanimous. This can be the `balance scale of myriad ages' that `shows up unevenness.'” (The verse
reads: When a fly sits on the balance, it tilts; / The balance scale of myriad ages shows up unevenness. / Pounds, ounces, drams and
grains--you see them clearly; / But after all it finally reverts and gives up to my zero point.) Later in the commentary Wansong states:
“I say, evenness with mind is not comparable to mindlessness in unevenness.” (For the story see the notes to C27)
- In the commentary to Case 77 of the Book of Serenity: “Among the ninety-seven kinds of symbols, the clasped hands is
called the rakshasa samadhi, the curtsy is called the woman samadhi. These are all manifestations of the universal gate which flows
forth from the samadhi which is king of samadhis…The monk drew a circle and posed like a titan holding the sun and moon in his
hands; among the ninety-seven symbols this is called the titan samadhi.”
- Gateless Gate Case 42 In the time of Buddha Shakyamuni, Manjusri went to the assemblage of the Buddhas. When he
arrived there, the conference was over and each Buddha had returned to his own Buddha-land. Only one girl was yet unmoved in
deep meditation. Manjusri asked Buddha Shakyamuni how it was possible for this girl to reach this state, one which even he could not
attain. "Bring her out from Samadhi and ask her yourself," said the Buddha. Manjusri walked around the girl three times and
snapped his fingers. She still remained in meditation. So by his miracle power he transported her to a high heaven and tried his best
to call her, but in vain. Buddha Shakyamuni said: "Even a hundred thousand Manjusris could not disturb her, but below this place,
past twelve hundred million countries, is a Bodhisattva, Mo-myo, seed of delusion. If he comes here, she will awaken." No sooner
had the Buddha spoken than that Bodhisattva sprang up from the earth and bowed and paid homage to the Buddha. Buddha directed
him to arouse the girl. The Bodhisattva went in front of the girl and snapped his fingers, and in that instant the girl came out from her
deep meditation. (Steven Heine comments on this case: “Samadhi (absorbtion or trance) implies the calming or cessation (samatha)
of all thought-forms leading to ignorance and desire. Along with vipassyana, or insight into the conditioned nature of things, samadhi
is the highest state of meditation or absorbtion into ultimate reality, but without being accompanied by insght, it may result in an
extreme or obsessive state of detachment. Zen texts frequently debated the merit of meditation leading to a state of “dead wood” or
“cold ashes,” and consistently warned against that situation. So, although the anonymous woman outdoes Manjusri, she remains
suspect…” (in “Opening a Mountain: Koans of the Zen Masters”))
(- Examples of other samadhis that are referred to in the classic Zen texts include the one practice samadhi and the great Naga
samadhi.)
Dōgen teachings on Samadhi (“Balance”) from Shobogenzo Sanjushichi bon bodai bunpo (“The 37 Elements of Bodhi”):
Balance as a root is keeping one's eyebrows to oneself or lifting up an eyebrow. Thus, it is [both] not being unclear about
cause and effect and not falling subject to cause and effect—and consequently entering the womb of a donkey or entering the womb
85
off a horse. It is like a rock enveloping a jewel: we cannot call it completely rock or completely jewel. It is like the ground bearing
mountains: we cannot call it totally ground or totally mountains. At the same time, it springs out from the brain, and springs
in…Balance as a power is like a child getting its mother, or like a mother getting her child . Or it is like the child getting the child
itself, or like the mother getting the mother herself. But it is neither the swapping of a head and a face nor the buying of gold with
gold. lt is just a song growing gradually louder…Balance as a limb of the truth is, before the moment, preserving the eye that
precedes the moment; it is blowing our own noses; and it is grasping our own rope and leading ourselves. Having said that, it is also
being able to graze a castrated water buffalo…Right balance as a branch of the path is to get free of Buddhist patriarchs, and to get
free of right balance. It is others being well able to discuss. It is to make nose-holes by cutting out the top of the head. It is the
twirling of an udumbara flower inside the right-Dharma-eye treasury, It is the presence inside the udumbara flower of a hundred
thousand faces of Mahakasyapa breaking into a smile. Having used [this] state of vigorous activity for a long time, a wooden dipper
is broken. Thus, [right balance] is six years of floundering in the wilderness and a night in which a flower opens. It is, [when] the
holocaust at the end of a kalpa is blazing and the great-thousand world is being totally destroyed, just to follow circumstances.
(Nishijima & Cross translation)
From Tenshin Reb Anderson’s classes on Samadhi during the 2002 January Practice Period at Green Gulch Farm:
Relationship Among Different Classes and Meanings of Samadhi
I. I
Samadhi (as a factor present in every moment of consciousness)
II. One-pointedness of Mind [and object]
II
III.
Dhyana = Sustained or Uninterrupted Samadhi
IV. Still holding a view of the self
III
Supermundane Samadhis
Selflessness of persons realized
Partial Realization of Nonduality
Individual Liberation – Conceivable Practice and Realization
IV
Limitless Supermundane Samadhis
Selflessness of persons and all things realized
Complete Realization of Nonduality
Universal Liberation – Inconceivable Practice Realization
Samadhi ~ Translation: Concentration Dhyana ~ Translation: Absorption

~ Etymology: Joining, putting together ~ Etymology: To think closely [upon an object]
~ Definition: One-pointedness of mind (and object)
RA: The word samadhi, right out of the Sanskrit dictionary, means putting together, joining, combining with, union, a whole,
aggregate, a set, completion, accomplishment, setting to rights, settlement, [couth], and then it gets into meaning concentration of
thoughts, profound or abstract meditation, intense contemplation of any particular object, and then it goes on in parentheses to say “so
as to identify contemplator with the object contemplated.” This is not the basic meaning but this is starting to understand in the
dictionary even that samadhi is nondual meditation, where the meditator and the meditated upon become one. Supporting, upholding,
persevering through difficulty, attempting the impossible.
The Chinese translated samadhi in two ways. One way of writing it is a transliteration, which is pronounced “sanmai,” just trying to
say the word, and the other way of saying it is like this, this character which is pronounced “ding.” And that character means to be
and that’s more of an etymological translation.
settled, resolute, firm, and
Samadhi means those things…those words are a constellation to try to translate it, but the basic definition of samadhi is one-
translations,
pointedness of thought. That’s the definition, rather than a translation…Those other things…were transla tions, except for the one that
stuff in parentheses. The definition is one-pointedness of thought. In Sanskrit it’s citta, which mean
had the stuff meanss thought
thought or mind, eka,
which means one, agatas, which means object. Citta-eka-agatas. So it’s the one-pointedness of the mind.
Anzan Hoshin:
Dogen zenji speaks of the samadhi of dharmata. In the various Indian yogic traditions and in some Buddhist traditions
“samadhi” or in Japanese “zanmai” means a state of concentration in which there is an almost complete suppression of all sensory and
mental activity. These states of concentration can be of different extremity but in general the goal is to create a state in which there is
no consciousness of anything except for the sensation of the suppression, of the narrowing and constriction, which is usually mistaken
to be the nature or essence of consciousness. Before he woke up Sakyamuni Buddha had learned several methods of internalizing and
abstracting attention like this and had mastered them fully. He found that while they were pleasant, they meant nothing. In the Cula
Sunnata sutta of the Majjhima Nikaya, it says, “Concentrating the mind in signlessness is still something which is fabricated and a
strategy. Whatever is fabricated and strategic is impermanent and will fall.” And so instead the Buddha practised and taught a balance
of samatha or steadying and vipashyana or insight. Nonetheless, these kinds of narrowed states can be deeply attractive to people.
Sometimes this is because they interpret the concentration states as having cosmological importance such as transcendence from the
messy and flawed world into perfection, much like Western philosophers preferred to live in their ideas. Basically, self-image finds
86
concentration states appealing because they are the perfection of its strategies of recoil from experiences through congealing and
fixation of attention. Abiding in such a state, one cannot be bothered, cannot be contradicted, cannot be aware of aging or loss or
illness. It is like deep sleep or even death. Which, at its most naked extreme, is what self-image most desires: for the death of
everything that is not it and for there to be only it forever and ever without having to be aware of anything whatsoever including itself.
And so various techniques involving extremes of concentration have always tainted Buddhism.
In the Mahayana sutras however samadhi often began to mean something else. Many different samadhis were described,
which represented aspects of vaster and deeper realizations. In the various sutras the Buddhas sometimes present Teachings from
within a particular samadhi. For example the Avatamsaka sutra is taught as the Buddha is within Ocean Seal samadhi and he reveals
the Dharmadhatu or Total Field of All Possible Experiences as a constellation of spaces and worlds and beings and times which all
interpenetrate each other. And so samadhi became a term that could imply an engagement with and opening to experiencing and
experiences instead of a withdrawal.
In Zen, ”zanmai” can still sometimes be used to describe states of fixated attention; and unfortunately some teachers regard
these favourably although they make it clear that these states are not kensho or openings. In these traditions of Zen, a kensho can
sometimes follow upon a period of concentration because of the simple contrast between the state of narrowing and the vividness of
sensory experience allows a few moments of astonished openness. Instead of tightening attention until there is the relief of a release,
in Dogen’s practice and our own we simply learn how to open to openness, to release fixation. Our practice is one of learning how to
always release any and every structure of attention that arises into the whole moment of present experiencing.
In our practice there can be lesser and greater times of openness which can be called zanmai or kensho. Zanmai has a
continuity to it but is not as deep as a kensho. A kensho might perhaps only be momentary but it unravels at least some tightly held
grasping of self-image and weakens the grip of contraction. And of course the point is to continue to practice without holding back,
which is itself a kind of zanmai, and allows deeper kensho. The term zanmai might also refer to a particular approach or method that is
used such as the Hokyo-zanmai of Dongshan Liangjie daiosho’s Teaching. These are like demonstrations, such as those I have
presented to deshi and monastics of Kai-in-zanmai, that allow students to recognize a much more open quality of practice than they
usually allow. What is realized through these zanmai eventually become part of how one practices as such. I often translate samadhi or
zanmai as “harmonization” as in “Ocean Seal Harmonization” because it is becoming aligned with or harmonized with the openness
of experience being expressed.
Dogen taught that the zanmai-o-zanmai, the sovereign of all samadhis is this bodymind just sitting up straight in zazen,
balancing whatever arises. Whatever might be realized must be released into gyoji-dokan, turning the wheel of continuous practice. A
moment of opening must be continued moment after moment. Kensho must be released into the First Daikensho of the Mirror of
Mind, which is continuous realized-practice throughout the waking state. And this must be released and opened out into the Second
Daikensho of Polishing the Mirror, which is continuous realized-practice throughout the dreaming and sleeping states. And this can be
released into the Third Daikensho of Seeing the Dust Motes Shine and the Fourth Daikensho of Shattering the Mirror. There is even a
Fifth Daikensho but we haven’t yet been able to find a way to talk about how to practice throughout it.
87
7. From The Book of Serenity, Case #49
The case: As Dongshan was presenting offerings before the image of Yunyan, he retold the story from before about depicting the
reality. A monk came forward and said, "When Yunyan said, 'Just this is it,' what did he mean?"
Dongshan said, "At that time I nearly misunderstood my late teacher's meaning."
The monk said, "Did Yunyan himself know it is or not?"
Dongshan said, "If he didn't know it is, how could he be able to say this? If he did know it is, how could he be willing to say this?"
The verse (by Hongzhi):
爭解恁麼道 How could he be able to say this?
五更雞唱家林曉 In the third watch the cock crows--Dawn for the forest of homes.
爭肯恁麼道 How could he be willing to say this?
千年鶴與雲松老 The thousand-year crane grows old with the pine in the clouds.
寶鑑澄明驗正偏 The jewel mirror, clear and bright, shows absolute and relative:
玉機轉側看兼到 The jade machine revolves--see them both show up at once.
門風大振兮規步綿綿 The Way of the school is greatly influential, its regulated steps continuous and fine:
父子變通兮聲光浩浩 Father and son change and pass through--oceanic is their fame.
Commentary on the verse by Wansong (10,000 Pines): Dongshan instructed Caoshan, “I was personally sealed with the Jewel Mirror
Samadhi by my late teacher Yunyan; its content is extremely clear and to the point. Now I hand it on to you; keep and uphold it well.”
The jewel mirror shows up absolute and relative - is this not the cock crowing in the forest of houses, the crane growing old with the
pine in the clouds, the test of absolute and relative? Although the mirror is clean, it has a back and a front; only the jade works
spinning it weaves them together, both light, both dark, with the technique of simultaneous realization.The elaboration of the Book of
Changes says, "When the way comes to an end, then change - having changed, you pass through." Having long passed through,
Dongshan's father and son guide their actions and regulate their steps: even now the school's style flourishes greatly - proof that when
the source is deep the flow is long. (Cleary’s translation)
Further comments: Following Hongzhi, Dōgen-zenji composed the following verse on this case (Taigen trans):
争解恁麼道、 How could he have understood to speak thus?
明星出現大千暁。 A bright star appears and the great thousand worlds are bright.
争肯恁麼道、 How could he have been willing to speak thus?
鶏足山開迦葉老。 Chickenfoot Mountain opens and Mahakashyapa is aged.
古鏡円明照正偏。 The ancient mirror is round and bright, illuminating upright and inclined.
玄機高転自兼到。 The mysterious mechanism revolves on high, both naturally arriving within together.
門風歴劫綿綿。 For many kalpas their family style continues.
父子声光浩浩 The voice of father and son is boundlessly radiant
From Shobogenzo Kokyo: “The Eternal Mirror” by Eihei Dōgen-zenji:
Great Master Seppo Shinkaku (Xuefeng) on one occasion preaches to the assembly, “If you want to understand this matter, my
concrete state is like one face of the eternal mirror. [When] a foreigner comes, a foreigner appears. [When] a Chinaman comes, a
Chinaman appears.” Then Gensa (Xuansha) steps out and asks, “If suddenly a clear mirror comes along, what then?” The Master says,
“The foreigner and the Chinaman both become invisible.” Gensa says, “I am not like that.” Seppo says, “How is it in your case?” Gensa
says, “Please, Master, you ask.” Seppo says, “If suddenly a clear mirror comes along, how will it be then?” Gensa says, “Smashed into
hundreds of bits and pieces!” (Smashed into bits and pieces, entering into the world of things - Mel sees this as “The other side of the
mirror,” as in Genjo Koan: “The whole moon and the entire sky are reflected in dewdrops on the grass or even in one drop of
water…each reflection no matter how short or long its duration manifests the vastness of the dewdrop and the limitlessness of the
moonlight in the sky.”)
88
8. Sandokai by Shitou Xiqian (Sekito Kisen, 700-790)
(with references to related passages in the Jewel Mirror Samadhi)
參同契 Merging of Difference and Unity (C13) 然依一一法 23. Thus for each and every thing,
竺土大仙心 1. The mind of the great sage of India 依根葉分布 24. according to the roots, the leaves spread forth.
東西密相付 2. is intimately transmitted from west to east. (C1) 本末須歸宗 25. Trunk and branches share the essence;
人根有利鈍 3. While human faculties are sharp or dull, (C28) 尊卑用其語 26. revered and common, each has its speech.
道無南北祖 4. the Way has no northern or southern ancestors. (C38-39)
(C38-C41) 當明中有暗 27. In the light there is darkness,
靈源明皎潔 5. The spiritual source shines clear in the light, 勿以暗相遇 28. but don't take it as darkness;
枝派暗流注 6. the branching streams flow on in the dark. 當暗中有明 29. In the dark there is light,
(C9, 22) 勿以明相睹 30. but don't see it as light. (C9)
執事元是迷 7. Grasping at things is surely delusion, 明暗各相對 31. Light and dark oppose one another
契理亦非悟 8. according with sameness is still not 比如前後步 32. like the front and back foot in walking.
enlightenment. (C18, C24) 萬物自有功 33. Each of the myriad things has its merit,
門門一切境 9. All the objects of the senses 當言用及處 34. expressed according to function and place. (C4)
迴互不迴互 10. transpose and do not transpose. 事存函蓋合 35. Existing phenomenally like box and cover
迴而更相涉 11. Transposing, they are linked together; joining; (C3)
不爾依位住 12. not transposing, each keeps its place. (C18) 理應箭鋒拄 36. according with principle like arrow points
色本殊質象 13. Sights vary in quality and form; meeting. (C5, C18 and C41)
聲元異樂苦 14. sounds differ as pleasing or harsh. 承言須會宗 37. Hearing the words, understand the meaning;
暗合上中言 15. Darkness merges refined and common words; (C5)
明明清濁句 16. brightness distinguishes clear and murky 勿自立規矩 38. don't establish standards of your own. (C29)
phrases. 觸目不會道 39. Not understanding the Way before your eyes,
四大性自復 17. The four elements return to their natures, 運足焉知路 40. how do you know the path you walk?
如子得其母 18. Just as a child turns to its mother. 進步非近遠 41. Walking forward is not a matter of far or near,
火熱風動搖 19. Fire heats, wind moves, 迷隔山河固 42. but if you are confused, mountains and rivers
水濕地堅固 20. water wets, earth is solid. block your way.
眼色耳音聲 21. Eye and sights, ear and sounds, 謹白參玄人 43. I respectfully urge you who study the mystery,
鼻香舌鹹醋 22. nose and smells, tongue and tastes; 光陰莫虛度 44. don't pass your days and nights in vain.(C47)
9. Pinyin Pronunciation Guide

for Pinyin Writing System (adapted from Andy Ferguson’s Five Houses Map of the Zen Ancestors in China):
Vowels:
1) Some words ending in “i” have an unwritten “r” added. Examples: shi = “sure,” zhi = “jer”
2) “Ao” is pronounced like “ow.” Example: hao = “how” The numbers after the Pinyin
3) “Ou” is prnounced like “oe.” Example: dou = “doe” (as in female deer) syllable indiate the tone of the
4) “A” is pronounced like “o”. Example: hang = “hong” (rhyming with song) syllable as follows:
5) “O” is pronounced like “oo.” Example: song = “soong” 1 = flat
6) “Ui” is pronounced like “uay.” Example: hui = “huay”
7) “E” is pronounced like “uh.” Examples: neng = “nung” (rhyming with hung) 2 = rising
8) “I” is pronounced like “ee.” Examples: yi = “yee”, qi = “chee”, li = “lee” 3 = low rising _
Consonants:
1) “X” is pronounced like “s.” Examples: xuan = “swan,” xi = “see,” xin = “sin” 4 = falling
2) “Q” is pronounced like “ch.” Examples: qi = “chee,” qian = “chian”
3) “Zh” is pronounced like “j.” Examples: zhi = “jer,” zhang = “jong,” zhen = “jen”
4) “C” is pronounced like “ts.” Example: cui = “tsway”
89
10. Five Positions (五位):
a) Bibliography
c) Dongshan’s Five Positions of the Apparent and the Real (逐位頌 Verses on Positions One by One)
f) Introductory prose comments to and a dialogue on the five positions from the Record of Caoshan
g) Main terms of the Five Positions (small character study)
h) Caoshan’s Elucidation of Dongshan’s Five Ranks
i) Excerpts from Blue Cliff Record, Case 43: Dongshan’s No Cold or Heat
j) Hakuin’s commentary on the Five Positions
o) Excerpts from Lai’s article
p) Nan Huai-Chin on Dongshan’s Five Ranks of Meritorious Achievement
q) Mel Weitsman teachings on the five positions
r) The Five Modes of Tungshan by Robert Aitken
s) James Ford on the Five Ranks
v) Kirigami diagram
a) Bibliography
Aitken, Robert, The Morning Star, New and Selected Zen Writings, Shoemaker and Howard, 2003, pp. 138-161: The Five Modes of
Tung-Shan.
Chang, Chung-Yuan, Original Teachings of Ch’an Buddhism, Pantheon, Part II, pp. 41-81
Chang, Garma CC, The Buddhist Teaching of Totality: The Philosophy of Hwa Yen Buddhism, Pennsylvania State University Press,
1971.
Cleary, Thomas, trans, Timeless Spring, “Caoshan on the Five Ranks”
Cleary, Thomas & J.C. Cleary, trans. Blue Cliff Record. Shambala: Case 43 & Appendixes: Caoshan Benji, Fenyang Shanzho
Cleary, Thomas, trans. Kensho: The Heart of Zen. Shambala: Hakuin Ekaku (1686-1769) pp 67-75.
Cleary, Thomas, trans. The Five Houses of Zen. Boston and London: Shambala, 1997. pp. 78-84.
Dumoulin, S.J. & Sasaki, The Development of Chinese Zen, First Zen Institute of America, pp. 24-29
Dumoulin, S.J., Zen Buddhism: A History, India and China, pp. 222-230
Fromm, Suzuki & DeMartino, Zen Buddhism and Psychoanalysis, Harper & Row, pp. 59-75
Henkel, Luminous Owl. Dongshan’s Five Ranks (Tozan Goi). (Collection of comments and verse and prose commentaries)
Lai, Whalen, “Sinitc Mandalas: The Wu-wei-t’u of Ts’ao-shan” in Early Chan in China and Tibet, edited by Whalan Lai and Lewis
Lancster. Berkeley Buddhist Studies Series, 1983, pp. 229-257
Leighton, Taigen Daniel and Wu, Yi. Cultivating the Empty Field: The Silent Illumination of Zen Master Hongzhi. San Francisco:
North Point Press. 1991: Hongzhi Zhengjue (Wanshi Shogaku) (1091-1157) pp. xxv-xxvii, 41, 52-54.
Luk, Charles, Chan and Zen Teaching Second Series, Shambhala, Chapters 4 & 5, pp. 127-180
Luminous Owl, Dongshan’s Five Ranks. A compilation that was the starting point for this study, it groups together verses and
comments by each position, rather than as a table.
Miura & Sasaki, Zen Dust, Harcourt, Brace & World, Ch. 7, pp. 62-72, (notes: 167, 296-299, 309-323)
Miura & Sasaki, The Zen Koan, Harvest/HBJ Book, Ch 7, pp. 62-72.
Nakamura, H. Ways of Thinking of Eastern Peoples: India, China, Tibet, Japan. Honolulu, 1964. pp.182ff.
Nan Huai-Chin. Working Toward Enlightenment, (JC Cleary trans) Samuel Weiser, Inc 1993, pp.
Nukariya, K., Religion of the Samurai: A Study of Zen Philosophy in China and Japan, London, Luzac, 1913,1922.
Okuda, Yoko trans. The Discourse on the Inexhaustible Lamp of the Zen School: Torei Enji (1721-1792) pp 254-75.
Powell, William F., The Record of Tung-Shan, University of Hawaii, esp. pp. 61-62
Sekida, K., Zen Training, Weatherhill, pp. 237-249
Sheng-yen, Infinite Mirror, Dharma Drum Publications, 1990, pp 103-112.
Tanahashi, Kaz, trans. Moon in a Dewdrop. Northpoint Press, 1985. Eihei Dōgen: Shunju (Spring and Autumn) pp 108-113.
Verdu, Alfonso, The “Five Ranks” Dialectic of the Soto Zen School, in Monumenta Nipponica, XXI, 1-2 (1966), pp. 125-170
Verdu, Alfonso, Dialectical Aspects in Buddhist Thought, Center for East Asian Studies, The Univeristy of Kansas, 1974 (long quotes
are included from this as it is one of the most extensive treatments of the five positions but is quite hard to find).
Wu, John C.H., The Golden Age of Zen, United Publishing Center, Taiwan, Chapter 10
Chinese Texts from the大正大藏經 Taishō Daizōkyō (downloaded from the CBETA (Chinese Buddhist Electronic Text Association)
internet site (see: http://ccbs.ntu.edu.tw/cbeta/result/cbintr.htm))
洞山大師語錄序 T1986A – Dongshan Great Master Recorded Sayings Sequence
90
瑞州洞山良价禪師語錄 T1986B – Dongshan Liangjie Zen Master Recorded Sayings in Ruizhou (this is the version Powell
translated)
曹山大師語錄序 T1987A – Caoshan Great Master Recorded Sayings Sequence
曹洞語錄序 T1987B – Caoshan Recorded Sayings Sequence
人天眼目 T2006 – The Eyes of Gods and Men. (The Ninden Gammoku compiled by Hui-yen Chih-chao in the 12th century –
contains teachings of the five houses of Zen.) The Ninden Gammoku includes a number of commentaries on the five
positions: prose comments by Fenyang (汾陽)(Cleary translation in the Table below) Daowu(道吾), Hongzhi(宏智), Cuiyan
(翠巖), and Danxia (丹霞)(Tanka Shijun) among others and verses by Fenyang (Cleary translation included below), Fushan
(浮山)Fayuan (Linji line monk who helped the Caodong hosue continue), Hongzhi (Leighton and Wu translation included
below) and a number of others. It also includes Dahui’s (大慧) comments on the dialogue concerning the Five Positions of
Meritorious Achievement and Cuiyan’s comments on the verses. Additionally, there is Shishuang’s (石霜)(a disciple of
Fenyang) new formulation of the five positions using an entirely new set of terminology.
(The Digital Dictionary of Buddhism was also a useful resource – compiled by Charles Muller (at
http://www.acmuller.net/index.html))
“The five ranks are a teaching presentation originated by the Caodong (Soto) founder, Dongshan Liangjie. Originally
depicted in his teaching poem, the Song of the Precious Mirror Samadhi, these five positions elaborate the interrelationships of the
particular and universal, which have sometimes been symbolized in the Soto tradition in terms of lord and minister, host and guest,
upright and inclined, or teacher and student.” (Leighton and Okumura, footnote 54 on pg 228 of Dōgen’s Extensive Record.) The five
positions are primarily referenced in C18-20 of the Jewel Mirror Samadhi (C9, C42, C30, C44, C47 are also related to the five
positions, and more obliquely: C14, C21, C33, C45 and C46). Following upon Dongshan’s teaching of the five positions, his disciple
Caoshan elaborated on them extensively. Interest in the five positions continued in Caoshan’s line which died out after only a few
generations. Dongshan’s lineage was carried forth through another of his disciples, Yunju, who does not seem to have been interested
in the five positions. For many compilers, the teachings on the five positions defined the Caodong house of the 9th and 10th centuries.
The five positions were adopted by the Linji house apparently by Fenyang Shanzhao (947-1024). There was a revival of interest in the
five positions by Caodong monks in the 11th and 12th centuries. This renewed interest may have been spurred by Fushan Fayuan (991-
1067), a Rinzai lineage master and dharma nephew of Fenyang who was entrusted by Dayang Qingxuan (Taiyo Kyogen, d. 1027) with
the Caodong lineage and who passed it on to Touzi Yiqing (Tosu Gisei 1032-1082). Dogen was not enthusiastic about the teaching of
the five positions (see his comments under section m) below). There were further elaborations on the five positions in 17th and 18th
centuries by Soto monks in Japan. Hakuin’s interest in and commentary on the five positions (see section j) below) established the five
positions as an integral part of the Rinzai koan study curriculum to this day. Following is an introduction to the different texts
followed by translation and commentary comparison tables (sections c, d, e and f).
Dongshan’s Five Positions of the Apparent (偏 – literally inclined) and the Real (正 – literally upright) (section c below)
(These verses are referred to in two different ways in the two versions of The Record of Dongshan in the Taishō. In T1986A they
seem to be refered to as 五位顯訣並逐位頌 which is the basis from which Verdu refers to these verses by the title: 逐位頌
“Verses on the Sequence of Degrees” (alternately: Verses on Positions One by One). In T1986B they are entitled: 五位君臣頌 –
which is what Powell uses in his translation: “Gāthā of the Five Ranks, the Lord and Vassals” (this title is most likely a later editorial
addition influenced by Caoshan’s formulations of the five positions(see below), or it could be taken as an indication that Caoshan’s
formulation was actually composed before this set of verses which were later attributed to Dongshan).) This set of verses is the basic
textual starting point for the teaching of the five positions (although the Jewel Mirror Samadhi may predate this set of verses). It is
located in the Record of Dongshan. The translation of “rank” implies a sense of linear progression that is often not associated with the
term: 位 (see section g below for a mini-character study of the main terms used in the five positions), and a number of commentators
criticize viewing the five positions as a series of steps or stages in practice and realization. Dongshan’s verses are three line verses,
each line consisting of seven characters (or, if one counts the titles, they are four line verses, the first line containing only 3
characters). These verses are composed in a folksong style popular with poets of the middle and later Tang dynasty. Five translations
are offered for these verses in the table – Powell, Cleary, Cleary and Cleary, Luk and Wu. Also see the Hakuin commentary (section j
below) for R.F. Sasaki’s translation and Hakuin’s commentary, the Aitken section (r) below for his translation and commentary, and
the Verdu section (t) below for his translation and commentary (pp.121-129). (Dumoulin claims that while the titles of the five
positions probably come from Dongshan, Caoshan actually composed the three-line verses.) (There are two titles of the fourth
position, as Lai explains: “Because of the influence of a redaction in Sung, one of the wu-wei terms (p'ien-chung-chih偏中至) had
also been rephrased as ‘Approaching amidst both’ (chien-chung-chih兼中至).”)
The arrangement of hexagrams displayed in the table is what some in the tradition seem to agree on (for a derivation see the
note to C19), although there are certainly many other possibilities (see the Luk table below (for the version with trigrams for the first
two positions instead of hexagrams), the Verdu section (t), Lai’s article and Sheng-yen for some alternatives). (One possible way to
approach this set of hexagrams is to view the wind trigram ☴ (doubled) (of the first position) in terms of its function of penetrating –
that is, penetraing through phenomena to emptiness. In the second position, the reflective quality of the lake trigram ☱ (doubled)
could represent clearly observing phenomena as manifestations of emptiness. The third and fourth positions then represent two
modalities of bringing the realization of emptiness and phenoemna together, wind-lake and lake-wind . The fifth position, the
91
double li hexagram , then represents a total integration where the wind and lake trigrams, while embedded, are now enmeshed,
interwoven and inseparable.) (See the I Ching section above for translations of the basic entries for these five hexagrams, including the
Judgement, Image and changing lines.)
The Jewel Mirror Samadhi correlations are from Luk.
The Fenyang (汾陽) verses and prose comments are translated by Cleary and Cleary. Fenyang Shanzhao, 947-1024, was one
of the great ancestors of the Lin Chi house of Ch'an, noteworthy for his development of the kung an as a tool in Ch'an study. One of
his points was to show the unity of the essence of Ch'an in the midst of the various methods which had evolved in the streams of
Ch'an teaching over the preceding three hundred years. He was a student of the Caodong lineage before receiving the Linji line
transmission. He introduced the Five Ranks into the Linji stream with his poems on the "Five States." Fenyang used Dongshan’s
titles for the five positions, but apparently changed the order, placing the third position before the first (such that his order is:
3,1,2,4,5 – his verses have been re-ordered on this table so as to line up with the corresponding positions of Dongshan, but note this
is not the order Fenyang employed).
The Genjo Koan (現成公案) (by Dōgen 道元) correlation was offered by Mel Weitsman in a class (transmitted by Greg
Fain) (from Dogen’s Shobogenzo, 正法眼藏)
Hongzhi’s (宏智) verses, translated by Leighton and Wu, also include Dongshan’s titles. Hongzhi Zhengjue (1091-1157)
collected the cases and composed the verses of the Book of Serenity.
Torei Enji (1721-1792) was one of the main disciples of Hakuin. Included are excerpts from his commentary and in
parentheses, excerpts from Daibi Unkan’s contemporary commentary.
The table then contains a few different brief summaries or overviews of how to interpret the five positions – from Powell,
Leighton, the Shambala Dictionary of Buddhism and Zen, and Cleary (note: the Shambala dictionary commentary seems to reverse the
emphasis of the 1st and 2nd ranks in comparison with the other commentaries).
The table concludes with some correlations between the five positions and other Buddhist teachings: the 8 consciousnesses,
4 wisdoms and 3 bodies discussed in Hakuin’s commentary as well as the 4 dharmadhatus (with illustrations by Wan-ju T’ung-che
(from Original Teachings of Ch’an Buddhism)).
Dongshan’s Five Degrees of Meritorious Achievement 功勳五位頌 (section d below): The textual basis for these
teachings are a dialogue and a set verses from Dongshan’s record. While there is some contention about whether the five positions are
progressive, there seems to be agreement that this set of the five degrees is progressive. A simple one-to-one correlation between the
two sets of five positions would thus seem questionable. Cleary writes, “The so-called five ranks of accomplishment are slightly
different and are all subsumed within the relative until the ultimate point when there is complete integration.” Dumoulin writes
that this set “introduces a new perspective by thematizing an ethical, ascetical development that differs from the noetic
orientation of the basic formula. In any case, it is uncertain whether the insights of full enlightenment are present already in the
earlier ranks or only on the fifth rank of perfection.” Aitken’s commentary below (secion o)), however, goes through the modes
in each set side-by-side, implying some correlation. The Ninden Gammoku (人天眼目), “The Eye of Gods and Men,”
(compiled by Hui-yen Chih-chao) contains a chart which presents a simple one-to-one correlation between the five positions in
terms of upright (正) and inclined (偏) and the five positions of meritorious achievement (功勳五位) (T2006 p0316b20-b25).
Translations of Dongshan’s verses are offered from Powell, Luk, Wu and Aitken. Also see the Verdu section (t) below
for his translation and commentary (pp. 141-149).
Translations of the dialogue are offered from Powell and Verdu. The Verdu section (t) below also contains an interesting
and detailed interpretation of the dialogue by Yuan-hsien (pp 151-155). (In the Ninden Gammoku and the untranslated version of
Dongshan’s Record (T1986A) there is a longer version of these prose comments by Dongshan.)
Then there are three contemporary commentaries - brief excerpts from a class by Mel Weitsman, and passages from Wu and
Nukariya.
Caoshan’s Five Positions of Lord and Vassal 五位君臣 (section e below). Caoshan Benji (840-901) was one of
Dongshan’s most important disciples and is remembered in large part for his elaborations on the teachings of the five positions,
especially in terms of lord and vassal, host and guest. Caoshan devised new titles for the five positions employing these terms (see
below for discussion of some of the complications involved in how these titles correlate with Dongshan’s titles). (The table also
includes a second set of titles from Luk – apparently from the text he cites: “The Finger Pointing at the Moon” Zhiyuelu.)
Caoshan also introduced the use of circle diagrams into his expositions of the five positions. Circle diagrams were a device
used at various times in Chan – before Caoshan, Guishan and Yangshan made use of a set of 97 or 100 circle diagrams and Tsung-mi
also employed cricle diagrams, often in sets of 10. The most well-known set of circle diagrams is probably the set of 10 ox-herding
pictures. The diagrams displayed here reflect the ones in the Taisho edition of these texts. The later innovation of the crescent
diagrams for the 1st and 2nd ranks are displayed below with Luk’s translation (Lai suggests these were imported from Tsung-mi).
Caoshan composed 4-line verses, each line containing 7 characters. Translations are offered here by Lai and Luk. Luk has
changed the order of the verses in relation to the diagrams 1, 4, 2, 3, 5, stating that the compiler of the collection ‘Five Lamps Meeting
at the Source’ mistakenly presented the verses out of order. It is unclear as to what source he is relying on for his re-ordering. This re-
ordering by Luk has not been preserved here (diagrams have been included with his verses to align with the correlation he claims).
The Record of Caoshan presents the same order as Lai and Verdu. The Verdu section (t) also contains a translation and commentary
on this set of verses (pp159-168).
Then there are contemporary commentaries by Lai, Sheng-yen and James Ishmael Ford on Caoshan’s formulation of the five
92
positions.
Next, another passage from the Record of Caoshan (T1987A & B) is introduced which Verdu calls the “Clear Determination
of the Five Degrees” (五位顯訣) (also called “Manifestation of the Secret(or Mystery) of the Five Degrees”). Included in the table
are translations by Lai, Cleary and Verdu. Lai calls these the “Exoteric verses” and attributes them to Dongshan whereas Verdu
attributes them to Caoshan. They appear in the Record of Caoshan with interlinear commentary under the title:
解釋洞山五位顯訣 – “Elucidation of Dongshan’s Clear Determination of the Five Positions.” The title thus suggests that they
may have been composed by Dongshan and included in the Record of Caoshan with Caoshan’s commentary. A translation (by Cleary)
of the full passage with the interlinear commentary can be found below: h) Caoshan’s Elucidation of Dongshan’s Five Ranks. This
rendition of the five positions focuses on the relation of words and no-words, speech and silence, which is also a major theme in the
Jewel Mirror Samadhi (see for example: C5, 11, 16, 17, also 28, 29, 30, 32 (and implicitly, the title, 21, 42 (singing))). Verdu seems
to have left out the passage on the second position (pg 170). The Cleary and the Verdu translations of the excerpt are continued after
the table. (Also see the Lai section (o) below for his commentary and the Verdu section (t) below for his commentary, pp. 170-172.)
Then there is another passage from the Record of Caoshan which Verdu calls the “Last Words on the Meaning of the Five
Degrees” (五位旨訣) (also referred to as the “Secret Meaning of the Five Degrees”). Verdu does not translate the first part of this
section, only the translation by Cleary is offered here. The second section is offered with translations by Cleary and Verdu. (Also see
the Verdu section (t) below for his commentary, pp. 172-177.) In the first part of this passage, Caoshan employs Dongshan’s version
of the titles, but in a different order (as can be seen from the “Dongshan correlate” row). The second part also makes reference to
Dongshan’s titles, but in the same order as Dongshan. (See below for further discussion of the question of the order of the five
positions.)
Introductory prose comments to and a dialogue on the five positions from the Record of Caoshan (section f below): This is
another passage from the Record of Caoshan. It serves as a kind of introduction to the teaching, as it is the first passage on the five
positions encountered in the Record of Caoshan. The text consists of a prose passage (here divided into five expressions regarding the
five positions, the fifth of which is longer and spills over into a row of its own, followed by another series of five expressions
regarding the five positions) followed by a dialogue (here divided into five parts corresponding to the five positions) and concluding
with final remarks from Caoshan and a verse. Translations by Lai, Cleary, Luk and Verdu are offered for the prose passage (see the
Verdu section (t) for how this passage appears without the divisions employed here, p 157). Translations by Lai, Luk and Cleary are
offered for the dialogue and by Lai and Luk only for the final remarks and verse. (The excerpts from Lai’s article below (section o
include his comments on this passage.)
Caoshan’s titles suggest that if a correlation can be made between his version of the five positions and Dongshan’s, that
positions 3 and 4 seem to have been switched with 1 and 2 as follows (especially taking into account the “older” version of
Dongshan’s 4th position):
Dongshan Caoshan
1. The Partial within the True 3. Host looking at the Guest
2. The True within the Partial 4. Guest looking at the Host
3. Coming from within the True 1. Host
4. Coming from within both together 2. Guest
(“older” version: 4. Arriving in the Partial) (2. Guest)
5. Arriving within both together 5. Host and Guest in harmony
This in fact is the order described by Dumoulin and Lai (section m below) although both of them do not correspondingly change the
order of the circle diagrams. It could be argued that the order in which Caoshan initially discusses the five positions (in the
Introductory prose comments to and a dialogue on the five positions from the Record of Caoshan (section f below)) was for the
purposes of creating ease in explanation – describing the dialectically more basic positions of the lord alone and the vassal alone first,
then the more involved positions after that – vassal facing the lord and lord facing the vassal. This section is followed by the diagrams
and Caoshan’s verses – which are not explicitly associated with titles in the Record of Caoshan (the second verse contains what may
be a title: 正位, which in turn may be the basis for Luk assigning this verse to the third diagram/position). Thus, it could be argued that
Caoshan here presents the diagrams and verses in either order: lord, vassal, vassal facing the lord and lord facing the vassal or, vassal
facing the lord, lord facing the vassal, lord and vassal. The graphical form of the diagrams (without themselves being re-ordered)
suggests the re-ordering as the enclosed circle diagrams (numbers 3 and 4) seem to be reasonable representations of the lord alone and
the vassal alone whereas the half-moon diagrams (numbers 1 and 2) seem to be good representations of the vassal facing the lord and
lord facing the vassal. Still, there is the fact that in the introductory passage and dialogue, Caoshan goes through the five positions
three distinct times all in the same order: lord, vassal, vassal facing the lord and lord facing the vassal. However, the “Clear
Determination of the Five Degrees” and the first part of the “Last Words on the Meaning of the Five Degrees” sections (see below)
also in the Record of Caoshan suggest the correlating order of vassal facing the lord, lord facing the vassal, lord and vassal as these
passages closely or literally follow the dialectic of Dongshan’s titles (while the second part of the the “Last Words on the Meaning of
the Five Degrees” section follows the 3, 4, 1, 2, 5 order using Dongshan’s terminology). Dumoulin and Lai seem to be relying on an
unmentioned traditional source for their re-ordering. Luk (and others, such as Verdu in his study) correlate Dongshan’s and Caoshan’s
versions of the five positions without changing the order, as displayed in this diagram from Luk’s presentation (see diagram
below)(although, as noted above, Luk changes the order of Caoshan’s verses (his re-ordering is different from the 1-2 / 3-4 swtich)).
93
The chart in the Ninden Gammoku presents the same set of correlations (T2006 p0316b20-b25). There are complications and
problems and potentially helpful clarifications in either way of correlating the two sets. In the tables below, Caoshan’s orders as they
are presented in his record are preserved (given the complications in determining what should and what should not be re-ordered and
the fact that re-ordering may obscure part of what Caoshan wanted to express in terms of his own presentation of the five positions).
The five positions teachings thus present a nest of complications and problems – including, as discussed above – the
relationship of Dongshan’s two versions of the five positions, the title of 4th position, speculations regarding the I Ching diagrams
associated with the five positions, the relationship of all these to Caoshan’s diagrams and new terminology for the five positions,
various questions about the order of the five positions in Dongshan, Caoshan and Fenyang, and so on into Shishuang’s reformulation
and later Shingon and Neo-Confucian formulations discussed in Verdu’s work. We can wonder if this is really something to sort out.
Finding correlations can deepen the meaning and bring richness to the mutually involved correlates, but it can also slip into a kind of
reductionistic approach. Dongshan, Caoshan, Fenyang, Shishuang, and so on kept turning this teaching of the five positions. Perhaps
they were trying to help students not get fixated on a certain presentation of the five positions. Creating a system of explanation has a
powerful and alluring appeal, but it can kill what was at one time a living teaching. Encountering the complexities and contradictions
of these teachings, is there actually a deeper agreement underlying all of this, an agreement but not a system? Or a constantly turning
system, to help us from getting mired in any system?
Looking for a cohesive vision of the Five Positions among all the different versions and orderings is mired with problems.
However, imagining Dongshan, Caoshan and others, returning the the teaching device of the 5 Positions at various points in their
teaching careers, and then reordering, editing, turning and changing the teachings each time to meet the evolving circumstances of
themselves and their students, rather than a nest of complications, the Five Positions are alive like everything else and only become
complicated when we want them to work out in some fixed way. The various incommensurable versions of the Five Positions can then
be enjoyed as a field of play rather than a system to grasp. The Five Positions can be studied finding a middle way between grasping
them as a system, as a series of stages and goals on one hand, and neglecting or disregarding them as irrelevant, overly conceptual and
inspring gaining idea. They are offerings to help us, especially in navigating beyond initial insights into the full flowering of practice.
At issue with the order of the positions are various dialectical interpretations (or not at issue, as the non-progressing, non-
polarity option below would render the question of order meaningless). Some of the dialectic possibilities suggested in interpreting the
five positions include:
1-2 polarity, 3-4-5 progression - implied in Dongshan’s titles, also see Mel’s comments (section p below)
1-2 polarity, 3 as pivot, 4-5 polarity - implied in Luk’s vajra diagram (notes to C19), also see Mel’s comments
1-2 polarity, 3-4 polarity, 5 all-inclusive, totalistic - see Verdu (section t below) and Lai (section o below)
1-2-3-4-5 progression - most of the interpretations include some version of this
1-2-3-4-5 no progression or polarity - Mel and others mention this possibility, also a translation question for 位.
We do not have to get too involved with the complications of the dialectical issues involved in interpreting the five positions
to simply appreciate that they offer a dialectic of the seeming and the real that is a teaching in and of itself. Dongshan saw his
reflection in the stream, but instead of saying that he meets himself everywhere, he says, “everywhere I meet him.” He then clarifies
“him”: “He is now no other than myself, But I am not now him”(see C13 and notes). Like the snow in the silver bowl (C3), the light
and the dark (in C9), the seeming and the real (C18 and the five positions), drumming and singing (in C21), the wooden man singing
and the stone woman dancing (C42), the minister and the lord (C44), we see here a relationship between the relative and the ultimate
that is intimate and dialectical.
94
What is the import of this intimate dialectic of the seeming and the real? On one hand, we can say that it shows us how what
we do matters in that how we relate in and to the phenomenal world is pertinent to realization. On one level, this applies to paying
close attention to our conduct with the guidance of the precepts. On another, it is that just how the seeming is is itself the door to the
real because the real is totally intimate with the seeming just as it is now. Trying to change things in the realm of the seeming closes
the door – we have the practice or method of thusness (C1), of being just this person, niether moving nor ignoring (C6), niether
touching nor turning away (C7), tuning in precisely and completely (C27). Just this is the particularization of the ultimate. We need
look no further (Dongshan’s poem: “Earnestly avoid seeking without”). The practice is to totally be with the seeming as it is. This is
the mirror mind. On the other hand, realization matters, it is pertinent to the phenomenal world. It can function in the world through
us for the benefit of beings, by virtue of this dialectic intimacy. This is the functioning mirror, the principle of response – drumming
and singing, serving and obeying, offering the dharma (see C5(responds to the inquring impulse), C21(drumming), C32(bestowing),
C41(arrowpoints), C45(filial and serving), maybe C38-39(low and wide-eyed)). This seems to relate to the third, fourth, and fifth positions
– it has three levels or qualities of depth.
95
c) Dongshan’s Five Positions of the Apparent and the Real (逐位頌 Verses on Positions One by One) (also see Hakuin & Verdu sections below)
Dongshan’s titles
1. 正中偏 -The Apparent Within 2. 偏中正 -The Real Within 3. 正中來 -Coming From Within 4. 兼中至 -Arriving in Both 5. 兼中到 -Attainment in
the Real (Shochuhen) the Apparent (Henchusho) the Real (Shochurai) Arriving in the Apparent 偏中至 Both/Unity Attained (Kenchuto)
Dongshan verses 三更初夜月明前失曉老婆逢古鏡無中有路隔塵埃兩刃交鋒不須避不落有無誰敢和
on the five
positions 莫怪相逢不相識分明覿面別無真但能不觸當今諱好手猶如火裏蓮人人盡欲出常流
隱隱猶懷舊日嫌休更迷頭猶認影也勝前朝斷舌才宛然自有沖天志折合還歸炭裏坐
Dongshan verses At the beginning of the night’s third watch An old crone, having just awakened, Amidst nothingness is a road far from the dust. (Going Within Together ) Two Falling into neither existence nor
(Powell) (midnight), before there is moonlight, don’t comes upon an ancient mirror; that If you are simply able to avoid the reigning nonexistence, who dares harmonize?
swords crossed, neither permitting
be surprised to meet yet not recognize what which is clearly reflected in front of her monarch’s personal name, then you will People fully desire to exit the
retreat: dexterously wielded, like a
is surely a familiar face from the past. face is none other than her own likeness. surpass the eloquence of former dynasties. constant flux; but after bending and
lotus amidst fire. Similarly, there
Don’t lose sight of your face again and is a natural determination to fitting, in the end still return to sit in
go chasing your shadow. ascend the heavens. the warmth of the coals.
Dongshan verses In the third watch, beginning of the night, A woman who’s overslept encounters an Within nothingness is a road out of the dust; When two blades cross, no need If you are not trapped in being or
(Cleary – before the moon is bright, do not wonder at ancient mirror; clearly she sees her face just be able to avoid violating the present nonbeing, who can dare to join you?
to flee; an expert is like a lotus in
Kensho) meeting without recognition; still held - there is no other reality. Nevertheless, taboo name and you will still surpass the fire - clearly there is a spirit Everyone wants to leave the ordinary
hidden in the heart is the beauty of former she still mistakes her reflection for her eloquence of yore that silenced every tongue. spontaneously soaring. current, but in the final analysis you
days. head. come back and sit in the ashes.
Dongshan In the middle of the first night, before the At dawn an old woman encounters an Within nothingness there is a road out of the When the two swords cross He does not fall into being or non-
(Cleary and moon shines, no wonder when they meet, ancient mirror; clearly she sees her face dust. If you can just avoid violating the present points, there’s no need to with- being - who dares to associate with
Cleary – Blue they don’t recognize each other: each is - there is no other reality. Don’t go on taboo name, you’ll still surpass the eloquent draw. A good hand is like a lotus him? Everyone wants to get out of
Cliff Record) hidden, still embracing the aversion of mistaking the image for the head. ones of former dynasties who silenced every in fire - clearly he naturally has the ordinary flow, but after all he
former days. tongue. the energy to reach the heavens. returns and sits in the ashes.
Dongshan verses Early in the evening, before the moon At dawn an ignorant old woman finds Hard though it be there is a way to keep free There is no need to avoid crossed Who can be tuned to that beyond
(Luk))(Luk’s shines, no wonder they meet without her ancient mirror wherein she clearly from dust. Today’s ability to avoid what is swords. A good hand, like a lotus what is and what is not? Though all
comments in knowing one another, (for) still hidden is sees her face which cannot be forbidden surpasses yesterday’s most eloquent blooming in a fire can leap right men want to leave the everflowing
parentheses) their mutual aversion! (moonlight elsewhere. No more will she reject her discussion! (it is forbidden to abide in this through the sky! (crossing of stream, each is still sitting in dark-
symbolizes enlightenment) head by grasping at its shadow. (the old position and cling to the “mean”) swords is the clash between the ness black as charcoal. (stream=
woman symbolizes antiquated prejudices) seeming and the real) suffering, dark=not to know practice)
Dongshan verses In the dusk of early evening, before the The dawn has come to the surprise of an In a cloud of dust he follows a secret road There is no need to avoid their Beyond the “is” and the “is not.”
(Wu) moon has risen, it is little wonder if you old woman, and she chances upon an beyond the reach of dust. He excels in keeping crossed swords! The experienced Who dares to follow the rhymes of
fail to recognize the person you meet. antique mirror, in which she sees clearly unsaid things tabooed at present. Yet he says soldier blooms like the magical his poetry? Let others aspire to the
Dimly, dimly, you approach him as a and distinctly her own face, so different more than the most eloquent tongues of the lotus amidst fire, while all the extraordinary! He is happy to return
stranger with your habitual suspiciousness. from all the images she had formed of past. time his heroic wishes pierce home and sit amidst ashes!”
herself! From now on, she will no longer beyond the skies. (enveloped in complete darkness, the
ignore her own head & grasp at its mere Mystery of Mysteries)
shadows.
I Ching 57. 巽 Xun
Hexagram
58. 兌 Dui 28. 大過 Da guo 61.中孚 30. 離 Li.
Gentle, Penetrating Joyous Preponderance Zhong fu. Inner Clinging
(Yanageida)
of the great truth
Jewel Mirror It is bright just at midnight. (C9) It doesn’t appear at dawn (C9) True eternity still flows (C30) Ministers serve their lords, Just to continue in this way is called
Samadhi (Luk) children obey their parents (C44) the host within the host (C47)
Fenyang – verses The thunderous roar of cutting dynamism - See the wheel-turning king; enforcing The jewel sword of the diamond king sweeps A three-year old golden lion; his Great glory is effortless; quit making
(Cleary trans. to watch for the sparks and lightning is still the true imperative, with seven regal the skies with a spiritual light; it shines freely teeth and claws are all there - all a wooden ox walk. The real one goes
Fenyang’s order: dull thinking; hesitate and you are a treasures and a thousand sons. throughout the world like a crystal, its clear demons and apparitions faint at through the fire - the wonder of
3, 1, 2, 4, 5) thousand mountains away. Everything accompanies him on the radiance free of dust. the sound of his roar. wonders of the King of Dharma.
(from Blue Cliff Record Appendix) road, still he seeks a golden mirror.
Fenyang prose The relative within the absolute -- the The absolute within the relative – hair Coming from within the absolute is lotus Arriving in both - spirit does not Simultaneous realization - the jade
section (the order moon is bright at midnight, the sun must tip becomes a huge tree, a drop of water flowers blooming on parched ground -- their come from heaven or earth; how woman casts the shuttle on the
in Cleary’s greet the dawn. (Fenyang’s order: 2) (see becomes a river. (Fenyang’s order: 3) golden calyxes and silver stems are bathed in can heroism depend on the four whirring loom, the stone man beats
translation is C9) jade dewdrops. The eminent monk does not sit seasons for its impulse? the drum, boom boom. (see C42)
3, 1, 2, 4, 5) (from Blue Cliff Record Appendix) on the phoenix pedestal. (Fenyang’s order: 1)
Genjo Koan To study the Buddha way is to study the To study the self is to forget the self To forget the self is to be actualized by myriad One’s body & mind & the bodies No trace of realization remains and
correlation (Mel) self things & minds of others drops away this no trace continues endlessly
96
Hongzhi The blue sky clears and the River of Stars’ Ocean and clouds rendezvous at the top In the moonlit night the huge sea monster Meeting face to face, we need not The Big Dipper slants across the sky
(Leighton and (Milky Way’s) cold flood dries up. At of the spirit mountain. The old woman sheds its scales. Its great back rubs the heaven, shun each other’s names. In the before dawn. In dewy cold the crane
Wu) midnight the wooden boy pounds on the returns with her hair hanging down like and it scatters clouds with its wing feathers. changing wind, no injury to the begins to wake from its dreams. As it
moon’s door. In darkness the jade woman white silk and shyly faces the mirror Soaring here and there along the bird’s path - it profound meaning. In the light, a flies out of the old nest, the pine tree
is startled from her sleep. coldly reflecting her image. is difficult to classify. road to the natural differences. up in the clouds falls over.
Torei (Okuda); The Apparent within the Real is the direct If you wish to enter into the Samadhi of “Within MU (no-thing) is the Way that leads When after Coming from within Look! The Rank of Unity Attained -
(words in seeing into the True Nature. Though al- the Real within the Apparent, you need out of the dust and dirt.” Within MU all is the Real (one) has found a special why has it been set up? With what
brackets: Daibi ready seen into, yet the energy/strength (of to do Sanzen on the Nanto (difficult to completed (in harmony, at one) and fully life, he is to reflect on the rank of kindness and skill did the old master
Unkan’s modern this seeing) is still weak. Consequently, the penetrate) Koans...The wonderful distinguished; thus striving on zealously in the Arrival at Mutual Integration and reach down a helping hand so as to
commentary) law of differentiation is not yet very clear, principle of differentiation reveals itself training, in the end there’s nothing to be for himself see why it has been enable you to penetrate the One
as a mirror beclouded with dust and grime in all things. As the differentiations attain-ed. This is called “the Way comes to an established. (Master and pupil Principle (very essence) of seeing
does not reflect things clearly and become clear, root and origin become end”. But it is essential to advance still further. having crossed blades, lunge and into the True Nature! (An old master
distinctly; or as when reading a book by ever more clear…[and] so the (A Bodhisattva trained in the Great Vehicle lunge, there is not the fraction of said that the criterion for the
moonlight, the writing is not quite clear. differentiations become even clearer. does not consider it sufficient to attain Satori an inch’s opening...This is the extinction or ending of the
(koans such as “MU” or the “Single Hand” When both have become perfectly clear, and peace of heart for himself alone. He brings place where the purpose of the transformations is that the query for
are given to begin with to make trainees there is not even a shadow of an image forth the heart of great compassion… indepen- training gets clear, the merging of the principle of the Rank of Unity
penetrate into the True Nature...But though left between...yet this is not to be dent & effortless in the ocean of birth & death.) light and dark.) Attained has fallen off.)
the True Nature has been seen into, because confused with not recognizing anything (Torei 2nd position cont) free functioning in everyday life. It is now particularly necessary to strive on with all one’s
of long habitation in delusions and in the at all and thinking, “This” (is might, so as to lend color to it until it pervades the whole body. Do not be deceived and allow feelings of ease to arise in
afflicting passions, the seeing is not yet ve- it)!...Within the Principle of seeing into the heart. (The crux of the training is in this rank...As long as you have…a clear mirror, you still have something; only
ry clear….training after Satori is essential.) the True Nature is the (cont.) when the mirror is smashed, is the One Way truly entered...one should train in this Samadhi for 3 years.)
Powell summary Form is emptiness – experiencing how all Emptiness is form – truth of emptiness A focus on the real - absorption in emptiness, Emptiness is not different from Neither form nor emptiness is
things are empty manifests in phenomenal events as in meditation form - things are experienced as emphasized –realization transcending
identical to emptiness the first 4.
Taigen’s seeing phenomena against the backdrop of seeing the ultimate universal in each or emerging silent and shining from the using both particulars & the sense freely using the phenomenal or in-
summary ultimate void any one phenomenal event experiential state of union with the ultimate of the universal with familiarity effable reality w/o attaching to either
Shambala (hen in the midst of sho); on this level of (sho in the midst of hen); in this second ([the one] coming out of the midst of sho) this (entering between the two [polar (arrived in the middle of both); form
Dictionary of experience the world of phenomena stage of enlightened experience, the is an experience in which there is no longer aspects]); at this stage each thing & emptiness fully interpenetrate each
Buddhism and dominates, but it is experienced as a quality of nondistinction comes to the any awareness of body or mind-both "drop is accorded its special uniqueness other. From this ...arises self-evident,
Zen manifestation of the fundamental, our true fore and the quality of manifoldness completely away." This is the experience of to the greatest degree; emptiness intentionless action, that... instant-
nature. fades into the background. emptiness has vanished into phenomena. taneously suits …circumstances
Cleary (intro- the relative within the absolute - one the absolute within the relative is a state coming from within the absolute does not leads to the fourth rank - arrival simultaneous arrival in both relative
duction to the practices detachment and interruption of of merging with the environment, remain in this equanimity, and turns to in the relative - mastery of & absolute - consummation of har-
Book of Serenity mental habits, thereby gaining a measure of achieving a kind of unity of subject and development of observation and action that… action in the world. mony & integration of transcendence
freedom and rest from compulsion and object, sometimes likened to being like a (Cleary 2nd position continued) the mental scattering caused by excessive & being in the world…a mirror spin-
(the next 3 rows confusion. Detachment alone, however, is mirror. This capacity to be totally attention to past or future, is also eventually shunned, called in Chan terminology ning, the back dark side of detach-
relate to Hakuin’s called a pit or a cave in Chan lore and absorbed in the present, however, while “falling into the present,” because it lacks the faculty of discrimination necessary ment & transcendence seeming to
comments) shunned as a perilous indulgence… useful for breaking through (cont…) for the person to be fully effective in the world. merge w/ the functioning bright side
8 Consciousness- 8th – Alaya-vijñāna - Storehouse consciousness 7th – Klista-mano-vijñāna – defiled thought 6th – Mano-vijñāna – mind 1st – 5th – pañca vijñāna - five sense
es 八識 asṭa- 阿頼耶識 (The repository of all the impressions consciousness末那識 (manas) (Based on consciousness 末那 consciousnesses 五識 (caksur sight
vijñānāni (Yoga- from one's experiences, the base consciousness 本識, Alaya, considered the cause of the view of self. (The thinking mind or mental 眼, srotra hearing 耳, ghrāna smell
cara 瑜伽行派) The 8 conscious- store consciousness 藏識, or seed consciousness 種子識.) The mind organ – the ability to think.) sense, seeing things as external.) 鼻, jihvā taste 味, kāya tactile 觸)
4 Wisdoms nesses transform Great Reflecting Wisdom Wisdom of the Equality in Nature Subtle Observing Wisdom pratya- Wisdom of Fulfillment of Deeds
catvāri-jñānāni into the 4 ādarsha-jňānam 大圓鏡智 samathā-jňānam 平等性智 veksanā-jňānam 妙觀察智 krityānusthāna-jňānam 成所作智
四智 wisdoms As a great round mirror reflects all forms exactly as they are, so Wisdom of knowing the nature of (essential) wisdom of unerring cognition that wisdom of achievement of the
which in turn does the wisdom of the Buddha. A clear, undefiled mind identity…understanding the equality of all operates freely, without restriction Buddha vow and unrestricted
manifest mind & mental functions acting in concordance with wisdom things, due to the realization of emptiness. [and] fully observes the object activity, saving all beings
3 Bodies the 3 bodies. Dharmakaya (Reality Body) 法身 Sambhogakaya (Enjoyment body) 報身 Nirmanakaya (Emanation Body) 化身, 應身
trikaya 三身 (transcendence of form & realization of true thusness, ultimate reality) (enjoyment of merits attained as a bodhisattva) (manifested in response to the need to teach sentient beings)
4-fold Dharma- realm of individual phenomena realm of the one principle realm of non-obstruction principle realm of non-obstruction between
dhatu 四法界事法界理法界 & phenomena 理事無礙法界 phenomena 事事無礙法界
Illustration given Staying in the market, engaging in all kinds of work, one is entitled to thirty blows, Staying on top of the solitary peak, …one may On top of the solitary peak yet in Know where I’ll be? Holding a staff
by Wan-ju neglecting cultivation of li, or reality, or non-action. swallow all Buddhas…but neglects all beings. the market. In the market yet on sitting in front of the door. Lion,
T’ung-che (from also given 30 blows for neglecting shih/action. top of the solitary peak, I have elephant, fox, wolf – all get my
CC)(excerpts) nothing to offer. blows in like manner.
97
Titles
向 –Looking upon 奉 -Serving 功 -Accomplishing 共功 -Accomplishing 功功 -Accomplishment of
mutually accomplishment
Dongshan 聖主由來法帝堯。淨洗濃粧為阿誰。枯木花開劫外春。眾生諸佛不相侵。頭角纔生已不堪。
verses
御人以禮曲龍腰。子規聲裏勸人歸。倒騎玉象趁麒麟。山自高兮水自深。擬心求佛好羞慚。
有時鬧市頭邊過。百花落盡啼無盡。而今高隱千峰外。萬別千差明底事。迢迢空劫無人識。
到處文明賀聖朝更向亂峰深處啼月皎風清好日辰鷓鴣啼處百花新肯向南詢五十三
Dongshan The sage kings from the beginning made Yao the For whom do you wash your The blooming of a flower on a sear old Ordinary beings and Buddha have no Can’t stand head sprouting horns anymore;
verses (Powell) norm; he governed the people by means of rites face and apply makeup? The tree, a spring out-side of kalpas; riding truck with each other; mountains are when the mind rouses to seek the Buddha,
and kept his dragon-waist bent. When once he sound of the cuckoo’s call backwards on a jade elephant, chasing naturally high, waters naturally deep. it’s time for compunction. In the
passed from one end of the market to the other, urges one home; countless the ch’i lin (mytho-logical dragon-like What the myriad distinctions and unimpeded vista of the Kalpa of Emptiness,
he found that everywhere culture flourished and multitudes of flowers have beast). Now hidden far beyond the numerous differences show is that where when no one is perceived, why go south in
the august dynasty was celebrated. fallen, yet the cuckoo’s call is innumerable peaks, the moon is white, the chukar cries, many flowers are search of the fifty-three?
not stilled; going farther into the breeze cool at the approach of blooming.
the jumbled peaks, in deep sunrise.
places its call continues.
Dongshan Following the example set by emperor Yao, the For whom is the elaborate The flowering of a withered log Buddhas and living beings do not hinder The rearing of the head’s horn shows (its)
verses (Luk) prince teaches morality to his people. At times toilette (formal attire) now (heralds) an eternal spring. Hunting a one another. The mountain may be high unworthiness. A mind set on the quest of
he passes by the noisy market place, while all discarded? The cuckoo’s call unicorn a man rode backwards on a jade and deep the water; in the midst of Buddhahood is shameful indeed! Since the
men welcome his royal rule. (stage of shift - urges a traveler to turn home; elephant. Now he dwells alone beyond a contraries clear understanding wins the far distant empty aeon no one yet has
although the prince/real sometimes mixes with its note continues when all thousand peaks, blessed with bright day, (and yet) the partridge calls among known that which journeyed South to visit
people/seeming in the crowded market place, flowers have fallen, echoing moonshine and pure breezes. (stage of a myriad fresh flowers. (stage of three and fifty (sages). (stage of absolute
they do not recognize him but admire his royal deep among the intermingling achievement - the withered log is collective achievement - hundreds of achievement - the head’s horn is a Ch’an
rule) peaks. (stage of submission - nondiscriminating mind, the jade or flowers symbolizes myriads of forms, idiom for feeling and grasping, since the
the “inner cuckoo’s call” urges white elephant symbolizes the partridge calls symbolizes myriads of empty aeon preceding the creation of our
the student to return to his self- immaculate Way, backwards is going sounds) universe no one has known the absolute, in
nature as long as old habits against the stream of birth and death the Avatamsaka Sutra Sudhana journeyed
remain) instead of following the worldly way, to the south to realize Buddhahood by
the unicorn is a fabulous auspicious calling on fifty-three enlightened ones
animal which symbolizes the supreme without knowing that it was just his mind
goal) that he should realize)
Dongshan All holy rulers have patterned themselves upon For whom have you stripped The withered trees flower into a new There is no conflict between the As soon as your antennae begin to stir, it is
verses (Wu) Emperor Yao, who treated his people with yourself of your gorgeous Spring far, far away from Time’s Buddhas and all the living beings. The already an intolerable misery. The slightest
respect and humility. Whenever he passed by dress? The cuckoo’s call is kingdom. The hunter of the Unicorn mountains are of themselves high as intention to pursue Buddhahood is a cause
crowded markets and streets, he was hailed by urging all wanderers to return rides backwards on a jade-white waters are of themselves low. All for shame. In the endless empty eons
all his people for his benevolent government. home! Even after all the elephant. Care-free, he makes his lofty distinctions in kind or in degree - what nobody has ever intimately known that
(stage of admiration/attraction/aspiration - flowers have fallen, it will home now beyond the myriad peaks, do they prove? Wherever the partridge which journeyed South visiting fifty-three
disciple aspires to master’s conduct and wisdom) continue its call in the thickets where clear moon and pure breeze fill cries, flowers of all kinds are blooming enlightened ones. (stage of fruition of
of wood among the jagged him with happy days. (stage of fruition - afresh! (stage of multiple/reinforced fruition - True Self cannot be known by
peaks. (stage of willing period of rest and delight; the reverse fruition - freedom from discriminating anyone)
submission - disciple ride evokes the idea of childlike tendencies and habits, disciple and the
wholeheartedly embraces trustfulness) world coming to fruition together)
meditation and strict discipline;
in Chinese, cuckoo’s call
sounds like “time to return
home”)
Dongshan As the sacred master, make the way of Yao your For whom do you bathe and Flowers bloom on a withered tree in a Ordinary beings and Buddhas have no When head and horns peep out, it no longer
verses (Aitken) own: he governed with propriety, and bent the make yourself presentable? The spring beyond kalpas; you ride a jade interchange; mountains are high of endures; if you arouse your mind to seek
dragon waist; when he passed through a market, voice of the cuckoo urges you elephant backwards, chasing a winged themselves; waters are deep of Buddha, it's time for compunction; in the
he found culture flourishing - and the august to come home; hundreds of dragon-deer; now as you hide far beyond themselves. What do the myriad Kalpa of Emptiness, there is no one who
dynasty celebrated everywhere. flowers fall, yet the voice is not innumerable peaks - the white moon, a distinctions and differences reveal? knows; why go to the South to interview
stilled; even deep in jumbled cool breeze, the dawn of a fortunate day. Where the partridge calls, many flowers fifty-three sages?
peaks, it is calling clearly. are blooming.
98
Dialogue (in 僧問。如何是向。云如何是奉。云如何是功。云如何是共功。云如何是功功。
Dongshan’s
record) 師云。喫飯時作麼生師云。背時作麼生師云。放下钁頭時作麼生師云。不得色師云。不共
Dialogue A monk asked, "What is 'looking upon1?" "What is 'serving'?" asked the "What is 'accomplishing'?" asked the "What is 'accomplishing mutually'?" "What is the 'accomplishment of
(Powell) "When eating, what is it?" replied the Master. monk. monk. asked the monk. accomplishment'?" asked the monk.
"When ignoring, what is it?" "When throwing down a mattock, what "Not attaining things," replied the "Nothing shared," replied the Master.
replied the Master. is it?" replied the Master. Master.
Dialogue The monk asks: What is the meaning of hsiang The monk says: What is the The monk says: What is the meaning of The monk says: What is the meaning of The monk says: What is the meaning of
(Verdu) (intention)? meaning of feng (service)? kung (individual merit)? kung-kung (collective merit)? kung-kung (the merit of merit)?
The master says: What do you do when eating The master answers: What do The master answers: What do you do The master answers: It is not having one The master answers: Not shared!
your meals? you do when you turn your when you lay aside the mattock? color.
back on your superior [and
disobey him]?
Mel Shift: Turning away from our usual way of Submission: To allow yourself Achievement: Total harmony of relative Collective achievement: Practice Absolute achievement: no idea of practice,
Weitsmans’s seeing our life to seeing things through the eyes to let go of trying to control. and absolute. Realization – you know dedicated to helping all beings – total integration - no zen, no helping – but
comments of dharma. Letting the dharma turn you. who you are. Activity centered on big actualizing the bodhisattva vow. everything one does is correct.
mind.
Wu’s In the initial stage of Hsiang (admiration, In the stage of Feng (willing The stage of first fruition. This is a Now we come to the stage of reinforced The fruition of fruition. Like a lark in the
commentary attraction, aspiration), the master must be the submission), the disciple is period of rest and delight…This scene is fruition…since you are now free of morning, he continues to soar till he can
kind of person whose conduct and wisdom can expected to embrace whole- too beautiful and quiet!...The ‘reverse discriminating tendencies and habits, soar no more…what an agonizing ideal of
inspire love and admiration in his disciples, so heartedly sober meditation and ride’ evokes the idea of a childlike you are like the partridge which calls all perfection is here presented. Even the
that they too may aspire to his ideals…this is but strict discipline. The first fervor trustfulness, which is the soul of the kinds of flowers into blooming hardly felt first motions of self-
the beginning, the initial attraction. must now be turned into a passive way. afresh…in the third stage you come to complacency and self-seeking are to be
steady fire…He has cleansed fruition alone, and in the fourth you and nipped in the bud.
himself of all his colorful the world came to fruition together. But
adornments… simply because a Tung-shan would not stop even there!
mysterious voice has been
urging him to return home (the
cuckoo’s note sounds like
‘ch’ui kuie’ or ‘time to return
home.’)
Commentary The first stage is called the Rank of Turning, in The second stage is called the The third stage is called the Rank of The fourth stage is called the Rank of The fifth stage is called the Rank of
from Nukariya which the student 'turns' his mind from the Rank of Service, in which the Merit, in which the student distinguishes Co-operative Merit,' in which the Merit-over-Merit, which means the rank
(Religion of external objects of sense towards the inner student distinguishes himself himself by his 'meritorious' acts of student 'co-operates' with other of meritless-merit. This is the rank of the
the Samurai - Enlightened Consciousness. He gives up all by his loyalty to the Mind- conquering over the rebel army of persons in order to complete his King himself. The King does nothing
'The Five mean desires and aspires to spiritual elevation. King, and becomes a courtier passion which rises against the Mind- merit. Now, he is not compared with meritorious, because all the
Ranks of He becomes aware that he is not doomed to be to 'serve' him. He is in constant King. Now, his rank is not the rank of a a general who conquers his foe, but governmental works are done by his
Merit') the slave of material things, and strives to 'service' to the King, attending courtier, but the rank of a general. In with the prime-minister who co- ministers and subjects. All that he has to
conquer over them. Enlightened Consciousness him with obedience and love, other words, his duty is not only to keep operates with other officials to the do is to keep his inborn dignity and sit
is likened to the King, and it is called the Mind- and always fearing to offend rules and instructions of the sages, but to benefit of the people. Thus the high on his throne. Therefore his
King, while the student who now turns towards him. Thus the student in this subjugate his own passion and establish student in this stage is not satisfied conduct is meritless, but all the
the King is likened to common people. stage is ever careful not to moral order in the mental kingdom. with his own conquest of passion, but meritorious acts of his subjects are done
Therefore in this first stage the student is in the neglect rules and precepts laid seeks after spiritual uplifting by through his authority. Doing nothing, he
rank of common people. down by the sages, and means of extending his kindness and does everything. Without any merit, he
endeavors to uplift himself in sympathy to his fellow-men. gets all merits. Thus the student in this
spirituality by his fidelity. (cont.)
(Nukariya position 5 continued:) stage no more strives to keep precepts, but his doings are naturally in accord with them. No
more he aspires for spiritual elevation, but his heart is naturally pure from material desires. No more he makes an effort to
vanquish his passion, but no passion disturbs him. No more he feels it his duty to do good to others, but he is naturally good
and merciful. No more he sits in Dhyana, but he naturally lives in Dhyana at all times. It is in this fifth stage that the student is
enabled to identify his Self with the Mind-King or Enlightened Consciousness, and to abide in perfect bliss.
(Also see the translations and commentaries in Nan Huai-Chin (section n)) and Verdu (section p)) below)
99
Caoshan’s titles 君 Sovereign - Coming Within the 臣 Minister - Arriving Within the 君視臣 Sovereign Looking at the 臣視君 Minister Returning to the 君臣道合 Sovereign and Minister in
Real Apparent Minister - Apparent Within the Real Sovereign - Real Within the Apparent Harmony -Arrival Within Both at Once
Other set of titles 主 Host 賓 Guest 主來?? Host coming to light 賓視主 Guest returning to host 主中主 Host in host (C47)
Caoshan’s circle
☉ ○ ●
diagrams
Caoshan’s verses 白衣須拜相。此事不為奇。子時當正位。明正在君臣。焰裡寒冰結。楊華九月飛。王宮初降日。玉兔不能離。混然藏理事。眹兆卒難明。

積代簪纓者。休言落魄時未離兜率界。烏雞雪上行泥牛吼水面。木馬逐風嘶未得無功旨。人天何太遲威音王未曉。彌勒豈惺惺
Caoshan verses The white-clothed (layman or In the early hours, proper position (rank Ice crystallizes in flame. Willow blooms Imperial palace just pacified (or, just Chaos hides principle (li) and fact (shin).
(Lai) literatus) should revere forms (or, and file). At dawn, propriety (or Right in September. The mud buffalo roars on descended). Jade rabbit fails to leave Imperial order leaves (li) behind the light
ministers). This matter is nothing to justice) lies with Lord and Vassal. Not yet water. The wooden horse neighs into the (li). The tally of no-achievement has (or, is hard to understand). Authoritative
be surprised at. The (military) well- departing (li) from Tusita heaven. Black wind. not been won. Not too late (to rejoin voice is unknown to the king (or [Buddha
gowned (officials) with illustrious chicken walking on snow. the paths of) men and spirits (devas). as] the king with the Lion’s roar is not yet
lineage No need to lower their noses enlightened). Can Maitreya be awake?
(or, bodies).
Caoshan verses That a common man may be a Occupied at midnight is the right position When water is frozen solid in a fire, When the sun sets behind the royal The real and the seeming are the same,
(Luk)(Luk claims chancellor is not to be wondered at. while prince and minister behave correctly. when willow flowers open in the autumn palace, the moon cannot flee away. but this is difficult to see. It was before
this order goes After many generations of Before leaving the Tusita heaven, a white air, the clay ox bellows on the surface of Before the doctrine of no-merit is the Buddha came with awful (awe-
with circle nobility, one will not cite them fowl runs across the snow. (Luk: 3) the stream, the wood-en horse realized, why are men and devas inspiring) voice; how can Maitreya
diagrams) when disgraced. (Luk: 1) is neighing at the wind. (Luk: 4) so late (to practice it)? (Luk: 2) be on the alert (to watch it)?(Luk: 5)
Lai’s comments on Lord (black, yin) above and Vassal Bias (white) in the superior position - A Lord-faces-Vassal or black encircled by Vassal-faces-Lord or the particulars Lord-Vassal-Harmony and Perfect Union.
Caoshan’s verses (white, yang) below –propriety is in reversal - Vassal on top of Lord. During white; the particulars have an upper being absorbed into a universal The person has abandoned his home in
the major position. The common initial enlightenment, one must recognize hand. The verse begins with the li emptiness. The person has attained nirvana and learns to abide everywhere
people naturally worship phenomenal the dialectics of proper/biased and lord- trigram (“ice within fire”) and is preliminary enlightenment (“imperial (nonabiding nirvana). The last two lines
forms, but the Lord in wisdom knows vassal. The initiate, however, is apparently followed by 3 other impossible palace is gained”) but in the may be Ch’an irony: either they are
better how to dispense with common fixated with nirvana (Maitreya’s Tusita paradoxes. The paradoxes point to the exuberance of the moment, the person saying that the achievement is beyond
discursive language and stop listening Heaven) and is not ready to leave that paradox of nirvana is in samsara, with forgets to return as a bodhisattva to kingly but not Maitreyan comprehension
to words. behind. This orientation is biased. The the focus being given to particulars the world (“white rabbit fails to or they can be translated to read “The
person is called back to the opposite (“fire, willow, ox, horse”). What is leave”). It is not too late; the Buddha can king is not enlightened and Maitreya is
pattern: black on white – “black chicken on needed as a corrective is the and should rejoin the samsaric path. This still asleep.” That is, abandon
snow.” countervision: samsara is (in) nirvana. corrective in 4. should not be confused with enlightenment itself!
a similar but lower reminder in 2.
Shengyen The precious mirror is revealed – Wisdom dominates and the practitioner The pivot of the five levels. Vexations Not a white circle, but nothing – Acquired wisdom. Relating in the world,
summary seeing original nature, having faith to focuses on their remaining vexations are unmanifest, but not eliminated. complete emptiness, true liberation vexations are now used as a tool.
practice
Contemporary arriving within the empty. Often Next we find our arriving within Next we come to a place experienced as the empty within phenomena. One the arrival within both at once. The
commentary: people …come to this …and feel phenomena. The traditional image for the grand synthesis of self and other. Here image associated with this traditional verse speaks of this moment
James Ishmael they’ve accomplished the goal…it this experience is of an old woman seeing we find phenomena within the empty. Our experience is that of the lotus flower as one where we fall into neither “yes”
Ford, Sensei (his is a pro-found accomplishment… herself reflected in an ancient mirror. actions are completely informed by our within a sea of fire, an image also nor “no.” Others may strive, but at this
titles follow everything that we’ve poured into Here we move from the darkness into the certain knowledge of our true nature…this given to the enlightened life lived moment the true student of the way
Caoshan’s version, our practice opens us to something light, from the empty and out into the is seen as where we live the enlightened within the world. Everything is unites everything. She sits quietly by
and he alludes to …we come to our own deeply per- phenomenal universe. We see our own life, where we find our actions informed perceived within its uniqueness, the fire; he sits languidly astride the
imagery from sonal experience of the empty…our image and we know it really is empty; it by our deepest knowing of who we are. alone, beautiful, never to be lion. Here the phenomenal and the
Dongshan’s own sense of who we are becomes is our original face from before when our Here we find our true freedom in our repeated. Here we really understand empty so completely interpenetrate that
poems) unclear. We experience the real, but parents were born. Here ideas of self and actual actions. Here one has grown up, our neighbor as our very self. Here there is no consciousness of either…
there is nothing to say, nothing to other vanish, and we know who we are. become a spiritual adult. But still there is compassion manifests in every self and other completely fall away.
think. Silence…we know the world You know who you are. I know who I motion. action, in every word.
of experience is nothing other than am. And still, there is motion.
the great emptiness. But in fact we
don’t stay there. Reality is dynamic.
100
五位顯訣正位卻偏。偏位雖偏亦圓兩意。或有正位中來者。或有偏位中來者。或有相兼帶來者。
就偏辨得是圓兩意緣中辨得是有語中無語是無語中有語是有語中無語這裡不說有語無語
五位顯訣 - Clear 正: (In) the Proper Position but there 偏: Although the Biased position is 正中來: Or there are (those) coming 偏中來: Or there are (those) 兼帶來: Or there are (those) coming
Determination of is Bias (still). Relying on the Biased, biased. Yet still are perfected the two from amidst the Proper Position: (Here), coming from amidst the Biased from Both Positions: Here you do not say
the five positions understanding is (still) possible. Thus meanings. Amidst (worldly) conditions, within the non-word, are words. Position: (Here), within words, there “there are words” or “there are no
(Lai)(“Dongshan’s are perfected two meanings. understanding is possible. Thus is there, is non-word. words”…
Exoteric verses”) within words, the non-word.
五位顯訣 - Clear The absolute state is relative; when it The relative state, though relative, still There may be emergence in the There may be emergence - There may be mutual integration: here we
Determination of is discerned in the relative, this is fulfills both meanings; discerned within absolute; this is the spoken within the relative; this is the do not say there is the spoken or the
the five fulfillment of both meanings. conditions, this is the unspoken within the within the unspoken. unspoken within the spoken. unspoken. (excerpt continued below - *1)
positions(Cleary) spoken.
五位顯訣 - Clear The degree “straight” is actually a (Not included in Verdu) At times it has features that come from At times it has features that come [And] at times it has features that arrive
Determination of “biased” one. If one discerns it in the degree “straight”; these are the from the “biased” degree; these are [or appear as] with both bound together
the five positions terms of its “biased” quality, then it worded in the midst of the wordless. the wordless in the midst of the [as in a synthesis]. Within this scheme
(Verdu) harmonizes two senses. worded. one does not speak of “worded” and
“wordless” [anymore]. (cont below - *2)
五位旨訣 part 1 正中來者太過也。全身獨偏中至者中孚也。隨物不礙。木正中偏者巽也。虛空破片處處偏中正者兌也。水月鏡像本兼中到者重離也。正不必虛。
露。萬法根源。無咎無譽。舟中虛虛通自在。圓通。根塵寂爾。無生滅。豈有蹤跡。偏不必實。無背無向。
Dongshan 3rd -正中來 -Coming From Within 4th -. 兼中至 -Arriving in Both 1st -正中偏 -The Apparent Within the 2nd -偏中正 -The Real Within the 5th -兼中到 -Attainment in Both/Unity
Correlate the Real Real Apparent Attained
偏中至 -Arriving in the Apparent
五位旨訣- Last The whole being (body) is revealed Going along with things without being A fragment of space (emptiness) The moon reflected in the water, or an The absolute is not necessarily empty, the
Words on the alone (unique), the root source of inhibited (hindered), like an empty boat, pervading everywhere, senses and objects image reflected in a mirror, basically relative is not necessarily substantial
Meaning of the myriad phenomena, without blame or getting through by openness (emptiness), silent. (fundamentally) has no origin or (actual); there is neither rejection (turning
Five Degrees (part praise. independent and free. extinction; how could there be any away) nor inclination (turning to,
1)(Cleary) (from Rational Zen – words in brackets are from Timeless Spring) traces? touching).
五位旨訣心機泯。色空忘。更無覆山是山。水是水。無人安名。淨裸裸。赤洒洒。面目堂堂。宛如寰中天子。不借禹湯堯不是心不是境。不是事。不是
part 2 藏。全體露現。是曰正中偏無物比倫。是曰偏中正盡天盡地。獨尊無二。是曰正舜令。眼見耳聞。終不借他理。從來離名狀。天真忘性
中來力。耳之不入聲中。聲之不相。是曰兼中到
(In the first part of this passage above, Caoshan went through the positions in the 塞耳根。裏頭才轉身。塵中
3, 4, 1, 2, 5 order, whereas now, he follows Dongshan’s original ordering: 1 – 5.)
未帶名。是曰兼中至
五位旨訣- Last When mental activity sinks away Mountains are mountains, rivers are Clean and naked, bare and free, the Just as the emperor in his realm This is not mind or objects, not
Words on the and both the material world and rivers — no one establishes the names, visage is in full majesty — does not rely upon the ordinances phenomena or principle; it has always
Meaning of the emptiness are forgotten, there is no nothing can be compared; this is the throughout all heaven and earth, of wise kings and emperors of been beyond name or description.
Five Degrees (part more concealment — the whole absolute within the relative. the sole honored one, without any the past, the eye sees and the ear Naturally real, forgetting essence and
2)(Cleary – thing is revealed; this is the relative other; this is coming from the hears without using any other appearance, this is called
Timeless Spring) within the absolute. absolute. power. As the (continued below) simultaneous realization of both
(4th position contintued:) ear does not enter sound, and sound does not relative and absolute.
block up the ear, the moment you turn therein, there have never been
any names fixed in the world. This is called arrival within both at once.
五位旨訣- Last In equality there is diversity. When In diversity there is equality. Coming from the middle of equality Arriving in the middle of diversity. Reaching the midst of both (equality and
Words on the thought and operations of the senses Mountains are mountains, and rivers are Stark naked and scrubbed clean, of It is quite like the Son of Heaven diversity)It is not the mind [subject]; it is
Meaning of the have been submerged and arrested, rivers; no man is secure with [the use of] majestic appearance, throughout heaven within his realm, who need not not the world [object]: it is not the
Five Degrees (part then both the material form and the names, and no thing can be classed [by and earth, it alone is exalted and borrow the edicts of Yu or T’ang, universal; it is not the particular. It has
2)(Verdu) void are forgotten [and concealed]. them; that is, by names]. This is called “the unmatched. This is called “emerging of Yao or Shun, for, as His eye can been always beyond description. [True]
Ultimately it cannot be put in words: straight in the midst of the biased.” from the midst of the straight.” see and His ear can hear, natural reality knows no distinction
[it is as though] no change and motion (continued below) between essence and appearance. This is
has ever taken place. [Nevertheless], (4th position continued): He need never borrow the power of another. [The fact called “reaching the midst of both” (the
there is no [possible and perpetual] that] the ear does not enter into the midst of the sound, and that the sound does straight and the biased).
concealment, for the whole substance not block the ear, [is proof that] the body can wrap itself in a kuo-t’ou garment
of reality becomes again [totally] without acquiring a name in the world’s midst [that is, one can be in the world
manifest. This is called “the biased in while not being of it]. Thus is what is meant by “arriving at the mist of the
the midst of the straight.” biased.”
101
*1: Cleary translation continues: Here we must simply proceed directly. Here it is nec- though in synthesis], so that they cannot in any way be distinguished [from one another].
essary to be perfectly fluid; things must be perfectly fluid. However, words on the Way Also from the Record of Caoshan (Luk): The monk asked: 'What are the attitudes of
are all defective; people must master spoken expressions and proceed directly ahead. The the five positions toward the guest?' The master asked back: 'What position do you
spoken is coming thus; the unspoken is going thus. Among adepts, it is not that there is mean?' The monk replied: 'I now come from the position of the seeming and (reverently)
no speech, but it does not get into the spoken or the unspoken. This is called integrated request the Venerable Sir to receive me from his position of the real.' The master replied:
speech. Integrated speech has no obvious aim at all. 'I will not receive the seeming.' The monk asked: 'Why do you not receive me?' The
*2: Verdu translation continues: Within this scheme one has but to face [the fact itself master replied: 'Because I am afraid that the real will slip into the seeming.' The master
of the synthesis] and then pass on [to daily business]. Within this scheme there cannot then asked the monk: 'Does or does not my refusal to receive (the seeming) mean an
but be shift and change, for in the very nature of things, there must be shift and change. attitude towards the guest?' The monk replied: 'It was already an attitude towards the
Yet words [used] in the course [of everyday worldly business] are all unhealthy, so that guest (when you spoke of it).' The master said: 'Correct! Correct!' (僧問。五位對賓時如
a man engaged [in this business] must with discernment get [the point of] the words and 何。師曰。汝即今問那箇位。僧云。某甲從偏位中來。請師向正位中接。師曰不
phrases, then face forward and pass on [to other business]. The “worded” may come and 接。僧云。為甚麼不接。師曰。恐落偏位中去。師卻問僧。秖如不接。是對賓是
the “wordless” may go. It is not that there are no words [used] among the [enlightened] 不對賓。僧云。早是對賓了也。師曰。如是如是僧問。萬法從何而生。師曰。從
writers, it is that they are not concerned either with the “worded” [alone] or the “word-
顛倒生。僧云。不顛倒時萬法何在。師曰在。僧云。在甚麼處。師曰。顛倒作麼)
less” [alone]. This is called “binding” [the worded and wordless] as in a single sash [as
f) Introductory prose comments to and a dialogue on the five positions from the Record of Caoshan
Caoshan prose 正位即空界。本來無物。偏位即色界。有萬象形。正中偏者背理就事。偏中正者舍事入理。兼帶者冥應眾緣。不墮諸有。
comments
非染非淨。非正非偏。故曰虛玄大道無著真宗。從上先德推此一位最妙最玄。當詳審辨明。
君為正位臣為偏位臣向君是偏中正君視臣是正中偏君臣道合是兼帶語
Caoshan prose The proper position is the empty The biased position is the realm of forms Bias-within-propriety is 'turning one's Propriety-within-bias is Carrying both (options; chien-tai) is
comments (Lai) realm, where there is originally [rupadhatu], full of myriad things. back to the (universal) principle (li) 'abandoning the particulars and (re) 'responding mysteriously to myriad
nothing. in accommodation to (particular) facts entering into the universal.' conditioned (existence) without falling
(shih).' into (such) particulars'
(in a state of) being 'neither impure nor pure, proper nor biased'; this is called the vacuous, dark Great Way, the true principle of nonabiding [i.e. nirvana as non-abiding]. I follow former superior
masters who proposed this position. It is most mysterious and should be well comprehended.
Now, the Lord represents the proper and the Vassal the biased. Lord-facing-vassal is bias-within- Vassal-facing-lord is propiety-within- Harmony of Lord and Vassal is 'carrying
propiety. bias. both.' "
Caoshan prose The absolute state is the realm of the relative state is the realm of form, with The relative within the absolute is the absolute within the relative is Mutual integration is subtly responding to
comments (Cleary) emptiness, where there has never been myriad forms. turning away from principle and going to indifference to phenomena, entering myriad circumstances without falling into
a single thing; phenomena,- principle. various existences.
It is not defiled, not pure, not true, not biased; therefore it is called the empty mysterious great way, the non-grasping true source. The past worthies since time immemorial have esteemed this rank (state of
integration) as the most wondrous and most mysterious. You must discern it clearly and thoroughly.
The lord is the absolute state, the vassal is the relative state. The vassal turning towards the lord is the lord looking upon the vassal is the The way of lord and vassal in harmony is
the absolute within the relative; relative within the absolute. an expression of mutual integration.
Caoshan prose The real is the void in which the seeming is the realm of forms in which the real comprising the seeming is the the seeming comprising the real is the and inclusive integration is response from
comments (Luk) essentially there is not a thing; there are myriads of appearances; real shifting to the seeming; return of illusions to the real; the invisible, free from existence
and being neither pure nor impure and neither real nor seeming. This is what is called the immaterial and profound Great Tao of the non-grasping True Sect.
From olden times, my predecessors regarded this (last) position as the most subtle and most profound (of all). You should inquire into and see clearly
that prince is the real, that minister is the seeming, that minister turning towards prince is that prince looking at minister is the and that prince and minister in (perfect)
the seeming comprising the real, real comprising the seeming, harmony is the inclusive integration.
Caoshan prose The master said: The degree The “biased” [or “lateral”] degree is [The proposition that] the “biased” is while the opposite proposition A “synthesis” of both constitutes an
comments (Verdu) “straight” [or “proper”] is identical identical with the realm of form, wherein contained within the “straight” constitutes a rejection of the particular unfathomable correspondence with a
with the realm of “emptiness,” there is a myriad of [particular] forms. constitutes a turning one’s back on the and an entry into the universal. multitude of objects without [at the same
wherein there is not, and never has universal and directing oneself toward time] falling into [the notion of]
been, anything [in particular]. the particular, individually existing [things or entities],
neither straight nor biased. For this reason, it is called the Mysterious Void, the Great Way, the Unattached, the Real Principle. Our gifted and virtuous predecessors elevated this one degree to the level of the
supremely subtle and supremely obscure. One should be absolutely clear about the following:
The lord is the degree “straight”, while the vassal is the “biased” degree. When the vassal faces his lord, this is the when the lord faces his vassal, this is When the paths of the lord and the vassal
“straight” contained within the “biased”; the “biased” contained within the meet, this is what is meant by “synthesis”
“straight.” [J: kentai].
102
Caoshan dialogue 進云。如何是君。師曰。妙云如何是臣。師曰。靈機弘聖云如何是臣向君。師曰。不墮云如何是君視臣。師曰。妙云如何是君臣道合。師曰。混
(directly following
the prose 德尊寰宇。高明朗大虛道。真智利群生諸異趣。凝情望聖容容雖不動。光燭本無偏然無內外。和融上下平
comments above) 師又曰。以君臣偏正言者。不欲犯中。故臣稱君不敢斥言是也。此吾法宗要。乃作偈曰。
學者先須識自宗。莫將真際雜頑空。妙明體盡知傷觸。力在逢緣不借中。出語直教燒不著。潛行須與古人同。無身有事超岐路。無事無身落始終
Caoshan dialogue The monk : "What is Lord?" The Question: "What is Vassal?" Question: "What is Vassal-facing- Question: "What is Lord-facing- Question: "What is Harmony of Lord
(Lai) master: "Mysterious virtue filling The master: "Spirited activity spreading lord?" The master : "Without falling vassal?" The master: "Mysterious and Vassal?" The master: "Inner and
the universe. the Way of the Lord. into particulars countenance immobile outer fused
Lofty understanding spanning the True wisdom benefiting all sentient kind." (Vassal) looks up steadily at the Lord's (His) light shines with no bias Superior and inferior harmonized."
void." countenance." (p'ien)."
The master further noted that the talk about Lord and Vassal, proper and biased is for the purpose of not violating the Mean (Middle Path). "The Vassal addressing the Lord avoids improper
language. This is the essence of my teaching." The master then composed the verse:
Student should first understand the principle. Don't confuse the True Essence with the stubbornly-adhered-to Void. Know the enlightened essence and you know the many fallacies. Your power depends on
meeting all conditions without harming the Mean. Teach and speak directly, nothing can burn (the Truth). In your hidden actions, be one with the sages of old Selfless, but active, transcend the deviant ways
Selfless and actionless, attain the final goal.
Caoshan dialogue A monk asked the master: 'What is The monk asked: 'What is minister?' The The monk asked: 'What is minister The monk asked: 'What is prince The monk asked: 'What is harmony
(Luk) prince?' The master replied: master replied: turning to prince?' The master replied: looking at minister?' The master between prince and minister?' The master
‘Virtue that is wondrous is honoured 'A spiritual motive spreads the holy Tao, 'Freedom from clinging to all contraries replied: replied:
by the world, Lofty enlightenment True wisdom works for the welfare of all Turns all feelings to the saintly.' 'Bearing that's unexcelled is ‘Their union is neither within nor without
brightens the (void of) space.’ (Prince beings.'(Minister is benefiting activity, or immutable, Yet in essence does it (And) their harmony is perfect evenness.'
is the still and bright Dharmakaya.) function.) shine impartially.'
The master again said: 'The use of (these terms) prince and minister and the real and the seeming is to avoid a head-on collision with the (supreme) goal. For this reason, no words are spoken when the
minister looks up to his prince. This is the essence of our Sect's Dharma. Thereupon, he chanted the following gatha:
'His own sect is what a student first should know. Voidness that is relative should not disturb reality. There is collision if the bright essence is hurt and vanishes. Efficiency depends on matching cause, not on
the goal. Teaching by words should stress its indestructibility; Secret conduct should accord with that of the ancients. With body absent and (function) active, he can leap o'er the cross-roads; When both are
absent there is fall into birth and death.'
Caoshan dialogue A monk asked, "What is the lord "What is the vassal like?" "What is the vassal turning towards the "What is the lord looking at the "What is the way of lord and vassal in
(Cleary) like?" "His spiritual activity spreads the holy way; lord?" vassal?" harmony?"
The master said, "His wondrous true wisdom benefits living beings." "Without falling into various "Although his wondrous countenance "Comingling, without inside or outside;
virtue is honored throughout the dispositions, freezing his feelings he doesn't move, the shining of his light merging harmoniously, with upper and
world; his lofty illumination shines gazes upon the holy countenance." is fundamentally without bias." lower equal."
through the great void."
(not included in Cleary)
g) Main terms of the Five Positions
位 (wei, i): ranks, positions, modes, situations, relations, degrees, arrangements, permutations, steps, stages of apparent and real, Sasaki: “should be
understood as ‘steps’ or ‘positions’ in a series, designated as such for the purpose of setting forth the doctrine.”
正 (zheng , sho): absolute, ultimate, true, correct, upright, erect, real, complete, universal, noumenal, emptiness, sameness, true nature, oneness, equality,
wisdom, essence, nirvana, ri 理– universality, host (主), dark, yin (dark means here that there is no discrimination) – “There is one thing: Heaven
is suspended from it and Earth rests upon it. It is black like lacquer, perpetually in movement and activity.” True Emptiness -真空
Sasaki: “represented by a solid black circle ● symbolizing ‘darkness.’”
偏 (pian, hen): relative, provisional, leaning, one-sided, eccentric, bent, apparent, partial, particular, phenomenal, form, many, attributes, differentiation,
hierarchy, compassion, function, samsara, ji 事 – particularity, guest (賓), light, yang, (light means here that everything is revealed in its particular form) –
Marvelous Existence (or Marvelous Being) 妙有 Sasaki: “symbolized by a solid white circle ○ symbolizing ‘brightness,’”
君 (jun) host, lord, prince, real – corresponds to 正 above – the emperor sits in the center.
臣 (chen) guest, minister, vassal, apparent – corresponds to 偏 above – the servants are on the side.
中 in, within, among, between, central, center, middle, in the midst of, hit (target), to hit the center, to be affected by, to fall into a trap, attain (also in C21, 31, 40, 47)
來 come, return, coming, returning (also in C5 and 15)
103
h) Ts'ao-shan's Elucidation of Tung-shan’s Five Ranks (Cleary translation form the Five Houses of Zen)
The absolute state is relative; when it is discerned in the relative, this is fulfillment of both meanings.
The fact that the absolute state is relative is because it is not the opposite of any thing. But even though it is not the
opposite of any thing, nevertheless it is there.
When there is no function in the absolute, then it is relative; total function is completeness. This is "both meanings."
What is "total"? One who does not look back is one who has attained. The absolute state does not come from
illumination: it is so whether or not a buddha emerges in the world. That is why all sages resort to the absolute state to attain
realization.
The relative within the absolute is inherent in this state; above all, don't cause disturbance.
When students choose solitary liberation outside things and stand up before the sages and declare that this is the
absolute state, ultimately complete, in reality they are limiting the absolute state. Sayings like this are what the ancients referred
to as the traces of passing still remaining. They have not yet attained the unspoken within the spoken. It is said, furthermore,
that this is not the absolute state, because there is something said in the words. This could be called defective integration; it
cannot be called mutual integration.
The relative state, though relative, still fulfills both meanings; discerned within conditions, this is the unspoken within
the spoken.
This is because no aim is defined in function; when no aim is defined, that means it is really not fixed function.
The relative state, though relative, still fulfills both meanings in that there is no thing and no attachment in the
function; this is both meanings. Although it is clarified in function, because it is not done violence in speech, here one can
speak all day and yet it is as if one had not spoken.
The relative state is actually complete; this also involves being unattached in the midst of conditions.
There may be emergence in the absolute; this is the spoken within the unspoken.
Emergence in the absolute does not take in conditions; this is like Yao-shan's saying, "I have a statement that has never
been spoken to anyone." Tao-wu said, "They come along together." Here he understood subtly. There are many examples like
this. Things must come forth in combination, without confusion of noble and base. This is called the spoken within the
unspoken. Also, in reference to "I have a statement that has never been spoken to anyone," when those who engage in dialogue
come forth, they must avoid rejection and attachment; both rejection and attachment are due to ignorance of what's there.
The unspoken within statements does not define nobility, does not fall into left and right; therefore it is called
emergence in the absolute.
Emergence in the absolute makes it clear that the absolute is not involved in conditions. To cite more sayings, it is like
"How is it when the black bean has not sprouted?" or "There is someone who does not breathe" or "Before conception, is there
anything to say?" This is where the buddhas of the ten directions emerge. These examples are referred to as speaking of the un-
spoken.
There is also borrowing phenomena for temporary use. In the state of emergence within the absolute, the one who
responds must clarify the comprehension of things within the relative; one cannot clarify it while plunged into the absolute
state.
If you want to know how this is expressed, it is like when my late teacher Tung-shan asked a student from Korea,
"Where were you before you crossed the sea?" There was no reply, so Tung-shan himself said for him, " 'Right now I'm at sea,
and where am I!'"
It is also like when Tung-shan said in behalf of an elder who held forth his staff and was asked where it came from,
"It's being held forth right now! Is there anyone who can handle it?"
In these examples, though recognition is attained within conditional objects, it is not the same as the past, when
mastery had not been attained. Later people may have relegated this to cultivated development, considering that to be the
transcendental.
For example, students pick out this saying in answer to a question about the meaning of the founder of Zen—"I'll tell
you when a lone cow gives birth to a calf"—and say that this is emergence within the absolute state. This kind of saying cannot
under any circumstances be considered emergence within the absolute. It could be called dialogue on the mystic path; it's the-
same thing—this is a particular path. It cannot be called integration either, because it is obvious; even if guest and host interact,
it can only be called defective integration.
There may be emergence -within the relative; this is the unspoken within the spoken.
Emergence within the relative includes conditions, as in the saying "What can we call that which is right now?" As
there was no answer, Tung-shan himself said, "Cannot but get it." There are many more such examples; this is referred to as the
unspoken within the spoken.
Speech comes from elements, sound and flesh, which do not define place or direction, right or wrong. That is why it is
said to be understood in relational context. This is emergence within the relative.
There are many corresponding sayings. For example, "What has come thus?" And, "When mind and objects are both
forgotten, then what is this?" Also, "When concentration and insight are learned equally, you clearly see the buddha nature."
These examples too, of which there are many, are referred to as the unspoken within the spoken.
Emergence within the relative is clarifying the essence within things, as in the saying "What has come thus?" and
"When mind and objects are both forgotten, then what is this?" This category of saying refers to achievement to clarify state,
illustrating the state in terms of the work.
Here too I used to cite corresponding examples. "What has come thus?" is one example of a saying: although it is
recognized within conditions, in relational context, that is not the same as before. Also, with the example of" 'When
104
concentration and insight are learned equally, you clearly see buddha nature'—what is this principle?" at first I would cite
corresponding sayings. As for the saying "When mind and objects are both forgotten, then what is this?"—because this is an
example from among the doctrines, it is not the same as mystical study. What one must do, in dealing with doctrinal examples,
is to go through them into the gateway of the source. This is the exoteric side of mysticism.
In the case of the saying "Breathing out, I do not depend on conditions; breathing in, I do not abide in mental or
material elements," this is all about work; it is not the same as recognition within conditions. Here too I used to cite
corresponding examples of the host withdrawing into the absolute, saying, "There is someone who has no outgoing or incoming
breath," to get others to know of the absolute.
There is, furthermore, an ultimate state of immaculate purity that includes work, which may also be called emergence
within the relative. This is hard to discern; it must be picked out.
For example, a monk asked Tung-shan, "What is the mystic teaching?" Tung-shan replied, "Like the tongue of a dead
man." Another asked, "What is presented as an offering twenty-four hours a day?" He said, "No thing." This is said to be
emergence within the relative, but these two examples are not to be called emergence within the relative state. It is necessary to
distinguish them individually. The saying about the "mystic teaching" could be considered the same as work and achievement,
but neither saying can be referred to as the relative or as integration. It has already been made quite clear. This is using the work
to illustrate the state; using the state to illustrate the work is the same as this.
There may be mutual integration: here we do not say there is the spoken or the unspoken. Here we must simply
proceed directly. Here it is necessary to be perfectly fluid; things must be perfectly fluid.
With mutual integration, the force of words is neither relative nor absolute, implying neither being nor nonbeing, so
they seem complete without being complete and seem lacking without lacking. One can only proceed directly; proceeding
means we do not set up a goal. When they do not define a goal, words are at their most subtle. The incompleteness of the scene
is a matter of ordinary sense.
An example is the saying of Tung-shan about the story of Wen-shu and tea drinking: "Would it be possible to make
use of this?" And as Ts'ui-wei said, "What do you drink every day?"
However, words on the Way are all defective; people must master spoken expressions and proceed directly ahead. The
spoken is coming thus; the unspoken is going thus. Among adepts, it is not that there is no speech, but it does not get into the
spoken or the unspoken. This is called integrated speech. Integrated speech has no obvious aim at all.
Integration does not fall into the spoken or the unspoken, as in Yao-shan's saying on wearing a sword, which is an
integrated saying. Observe the force of the words at the moment: sometimes it is immediate and direct, and sometimes it is
emptiness within differentiation. If you do not understand this subtly, you are far, far away.
To cite examples of integrated sayings, there is the saying of Wen-shu about drinking tea, and also the saying, "Where
is this man gone right now?" Yun-yen said, "So what? So what?" He also said, "How about right now?" There are very many
such examples.
There is also integration within work and achievement, which resembles the transcendental. It is dealt with according
to the situation: for example, if you get trapped in a state of pure ethereality, then you have to realize that there are still things
happening; go when you need to go, stop when you need to stop. Adapting fluidly in countless ways, do not be crude.
Now then, the forces of the words of both the one who questions and the one who replies respond to each other. None
is beyond the scope of the Five Ranks. Words can be coarse or fine, however, and answers may be shallow or deep. That is why
Tung-shan articulated what is not in words; in every case this was considered a necessity in response to conditions, that is all.
"People of great ignorance," being complete in essence, are not the same as "incorrigibles." "Incorrigibles" suffer
mentally when they know there is something to do; yet even though they suffer mentally, they accomplish service. To suffer
mentally means not to keep thinking of Zen masters, buddhas, or one's own father and mother.
"Rotten people" do not resort to total burden-bearing, so they do not set up any idol.
"People of great conservation" have got their feet stuck deeply in the mud, so maintaining their discipline is not a
small matter.
Integration should be like Wen-shu's saying on drinking tea and like Tung-shan's reply to Yun-yen's ginger-digging
saying, as well as Master An's saying on the teaching hall and the conversation ofYao-shan and Ch'un Pu-na on washing
Buddha. For the most marveous integration of all, nothing is better than Yao-shan's answer to Tao-wu on wearing a sword, or
Pai-chang's saying "What is it?" when he was leaving the hall and the congregation was about to disperse. When Yao-shan
heard this saying from far away, he said, "It's here."
Integration in the darkness uses work to illuminate things, and uses things to illuminate work; it uses errors to illustrate
accomplishments, and uses accomplishments to illustrate errors, equally in this way. Whatever Yao-shan, Tung-shan, and all
the other worthies produced that went beyond into the absolute were just marvelous expressions of mystic conversation, that is
all. When they subsequently came to those who had attained a little power, they drew them into the absolute, in which context
this type of saying is commonly used.
Because I have so much to do, I haven't had the time to go into details, and have only explained a little bit. You should
not slight this; if you still get frozen or stuck anywhere, you should cut through to certainty then and there. You should practice
diligently, so that this thing will never be allowed to die out. Don't reveal it carelessly, but if you meet someone who is pure and
simple, who is an extraordinary vessel, then it is not to be concealed.
105
i) Excerpts from Blue Cliff Record, Case 43: Tung Shan's No Cold or Heat (Clearys’ translation)
A monk asked Tung Shan, "When cold and heat come, how can we avoid them?"(1)
Shan said, "Why don't you go to the place where there is no cold or heat?"(2)
The monk said, "What is the place where there is no cold or heat?"(3)
Tung Shan said, "When it's cold, the cold kills you; when it's hot, the heat kills you."(4)
NOTES (added sayings by Yuanwu)
1. It's not this season. (Cold and heat) are right in your face, right on your head. Where are you?
2. The world's people can't find it. He hides his body but reveals a shadow. A con man sells a bogus city of silver.
3. Tung Shan swindles everyone utterly. The monk turns around following him. As soon as Tung Shan lets down his hook the monk
climbs onto it.
4. The real does not conceal the false, the crooked does not hide the straight. Looking out over the cliff he sees tigers and rhinos—this
is indeed an occasion to be sad. Tung Shan overturns the great ocean and kicks over Mt. Sumeru. But say, where is Tung Shan?
COMMENTARY (by Yuanwu)

Tell me all of you, where is Tung Shan's trap at? If you can clearly discern this, for the first time you will know how the five
positions of the Tung Shan tradition of interchanging correct and biased handle people in an extraordinary way. When you reach this
transcendental realm, then you'll be able to be like this without needing any arrangements, and you'll spontaneously accord perfectly.
Thus it is said: (Yuanwu here includes Dongshan’s verses on the five positions)
Jurist Yuan of Fu Shan considers this case as being in the pattern of the five positions. If you understand one, then the rest are
naturally easy to understand. Yen T'ou said, "It's like a gourd (floating) on the water: push it, and it rolls over without making any
effort at all."…
When Tung Shan said, "Why don't you go to the place where there is no cold or heat?" this was the correct within the biased.
When the monk said, "What is the place where there is no cold or heat?" and Shan said, "When it's cold the cold kills you,- when it's
hot the heat kills you," this was the biased within the correct. Though it's correct, still it's biased; though it's biased, nevertheless it's
complete. This is recorded in full detail in the Records of the Ts'ao Tung School. Had it been the Lin Chi tradition, there wouldn't have
been so many things. With this kind of public case you must understand directly as soon as it is uttered…
VERSE (by Xuedou with added sayings by Yuanwu in parentheses after each line)
He lets down his hand, but still it's the same as a ten thousand fathom cliff:
(Who can discern this without being an adept? Where are correct and biased not perfectly merged? Once the imperial edict is on its
way the nobles get out of the road (to let it pass).)
Why must correct and biased be in an arrangement?
(If you do arrange them, where will you have Today? How will you not become involved in dualism? When the wind moves, the
grasses bend down; where the water runs, streams form.)
The ancient crystal palace reflects the bright moon,
(Round and full. Just don't grasp the reflection, and don't run right in.)
The sly hound of Han vainly runs up the stairs.
(It isn't just this time. He's stumbled past. Why is he running after dirt? I'll hit and say you are a fellow student of this monk.)
COMMENTARY (by Yuanwu)… Hsueh Tou said, "He lets down his hand, but still it's the same as a ten thousand fathom cliff."
There's simply no place for you to approach. "Why must correct and biased be in an arrangement?" When it comes time to function,
they are naturally like this, they are not in any arrangement. This praises Tung Shan's answer.
Afterwards he said, "The ancient crystal palace reflects the bright moon / The sly hound of Han vainly runs up the stairs."
This just versifies this monk running after Tung Shan's words. In the Ts'ao Tung tradition they have "the stone woman," "the wooden
horse," "the bottomless basket," "the pearl that shines (of itself) at night," "the dead snake," and so on, eighteen kinds. Their general
purpose is to illustrate the position of the correct.
106
j) Hakuin’s commentary on the Five Positions (there are also a few Hakuin quotes in section l below)
THE FIVE RANKS OF THE APPARENT AND THE REAL: The Orally Transmitted Secret Teachings of the [Monk] Who Lived on
Mount To
We do not know by whom the Jeweled-mirror Samadhi was composed. From Sekito Osho, Yakusan Osho, and Ungan Osho,
it was transmitted from master to master and handed down within the secret room. Never have [its teachings] been willingly disclosed
until now. After it had been transmitted to Tozan Osho, he made clear the gradations of the Five Ranks within it, and composed a
verse for each rank, in order to bring out the main principle of Buddhism. Surely the Five Ranks is a torch on the midnight road, a
ferry-boat at the riverside when one has lost one's way!
But alas! The Zen gardens of recent times are desolate and barren. “Directly-pointing-to-the-ultimate" Zen is regarded as
nothing but benightedness and foolishness; and that supreme treasure of the Mahayana, the Jeweled-mirror Samadhi's Five Ranks of
the Apparent and the Real, is considered to be only the old and broken vessel of an antiquated house. No one pays any attention to it.
[Today's students] are like blind men who have thrown away their staffs, calling them useless baggage. Of themselves they stumble
and fall into the mud of heterodox views and cannot get out until death overtakes them. They never know that the Five Ranks is the
ship that carries them across the poisonous sea surrounding the rank of the Real, the precious wheel that demolishes the impregnable
prison-house of the two voids. They do not know the important road of progressive practice; they are not versed in the secret meaning
within this teaching. Therefore they sink into the stagnant water of sravaka-hood or pratyeka-buddhahood. They fall into the black pit
of withered sprouts and decayed seeds. Even the hand of Buddha would find it difficult to save them.
That into which I was initiated forty years ago in the room of Shoju I shall now dispense as the alms-giving of Dharma.
When I find a superior person who is studying the true and profound teaching and has experienced the Great Death, I shall give this
secret transmission to him, since it was not designed for men of medium and lesser ability. Take heed and do not treat it lightly!
How vast is the expanse of the sea of the doctrine, how manifold are the gates of the teaching! Among these, to be sure, are a
number of doctrines and orally transmitted secret teachings, yet never have I seen anything to equal the perversion of the Five Ranks,
the carping criticism, the tortuous explanations, the adding of branch to branch, the piling up of entanglement upon entanglement. The
truth is that the teachers who are guilty of this do not know for what principle the Five Ranks was instituted. Hence they confuse and
bewilder their students to the point that even a Sariputra or an Ananda would find it difficult to judge correctly.
Or, could it be that our patriarchs delivered themselves of these absurdities in order to harass their posterity unnecessarily ?
For a long time I wondered about this. But, when I came to enter the room of Shoju, the rhinoceros of my previous doubt suddenly fell
down dead... Do not look with suspicion upon the Five Ranks, saying that it is not the directly transmitted oral teaching of the Tozan
line. You should know that it was only after he had completed his investigation of Tozan's Verses that Shoju gave his
acknowledgment to the Five Ranks.
After I had entered Shoju's room and received the transmission from him, I was quite satisfied. But, though I was satisfied, I
still regretted that all teachers had not yet clearly explained the meaning of “the reciprocal inter-penetration of the Apparent and the
Real." They seemed to have discarded the words “reciprocal interpenetration," and to pay no attention whatsoever to them. Thereupon
the rhinoceros of doubt once more raised its head.
In the summer of the first year of the Kan'en era (1748-1751), in the midst of my meditation, suddenly the mystery of “the
reciprocal interpenetration of the Apparent and the Real" became perfectly clear. It was just like looking at the palm of my own hand.
The rhinoceros of doubt instantly fell down dead, and I could scarcely bear the joy of it. Though I wished to hand it on to others, I was
ashamed to squeeze out my old woman's stinking milk and soil the monks' mouths with it.
All of you who wish to plumb this deep source must make the investigation in secret with your entire body. My own toil has
extended over these thirty years. Do not take this to be an easy task! Even if you should happen to break up the family and scatter the
household, do not consider this enough. You must vow to pass through seven, or eight, or even nine thickets of brambles. And, when
you have passed through the thickets of brambles, still do not consider this to be enough. Vow to investigate the secret teachings of the
Five Ranks to the end.
For the past eight or nine years or more, I have been trying to incite all of you who boil your daily gruel over the same fire
with me to study this great matter thoroughly, but more often than not you have taken it -to be the doctrine of another house, and
remained indifferent to it. Only a few among you have attained understanding of it. How deeply this grieves me! Have you never
heard: “The Gates of Dharma are manifold; I vow to enter them all?” How much the more should this be true for the main principle of
Buddhism and the essential road of sanzen!
Shoju Rojin has said: "In order to provide a means whereby students might directly experience the Four Wisdoms, the
patriarchs, in their compassion and with their skill in devising expedients, first instituted the Five Ranks.” What are the so-called Four
Wisdoms? They are the Great Perfect Mirror Wisdom, the Universal Nature Wisdom, the Marvelous Observing Wisdom, and the
Perfecting-of-Action Wisdom.
Followers of the Way, even though you may have pursued your studies in the Threefold Learning continuously through many
kalpas, if you have not directly experienced the Four Wisdoms, you are not permitted to call yourselves true sons of Buddha.
Followers of the Way, if your investigation has been correct and complete, at the moment you smash open the dark cave of the eighth
or Alaya consciousness, the precious light of the Great Perfect Mirror Wisdom instantly shines forth. But, strange to say, the light of
the Great Perfect Mirror Wisdom is black like lacquer. This is what is called the rank of "The Apparent within the Real."
Having attained the Great Perfect Mirror Wisdom, you now enter the rank of "The Real within the Apparent." When you
have accomplished your long practice of the Jeweled-mirror Samadhi, you directly realize the Universal Nature Wisdom and for the
first time enter the state of the unobstructed interpenetration of Noumenon and phenomena.
But the disciple must not be satisfied here. He himself must enter into intimate acquaintance with the rank of "The Coming
from within the Real." After that, by depending upon the rank of “The Arrival at Mutual Integration," he will completely prove the
107
Marvelous Observing Wisdom and the Perfecting-of-Action Wisdom. At last he reaches the rank of “Unity Attained," and, “after all,
comes back to sit among the coals and ashes."
Do you know why? Pure gold that has gone through a thousand smeltings does not become ore a second time. My only fear is
that a little gain will suffice you. How priceless is the merit gained through the step-by-step practice of the Five Ranks of the Apparent
and the Real! By this practice you not only attain the Four Wisdoms, but you personally prove that the Three Bodies also are wholly
embraced within your own body. Have you not read in the Daijo shogongyo ron: "When the eight consciousnesses are inverted, the
Four Wisdoms are produced; when the Four Wisdoms are bound together, the Three Bodies are perfected?" (**see note below)
Therefore Sokei Daishi composed this verse:
Your own nature is provided
With the Three Bodies;
When its brightness is manifested,
The Four Wisdoms are attained.
He also said: "The pure Dharmakaya is your nature; the perfect Sambhogakaya is your wisdom; the myriad Nirmanakayas are
your activities."
TOZAN RYOKAI’S VERSES ON THE FIVE RANKS
The Apparent within the Real:
In the third watch of the night
Before the moon appears,
No wonder when we meet
There is no recognition!
Still cherished in my heart
Is the beauty of earlier days.
The rank of "The Apparent within the Real" denotes the rank of the Absolute, the rank in which one experiences the Great
Death, shouts “KA!" sees Tao, and enters Into the Principle. When the true practitioner, filled with power from his secret study,
meritorious achievements, and hidden practices, suddenly bursts through into this rank, "the empty sky vanishes and the iron mountain
crumbles." “Above, there is not a tile to cover his head; below, there is not an inch of ground for him to stand on." The delusive
passions are non-existent, enlightenment is non-existent, Samsara is non-existent, Nirvana is non-existent. This is the state of total
empty solidity, without sound and without odor, like a bottomless clear pool. It is as if every fleck of cloud had been wiped from the
vast sky.
Too often the disciple, considering that his attainment of this rank is the end of the Great Matter and his discernment of the
Buddha-way complete, clings to it to the death and will not let go of it. Such as this is called “stagnant water" Zen; such a man is
called “an evil spirit who keeps watch over the corpse in the coffin." Even though he remains absorbed in this state for thirty or forty
years, he will never get out of the cave of the self-complacency and inferior fruits of pratyeka-buddhahood. Therefore it is said: "He
whose activity does not leave this rank sinks into the poisonous sea.” He is the man whom Buddha called "the fool who gets his
realization in the rank of the Real."
Therefore, though as long as he remains in this hiding place of quietude, passivity and vacantness, inside and outside are
transparent and his understanding perfectly clear, the moment the bright insight [he has thus far gained through his practice] comes
into contact with differentiation's defiling conditions of turmoil and confusion, agitation and vexation, love and hate, he will find
himself utterly helpless before them, and all the miseries of existence will press in upon him. It was in order to save him from this
serious illness that the rank of “The Real within the Apparent " was established as an expedient.
The Real within the Apparent:
A sleepy-eyed grandam
Encounters herself in an old mirror.
Clearly she sees a face,
But it doesn't resemble hers at all.
Too bad, with a muddled head,
She tries to recognize her reflection!
If the disciple had remained in the rank of "The Apparent within the Real," his judgment would always have been vacillating
and his view prejudiced. Therefore, the bodhisattva of superior capacity invariably leads his daily life in the realm of the [six] dusts,
the realm of all kinds of ever-changing differentiation. All the myriad phenomena before his eyes—the old and the young, the
honorable and the base, halls and pavilions, verandahs and corridors, plants and trees, mountains and rivers—he regards as his own
original, true, and pure aspect. It is just like looking into a bright mirror and seeing his own face in it. If he continues for a long time to
observe everything everywhere with this radiant insight, all appearances of themselves become the jeweled mirror of his own house,
and he becomes the jeweled mirror of their houses as well. Eihei has said: "The experiencing of the manifold dharmas through using
oneself is delusion; the experiencing of oneself through the coming of the manifold dharmas is satori.” This is just what I have been
saying. This is the state of “mind and body discarded, discarded mind and body." It is like two mirrors mutually reflecting one another
without even the shadow of an image between. Mind and the objects of mind are one and the same; things and oneself are not two. "A
white horse enters the reed flowers "; “snow is piled up in a silver bowl."
This is what is known as the Jeweled-mirror Samadhi. This is what the Nirvana Sutra is speaking about when it says: “The
Tathagata sees the Buddha-nature with his own eyes." When you have entered this samadhi, “though you push the great white ox, he
does not go away "; the Universal Nature Wisdom manifests itself before your very eyes. This is what is meant by the expressions,
"There exists only one Vehicle," "the Middle Path," “the True Form," “the Supreme Truth."
108
But, if the student, having reached this state, were to be satisfied with it, then, as before, he would be living in the deep pit of
“fixation in a lesser rank of bodhisattva-hood." Why is this so? Because he is neither conversant with the deportment of the
bodhisattva, nor does he understand the causal conditions for a Buddha-land. Although he has a clear understanding of the Universal
and True Wisdom, he cannot cause to shine forth the Marvelous Wisdom that comprehends the unobstructed interpenetration of the
manifold dharmas. The patriarchs, in order to save him from this calamity, have provided the rank of "The Coming from within the
Real."
The Coming from within the Real:
Within nothingness there is a path
Leading away from the dusts of the world.
Even if you observe the taboo
On the present emperor's name,
You will surpass that eloquent one of yore
Who silenced every tongue.
In this rank, the Mahayana bodhisattva does not remain in the state of attainment that he has realized, but from the midst of
the sea of effortlessness he lets his great uncaused compassion shine forth. Standing upon the four pure and great Universal Vows, he
lashes forward the Dharma-wheel of “seeking Bodhi above and saving sentient beings below." This is the so-called "coming-from
within the going-to, the going-to within the coming-from." Moreover, he must know the moment of [the meeting of] the paired
opposites, brightness and darkness. Therefore the rank of “The Arrival at Mutual Integration " has been set up.
The Arrival at Mutual Integration:
When two blades cross points,
There's no need to withdraw.
The master swordsman
Is like the lotus blooming in the fire.
Such a man has in and of himself
A heaven-soaring spirit.
In this rank, the bodhisattva of indomitable spirit turns the Dharma-wheel of the non-duality of brightness and darkness. He
stands in the midst of the filth of the world, "his head covered with dust and his face streaked with dirt." He moves through the
confusion of sound and sensual pleasure, buffeted this way and buffeted that. He is like the fire-blooming lotus, that, on encountering
the flames, becomes still brighter in color and purer in fragrance. “He enters the market place with empty hands," yet others receive
benefit from him. This is what is called “to be on the road, yet not to have left the house; to have left the house, yet not to be on the
road." Is he an ordinary man? Is he a sage? The evil ones and the heretics cannot discern him. Even the buddhas and the patriarchs
cannot lay their hands upon him. Were anyone to try to indicate his mind, [it would be no more there than] the horns of a rabbit or the
hairs of a tortoise that have gone beyond the farthest mountain.
Still, he must not consider this state to be his final resting place. Therefore it is said, “Such a man has in and of himself a
heaven-soaring spirit." What must he do in the end? He must know that there is one more rank, the rank of “Unity Attained."
Unity Attained:
Who dares to equal him
Who falls into neither being nor non-being!
All men want to leave
The current of ordinary life,
But he, after all, comes back
To sit among the coals and ashes.
The Master's verse-comment says:
How many times has Tokuun, the idle old gimlet,
Not come down from the Marvelous Peak!
He hires foolish wise men to bring snow,
And he and they together fill up the well.
The student who wishes to pass through Tozan's rank of “Unity Attained " should first study this verse.
It is of the utmost importance to study and pass through the Five Ranks, to attain penetrating insight into them, and to be
totally without fixation or hesitation. But, though your own personal study of the Five Ranks comes to an end, the Buddha-way
stretches endlessly and there are no tarrying places on it. The Gates of Dharma are manifold.
** - on the quote: "When the eight consciousnesses are inverted, the Four Wisdoms are produced; when the Four Wisdoms are bound
together, the Three Bodies are perfected" (From Zen Dust foot note142, pp. 313-314) Asanga taught: “When the eighth vijnana is
inverted, the Mirror Wisdom is attained; when the seventh vijnana is inverted, the Universal Wisdom is attained; when the sixth
vijnana is inverted, the Observing Wisdom is attained; when the remaining five vijnanas are inverted, the Perfecting-of-Action
Wisdom is attained.” These teachings were adopted into Zen and Mazu’s disciple Huihai explains the relationship to the three bodies:
“The Great Perfect Mirror Wisdom alone makes the Dharmakaya; the Universal Nature Wisdom alone makes the Sambogakaya; the
Marvelous Observing Wisdom and the Perfecting-of-Action Wisdom together make the Nirmanakaya. These three bodies are
tentatively given names, and their differentiation in speech permits unenlightened persons to understand them. But once you have fully
comprehended this principle, there will no longer be three bodies responding to needs.” (the second half of the quote by Hakuin is
actually not in the Shogongyo ron)
109
William Powell on the five positions: Prajna Paramita, Hua-yen and the Five Positions.
“One of the earliest systems of Buddhist thought to attract attention in China was the Perfection of Wisdom. The principle source
of the interpretation of this body of Buddhist thought in China was a commentary attributed to Nagarjuna, the Ta-chih-tu lun, which
was translated by Kumarajiva in the late fourth century [see the notes to the title, C7 and C42]. Emptiness was understood in this
tradition, in one sense, as the perception of reality that resulted from a deconstruction of the conceptual and verbal framework by
which other Buddhists has sought to rationalize Buddhist teaching. The earlier Buddhist traditionhad produced the Abhidharma, an
analysis of reality into discrete elements known as dharmas. This approach entailed a relatively complex conceptual framework by
which an attempt was made to account conceptually for such Buddhist doctrines as the distinction between defiled existence in the
mundane world (samsara) and the purified state of cessation (nirvana). Nagarjuna sought to demonstrate the fallacy of all such
dichotomizing conceptualization without, in the process, substituting a new concept of reality in the resultant void. Thus language and
reason were used in Perfection of Wisdom thought not to generate concepts, but as an antidote to conceptualization. When the
Diamond Sutra, a short Perfection of Wisdom text, says, “One should produce a thought that is nowhere supported by anything,” it
calls for speech that niether depends on concepts nor results in them. This line from the Diamond Sutra was said to have first
enlightened Hui-neng, the Sixth Chinese Ch’an Patriarch. Could this line be expressing, in seminal form, the Ch’an idea of ‘a teaching
outside words,’ where ‘words’ are thoughts supported by concepts, and ‘teaching’ is, among other things, the use of language free
from conceptualization? Nagarjuna’s use of language to deconstruct seems to be a use of language that depends on nothing, in the
sense of not arising out of an opposing conceptual system.
“The Perfection of Wisdom suggests at least two attitudes relevant to the discourse records. It discredits the language of
conceptualization, and it undermines distinctions made between samsara and nirvana, ignornace and enlightenment, and pheonemnal
and ultimate reality. Again, in the Diamond Sutra we read, ‘Form is not different from emptiness; emptiness is not different from
form.’ In addtion, Nagarjuna demonstrates a performative use of language, in contrast to a merely informative use. In the discourse
records, language is rarely used to inform; where doctrines are mentioned, it is usually for the purpose not of elucidating them, but of
discrediting all such attempts. Language is used not for its ability to build concepts, but for its affective impact on the hearer or reader.
The acumen of much of the language used in these texts belies the conclusion that such an anti-conceptual religious tradition would
deteriorate into some form of know-nothing piety. And, in denying the dichotomy between samsara and nirvana, the Perfection of
Wisdom provided the theoretical foundation for seeing ultimate reality as totally present in this-worldly, mundane activity.
“To deny the duality of samsara and nirvana, as the Perfection of Wisdom does, or to demonstrate logically the error of
dichotomizing conceptualization, as Nagarjuna does, is not to address the question of the relationship between samsara and nirvana –
or, in more philosophical terms, between phenomenal and ultimate reality. Some might be disabused of their concepts or views by
Nagarjuna’s dialectic and thereby glimpse emptiness; others, through meditation, might attain a similar experience; but all continue to
exist and function in the world of phenomena. What then, is the relationship between these two realms? It was partly in response to
this question that the Chinese Hua-yen master Fa-tsang developed his teaching on the mutual interpenetration of principle (li) and
phenomena (shih). On the one hand, according to this teaching, principle and phenomena can be thought of as quite distinct from each
other. The experience of emptiness as it occurs in some forms of meditation, for example, is markedly different, on the surface at least,
from worldly activity such as carrying wood. On the other hand, according to Fa-tsang, each implies the others by means of mutual
interpenetration. (To illustrate this see the example of the golden lion quoted in the notes for C3.)…
“Whereas Nagarjuna and his Chinese interpreters tend to leave off at a highly intellectual, logically induced experience of
emptiness, the Hua-yen masters emphasized the relationship of emptiness to form and attempted to describe the dynamics of that
relationship. Those dynamics were elaborated by Ch’eng-kuan (738-839) in his teachings on the “Fourfold Dharmadhatu,” where
experience was categorized into four modes: (1) the world of phenomena, (2) the world of principle, (3) the world of perfectly
interpenetrating phenomena and principle, and (4) the world of perefectly interepenetrating phenomena and phenomena. This
approach contained two important implications for the discourse records: the recognition of a plurality of modes for experiencing
reality and a rhetorical basis for greated attention to the phenomenal world.
“The willingness to accept various modes of experience as valid manifestations of reality or the dharmadhatu meant that one
need not limit Buddhist practices to those that lead to an experience of reality as unadulterated emptiness. Enlightenment need not be
sought in an experience of emptiness or purified consciousness, such as that suggested in the second Hua-yen category; it could also
reveal itself through any of the other three modes of experience. We see a similar understanding and approach in Lin-chi’s “Four
Classifications” (ssu-liao-chien), as well as in Tung-shan’s “Five Ranks” (wu-wei). Both present modes of experiencing in terms of
the relationship between ultimate and apparent reality. The following passage from the Heart Sutra might also be interpreted in a
similar manner: “Form is emptiness, Emptiness is form; Form is not different from emptiness, Emptiness is not different from form.””
(See the table above for a summary of Powell’s remarks on the five positions.)
Chang Chung-Yuan Original Teachings of Ch’an Buddhism, pp 41-57: “When we study the basic teachings developed by
these two schools we cannot neglect the metaphysical speculations of great Buddhist minds such as Fa-tsang (643-720) and Ch’eng-
kuan (738-839), who expounded the Hua-yen philosophy. For example, the teachings of wu wei p’ien chng, or the Five Relations
Between Particularity and Universality, maintained by Tung-shan Linag-chieh, and of ssu liao chien, or the Four Processes of
Liberation from Subjectivity and Objectivity, by Lin-chi I-hsuan, are closely related to the doctrines of the Identification of Reality
and Appearance, by Fa-tsang, and the Fourfold Dharmadhatu, by Cj’eng-kuan.”
James Mitchell (The Interaction of Principle and Phenomena): “The Five Ranks of Dongshan are a set of five modes in which
apparent or phenomenal reality interacts with ultimate or absolute reality. In traditional Buddhist terms, the teaching demonstrates
five possibilities for the construction of form and emptiness. In traditional Chinese terms, the Five Ranks show the interactive
110
relations of li (principle) and shi (phenomena). The recorded teachings of Caoshan Benji likewise indicate the importance of the Five
Ranks in the early years of Cao-Dong School. They contain extensive elaboration, through the systematic use of metaphor and
symbol, of Dongshan's original theory.
“Cao-Dong School is characterized by two philosophic doctrines which do not clearly emerge elsewhere in the other chan
schools of the late Tang and the Song periods. The first of these, the esoteric teaching of the Five Ranks, was created by Dongshan
Liangjie and developed by Caoshan Benji. Its popularity and employment as a teaching device seems to have varied enormously from
generation to generation — Dogen Zenji seems to have been little impressed with it — but it is reasonable to say that it has always had
at the very least a background presence throughout the later history of Cao-Dong School. Indeed the Song-period chan histories agree
in emphasizing Dongshan's Five Ranks as the original teaching of the school, and that alone probably would have precluded the
possibility of its complete disappearance in later years.
“The second characteristic Cao-Dong teaching, namely the interaction or "mutual interpenetration" of li and shi, principle and
phenomena, is of especial relevance to the early Cao-Dong period. It is also included in the Record of Mazu, indicating its probable
employment in the 8th-century Hongzhou School, descended from Mazu. It is mentioned explicitly in the Record of Dongshan, and
can be seen as the basis or underlying strategy for the formulation of the Five Ranks, a systematization of how principle and
phenomena integrate and act upon each other. Shitou Xiqian, in the fourth generation before Dongshan, emphasized the teaching of li
and shi, and this more than any other single factor has led to the sense of a Cao-Dong pre-history that antedates the actual founding of
the sect in the 9th century; that its real roots extend back to the middle of the century preceding; and that Shitou Xiqian must qualify
not only as a "Cao-Dong ancestor," but perhaps to some degree as one of the school's unrecognized founders.
“Another circumstance that heightens this attitude is the adoption for daily chanting of the two major doctrinal poems of both
masters, namely The Agreement of Difference and Unity by Shitou and The Song of the Jewel Mirror Samadhi by Dongshan, thus
conferring a kind of liturgical canonization in the temple ceremonies. Both poems have much in common, and in the Cao-Dong
context they complement each other remarkably. They have also been highly regarded by the other chan schools, and they are
generally regarded as masterworks of Chinese Buddhist literature in general.
“The teaching of the interaction of principle and phenomena comes to Cao-Dong from the Huayan School, one of the most
remarkably innovative schools of Chinese Buddhism, which emerged in the 7th century, during the lifetime of Huineng. The school
receives its name from Huayan jing, the Avatamsaka sutra, or Flower Ornament Sutra… Philosophically, it unites the Mahayana
teachings of emptiness and thusness and Buddha-nature, and in so doing it indicates the future of chan. It also identifies the human
mind with the physical universe, which is also seen as identical with Buddha. In fact, the Buddha, the mind, sentient beings, and
phenomena are one and the same. Seen from the ultimate truth of non-duality, the traditional view of dependent arising receives a
suddenly positive meaning, since ignorance is also enlightenment.
“The sutra is also full of symbolism expressing universal interdependence, interaction, identity of opposites, and unity within
difference, themes which coincided to a considerable extent with pre-Buddhist native philosophic ideas in China. Translated into
Chinese by Buddhabhadra around 420 CE, the Avatamsaka Sutra instantly magnetized the interest of Buddhist practitioners and
scholars alike, just as it continues to fascinate to this day. In the mid-600's, its study gave birth to the Huayan School, whose founders
attempted to explain systematically a series of philosophic ideas which they perceived in the sutra. These ideas aroused widespread
and immediate interest in all the contemporary Chinese Buddhist schools, especially in the emerging chan schools. That the chan and
Huayan directions seemed more than compatible is demonstrated by the career of the Fifth Patriarch Kueifeng Zongmi (780-841), who
was also recognized as a master in the chan school founded by Shenhui and known as Hoze School [Japanese: Kataku]. Zongmi is an
important figure of his times for several reasons, and quite obviously he must have considered chan practice as an appropriate
consequence of Huayan ideas, derived in turn from the Avatamsaka.
“The teaching of the identity and the mutual penetration of principle and phenomena, central to the establishment of Cao-
Dong School, was evidently first formulated by Tuxun (557-640), who came to be regarded as the original founder of Huayan
School. The early Huayan treatise ascribed without certainty to Tuxun and entitled Fajie kuan men (Reflections on the Dharma Realm)
explains the relation between li (principle) and shi (phenomena), and the various modes of interpenetration of both. Because principle,
meaning the general truths or principles which govern phenomenal reality, interacts worth phenomena "without mutual obstruction
(wu ai), both principle and phenomena are able to enter into or penetrate each other; to include, incorporate and fuse with each other,
without either losing its respective identity.
“This conception receives further elaboration in the writings of Fazang (643-712), who mentions the teaching in the
introduction to his commentary on Awakening of Faith in the Mahayana. Fazang was known later as Huayan sect's third patriarch,
after he had developed the "golden lion" comparison, which became instantly popular. The statue of the lion represents its
phenomenal existence, but the gold of which it is made is its principle, which is itself formless, but for that reason can adopt any form
which is required. Because every part of the lion is made of gold, principle is necessarily present in each of the parts: the whole is
identical with its parts, and vice versa. Consequently all phenomena manifest one principle, and this one principle achieves its
expression in the world of phenomena.
“If in Buddhist terms we equate principle with emptiness, which of course is the one quality that characterizes all phenomena,
then emptiness is therefore form, and form is emptiness. Emptiness is for this reason "the spiritual source" (Shitou Xiqian) of
phenomenal existence. This spiritual source is also identified, in the Huayan tradition, not only with dharmadhatu, the true "dharma
realm" invisibly permeating all things, but also with tathagata-garbha. Phenomenal existence is now seen as the one mind and body of
the Buddha. Just as the theories of emptiness, thusness and Buddha-nature are unified in Huayan thinking, they are continually
integrated in the language of sign and symbol employed by the great chan masters.”
(also see Lai’s comments on Linji’s teaching of the "Four Modes of Host Client Relationships" as an influence/precedent for the five
positions and the opening material in the Verdu section on Tsung-mi and Kegon influences/precedents.)
111
The Four Dharmadhatus:
1. 事法界 - The realm of phenomena,
2. 理法界 - The realm of noumena
3. 理事無礙法界 - The realm of unhindered mutual interpenetration of noumena and phenomena
4. 事事無礙法界 - The realm of unihindered mutual interpenetration of phenomena and phenomena.
The terms of the four dharma dhatu, or dharma realms: Ji, shih, 事 – phenomenon, fact and, Ri, li, 理 – noumenon, priniciple, literally
means the veins in a polished gem; figuratively, it refers to basic principles. These terms are also found in the Sandokai. (Also see DT
Suzuki’s quote in C18 on the relation between Chinese Hua-yen (Avatamsaka) thought, the Sandokai and the Jewel Mirror Samadhi.)
(The five positions are sometimes correlated with the four dharmadhatus such that the first Dharmadhatu corresponds to the first and
second positions, the second Dharmadhatu corresponds to the third position, the third Dharmadhatu corresponds to the fourth position
and the fourth Dharmadhatu corresponds to the fifth position.)
(Dumoulin also discusses the correlation of the five positions and the four dharmadhatus: “In neither case should the thesis be
understood statically. Each of the formulations attempts to present the flowing stream of reality by stressing a different aspect of it.”)
Whalen Lai: The history of Chinese Philosophy would be incomplete if the contributions of the Buddhist thinkers were not
taken into account. Chinese Buddhist thought, on the one hand, is Buddhist reflection on and response to the Buddhist Dharma which
the Chinese learned of from their Indian brethren. It is natural that Chinese Buddhist thought has certain non-Chinese colourings.
Chinese Buddhist thought is, on the other hand, Chinese reflection that drew upon her native frame of reference. Inevitably, too,
Chinese Buddhist philosophy also has elements alien to India. Since the Buddhist Dharma, by its very universal nature as the Truth, is
no Indian monopoly, one should seriously consider the Chinese Buddhist response to it as one "faithful" expression of the perceived
Truth. Just as Christianity is considered to be a creative synthesis of the Hebraic and the Classical tradition, "Sinitic Mahayana" should
also be seen as a proud and independent offspring of the confluence of the Indian and the Chinese culture. It is said that the Hebraic
concept of the Messiah and the Greek notion of the logos merged into the Christian idea of Christ as the Word of God. If so, it can
also be shown that the mature Chinese Buddhist concept of li (Principle) as a synonym for the Buddhist absolute, Suchness (tathata),
was a creative union of the Buddhist Dharma and the Chinese Tao. The use of the term li in the Hua-yen school, probably the most
sophisticated Sinitic Mahayana school, demonstrates, I think, a synthesis of the Dharma and Tao - both symbols of Transcendence -
and articulates their structural inter-relationships in a manner previously unknown in either India or China. Li provided a new insight
into an eternal Truth…Fa-tsang held that Suchness is paradoxically pu-pien sui-yuan, sui-yuan pu-pien, unchanging yet it goes along
with the conditions (that produce the world), going along with the conditions (of the world) but remaining unchanged. It is fairly
obvious that Fa-tsang was or could likely be influenced by the Taoist concept of wu-wei wu-pu-wei, active inactivity or being non-
acting (it can therefore) be most active and accomplish all, or by the dual principles in the I Ching known as pu-i, the Unchanging
(Principle) and pien-i, the Changing (Principle). This tenet in Hua-yen philosophy is referred to as the principle of "dynamic
Suchness". (from The I-ching and the Formation of the Hua-yen Philosophy)
From The Buddhist Teaching of Totality, translation and comments by Garma CC Chang. Chang’s basic description of the
Four Dharmadhatus:
The Dharmadhatu of Shih (Events) - This is the realm of phenomena, in which all things are seen as distinct and different
objects or events…all the multitudinous phenomena which occur in the empirical world are of this realm. Things and events are
looked upon here as distinct and independent objects…
The Dharmadhatu of Li (Principle) - This is the realm in which only the abstract principles which underlie phenomena, and
the immanent reality (tathata) that upholds all dharmas, are seen. It is a realm beyond sense perceptions, a realm grasped only by
intellect or intuition. All the principles and laws that dictate the events in the phenomenal world belong to this category…Of all the
different Lis, the Hway Yen philosophers seem to have in mind primarily the ultimate Li – namely, tathata (suchness or thatness)
either interpreted as the universal One Mind oe as Emptiness…The Dharmadhatu of Shih and the Dharmadhatu of Li cannot be
regarded as two separated realms. They are inseparable and interdependent, forming a unified whole…
The Dharmadhatu of Non-Obstruction of Li against Shih (Li-shih Wu-ai) - This is the realm where Li and Shih are seen as
the inseparable unity. A concrete event (Shih) is seen here as an expression of a certain abstract principle (Li), and the principle (Li) as
the testimony of the manifesting event (Shih).
In the third Dharmadhatu of Li against Shih, we have seen how the realm of Non-Obstruction is reached by reducing all Shih
into Li and not merely as a non-differentiated whole but as a totalistic harmony of all antitheses that is at once dynamic and
unimpeded. So far as facilitating people’s comprehension of the principle of Non-Obstruction is concerned, this reasoning process of
reducing the distinct phenomena (Shih) into noumenon (Li) is perhaps necessary, but the realm of Non-Obstruction itself, if it is a true
fact, needs no such rationalization for its existence. It is simply so and profoundly so. That is to say, no reduction of Shih into Li is at
all necessary to validate the Non-Obstruction of Shih against Shih, which is the ultimate and the only Dharmadhatu that truly exists.
The other three Dharmadhatus – the Dharmadhatu of Shih, of Li, and of the Non-Obstruction of Li against Shih – are merely
explanatory expediencies to approach the fourth Dharmadhatu of Shi-shi wu-ai. They have no independent entity or existence. The
only Dharmadhatu that exists is Shih-shih Wu-ai, and in its dimension each and every individual Shih enters into and merges with all
other Shih in perfect freedom, without the aid of Li.
(As noted above, the Five Positions are sometimes correlated with the Four Dharmadhatus (the traditional correlation is
described above and in section 3.) Caoshan’s formulation of the Five Positions suggests a different correlation – 1st position (Host) =
2nd Dharmadhatu, 2nd position (Guest) = 1st Dharmadhatu, 3rd and 4th positions (Host Coming to Light and Guest Returning to Host) =
3rd Dharmadhatu, and 5th position (Host in Host) = 4th Dharmadhatu.
112
However, Dongshan’s Five Positions as a dialectic of Hen and Sho may be more fruitfully compared to the internal dynamics
of the 3rd Dharmadhatu which unfolds a dialectic of Shih and Li, things and principle. In this case, the 5th Position could still perhaps
be correlated to the 4th Dharmadhatu as realization with no trace of realization. Tu Shun (557-640) is regarded as the founder of the
Hua-Yen school. Here is Tu Shun’s exposition of the 3rd Dharmadhatu, the Non-Obstruction of Li against Shih – from Meditation on
the Dharmadhatu. This exposition also gives some sense of how the Five Positions can be seen as positions rather than a linear set of
stages (which almost every commentary slips into to some extent).)
The Meditation observes: Ten principles are set forth here to elucidate both the fusion and dissolving of Li and Shih, their co-
existence and extinction, co-operation and conflict [as reflected in the principle of the Non-Obstruction of Li and Shih]:
1. The principle that Li [must] embrace Shih.
2. The principle that Shih [must] embrace Li.
3. The production of Shih must rely on Li.
4. Through Shih the Li is illustrated.
5. Through Li the Shih is annulled.
6. Shih can hide the Li.
7. The true Li is Shih itself.
8. Things and events [Shih-fa] themselves are Li.
9. The true Li is not Shih.
10. Things and events [Shih-fa] are not Li.
[Tu Shun expands:]
1. Li, the law that extends everywhere, has no boundaries or limitations, but Shih, the objects that are embraces [by Li] has
limitations and boundaries. In each and every Shih, the Li spreads all over without omission or deficiency. Why? Because the truth of
Li is indivisible. Thus each and every minute atom absorbs and embraces the infinite truth of Li in a perfect and complete manner.
2. Shih, the matter [or event] that embraces, has boundaries and limitations, and Li, the truth that is embraced [by things], has
non boundaries or limitations. Yet this limited Shih is completely identical, not partially identical, with Li. Why? Because the Shih has
no substance – it is the selfsame Li…
3. This means that Shih has no other essence [than Li]; it is because of Li that Shih can be established, for all causations are
devoid of self-nature. It is also because of this No-Selfhood that all things come into beings…
4. When Shih grasps Li, Shih is emptied and Li is substantiated; and because Shih is emptied, the Li that ‘dwells’ in the total
Shih vividly manifests itself [i.e., Li is disclosed and Shih is hidden]…
5. When Shih grasps Li and makes Li emerge, the form of Shih is annulled, and the only thing that clearly and equally
appears is the sole and true Li. Beyond the true Li, not a single piece of Shih can be found…
6. The true Li follows and establishes causal events. However since these causal events are against Li [in so far as the world
of convention is concerned], the result is that only the events appear, but Li does not appear, [as ordinary men only see the tangible
Shih in their daily experience but not the abstract Li]…
7. If a Li is true, it should not be outside of Shih. There are two reasons for this…because of the principle of…the emptiness-
of-Selfhood-of-dharmas. Second, because Shih must depend on Li, [Shih] itself is hollow without any substance. Therefore, only if Li
is identical with Shih through and through can I be considered to be the true Li…
8. All things and events of dependent-arising are devoid of Selfhood, hence they are identical with reality [Li] through and
through. A sentient being is therefore Suchness per se without [going through] annihilation…
9. The Li that is identical with Shih is not Shih as such. This is because the true Li is different from the illusory, and the real
is different from the unreal; also that which is depended upon is different from that which depends…
10. The Shih – that which is embodied in the total Li – is not always Li as such, because its form and nature are different, and
because that which depends is not that which is depended upon. Although the total body of [Shih] is in the Li, things and events can
also vividly appear.
The above ten principles all consist in dependent-arising. To see Shih from the standpoint of Li, we find forming and
annulling, unification as well as separation. To see Li from the standpoint of Shih, we find revealing as well as concealing, one as well
as many. [In the great Totality, therefore] contradiction and agreement all become harmonious with no impediment and no
obstruction, and all in all arise simultaneously. One should meditate on this deeply to let the view clearly appear. This is called the
‘Meditation of the Harmony and Non-Obstruction of Li and Shih.’ (Chang notes: “It is, after all, not a philosophical inquiry but an
instruction in spiritual meditation.”)
Pre-Dongshan readings of 五位: Five ranks . Five stages . In the Yogācāra school 瑜伽行派, the division of the path of
practice into five levels. These five ranks are enumerated in both Hīnayāna and Mahāyāna treatises. They are primarily explained in
the Abhidharmakośa-bhāsya 倶舎論, and the Thirty Verses on Consciousness-only, both written by Vasubandhu 世親.
1. In Yogācāra, these five are: the stage of accumulation (資糧位), the stage of preparation (加行位), the stage of proficiency (通達
位), the stage of practice (修習位) and the stage of completion (究竟位).
2. In the Abhidharmakośa-bhāsya, they are the stage of accumulation (資糧位), the stage of preparation (加行位), the stage of
seeing the Way (見道位), the stage of cultivating the way (修道位), and the stage of no more learning (無學位).
3. In the Vajrasamādhi-sūtra (金剛三昧經), the Five Stages are: the stage of faith 信位; stage of deliberation 思位; stage of
cultivation 修位; stage of practice 行位; stage of non-attachment 捨位. See T 273.9.371a-b.
These formulations of Five Stages have some similarities with Dongshan’s Five Positions of Meritorious Achievement.
113
On fivefold classification themes in general in Chinese thought:
ZS p. 659-660: The Five Phases: The Chinese classification of all things into two great classes, yin and yang, was extended
into a system of five classes, or five phases. The five basic classes are metal, wood, fire, water, earth. Almost anything imaginable is
divisible into five classes: time, place, colors, food, numbers, clothing, animals, kinds of ritual, organs of the body, planets and stars,
offices in the bureaucracy, tones of music, etc.
As with yin and yang, the five phases are not thought of as fixed and unchanging essences but as phases of cyclical change.
According to one explanation (the “mutual overcoming order”), earth overcomes water, water overcomes fire, fire overcomes metal,
metal overcomes woods, and wood overcomes earth. In another system (the “mutual production order”), wood produces fire, fire
produces earth, earth produces metal, metal produces water, and water produces wood. There were, however, other competing
systems.
The five phases provide a comprehensive system for determining what set of things are consistant with each other and in
what order events should proceed. The system of five phases thus provides the philosophical basis for theories of music, culinary taste,
art, good government, ritual, divination, etc. (end of ZS citation)

(From Dogen’s Formative Years in China by Takashi James Kodera)
It is apparent that Tung’shan’s ‘Five Ranks’ were devised under the influence of Hua-yen metaphysics, especially that of Tu-
shun (557-640). The doctrine of the ‘Five Ranks’ was further systematized and developed by Tung’shan’s successor, Ts’ao-shan Pen-
chi, who came from a Confucian background. It is important to note that their teaching is said to have had its basis in Ts’an-t’ung-ch’I
by Shih-t’ou His-ch’ien (700-790). In this work, Shih-t’ou utitlized such words as the ‘spiritual origin’ and ‘branch,’ ‘brightness’ and
‘darkness.’ ‘Particulars’ and ‘principle’ are the terminologies that clearly indicate the Hua-yen incluence in his Ch’an teaching. This
can be viewed not only as the first conscious adaptation of Hua-yen doctrine into Ch’an, but also as the precursor for the dialectic of
the ‘Five Ranks’ theory of the Ts’ao-tung School. Shih-t’ou has also been credited with considering the Chao Lun by Send-chao (374-
414) as the synthesis of the teaching of the early Chinese Buddhist monks. He also exhibited some Taoistic tendencies. For example,
he described the Buddha as the ‘great immortal’. But neither one of these elements can be clearly discerned in the ‘Five Ranks’ theory.
The theoretical foundation of the Ts’ao0tung School, which was thus finally established by Tung-shan and Ts’ao-shan under
the influence of Hua-yen metaphysics, was further developed during the succeeding generations, chiefly in Kiangsi Province. Ts’ao-
shan Hui-hsia and Chin-feng Ts’ung-chih, the most notable disciples of Ts’ao-shan Pen-chi, furthered the philosophical tenets of the
School, but their contribution was largely restricted to the philosophical substantiation of the ‘Five Ranks’ theory. As a result, the
School did not succeed in increasing its appeal to the masses, and its legacy rapidly declined.
It was Yun-chu Tao-ying (d. 902), a disciple of Tung-shan and a fellow-monk of Ts’ao-shan Pen-chi, who made efforts to
sustain the lineage of Tung-shan. He paid greater attention to the propagation of the School than to a further delination of its
philosophical stance. It is said that the displies who flocked around Tao-ying at his monastery in Kiangsi were always over 1,000 in
number…
After T’ou-tzu [Yi-ch’ing (1032-1083)], the Ts’ao-tung School began to recover and to re-establish its roots. On the basis of
his broad Hua-yen learning, T’ou-tzu revived the importance of the ‘Five Ranks’ with the Ts’ao-tung School. And emphasized the
importance of returning to the spirit of Bodhidharma, while other schools tried to return to Hui-neng…
While the monastic rule of the Ts’ao-turn School was…established by Fu-yung Tao-k’ai, its characteristic meditative praxis
derives form his grandson-in-Dharma, Hung-chih Cheng-chueh (1091-1157), the ninth generation of the Yun-chu lineage…
Hung-chih’s emphasis upon ‘silent illumination Ch’an’ was further substantiated by his Tso-ch’an chen (Manual on Sitting in
Meditation), in which he claimed the centrality of penetrating into the interfusion of the Real and the Apparent, and the identity of the
Bright and the Dark. This was in keeping with the spirit of the Hua-yen influenced formulation of Shih-t’ou and Tung-shan. While
Tung-shan’s ‘Five Ranks’ was largely metaphysical in orientation, Hung-chih applied it to the level of the actual meditation
experience of the monks. (pp 96-100)
114
Shodoka: One stage of practice contains all stages, without form, without thought or action.
Sandokai: Progress is not a matter of far or near, but if you are confused, mountains and rivers block your way.
Zen Sand: ZS 8.89: If you don’t get your mind off rank, you will fall into the poison sea.
Transmission of Light, Case 35: Qingyuan went to study with the Zen master Huineng and asked, "What work is to be done
so as not to fall into stages?" The Zen master inquired, "What have you done?" Qingyuan said, "I do not even practice the holy
truths." The Zen master said, "What stage do you fall into?" Qingyuan said, "If I do not even practice the holy truths, what stages are
there?" The Zen master recognized his profound capacity.
Dōgen: Shobogenzo Bukkyo (Shobogenzo Book 3, Gudo Nishijima) Because the unreliable have learned from the unreliable,
they know no truths others than the unreliable…Sometimes, hoping to offer a guiding hand to others, they quote…Tozan’s three paths
and five relative positions, and so on, and see them as the standard for learning the truth. My late master Tendo was constantly
laughing at this…The founding patriarch’s three paths and five relative positions, as kernels of the truth, are beyond the area which the
unreliable can know. He has received the authentic transmission of the fundamental principles, and has directly indicated Buddhist
conduct; his can never be the same as other lineages.
Dōgen: Shobogenzo Butsudo (Shobogenzo Book 3, Gudo Nishijima) To each individual monk who pursues real mastery in
practice, I issue a stern warning: Do not retain the random names of the five sects, and do not retain any concept of lineages or
customs belonging to five sects. How much less should there be the...five relative positions...The truth of Old Master Shakyamuni is
not small thinking like that, and it does not esteem thinking like that as great.
Dōgen: Shobogenzo Shunju (Moon in a Dewdrop, Kaz Tanahashi) If buddha-dharma had been transmitted merely through
the investigation of differentiation and oneness, how could it have reached this day? Peasants or stray cats who never understood the
inner chamber of Dongshan, and have not passed the threshold of the buddha-dharma, mistakenly say that Dongshan guided students
with his theory of five ranks of differentiation and oneness. This is an inadequate view. You should not pay attention to it. You should
just investigate that the ancient ancestor has the treasury of the true dharma eye...Do not mistakenly say that Dongshan’s buddha-
dharma is the five ranks of oneness and differentiation.
Dōgen: Eihei Kōroku 3.221 (Dōgen’s Extensive Record, Leighton and Okumura) When I sit you should stand. When I stand
you should sit. If we both stand or sit at the same time, we will both be blind people. (fn: One standing and the other sitting refers to
the distinction between universal and particular, or host and guest. Each side must abide in its own position.) Therefore, Dongshan
arrayed the five ranks of lord and minister, and Linji enumerated the four kinds of guest and host. A person within the gate sits solidly
grounded, and even if he wants to leave, cannot. A person outside the gate shifts all over, like ocean waves, and even if he wants to
enter cannot. These different persons do not know each other and do not meet each other. You are you; I am I. We do not disturb each
other, each protecting our own territory. When suddenly those in the four directions change their positions and switch host and guest,
the person on the path does not leave their house, and the person in the house does not depart from the path. Yours is mine, and mine
is yours. We should say that he and I share one house; host and guest are equally strong. If we can see it like this, there is something
that does not interact with the two paths [of host and guest] and cannot be included in the four phrases. Where shall we meet together
with that [reality beyond dichotomy]? Dōgen held his staff upright, pounded it once, and said: Return back to the hall and consider
this.
(Also see Dōgen’s comment in the notes to C47 on the host within the host.)
Dōgen: Eihei Kōroku (Dōgen’s Extensive Record, Leighton and Okumura) Verses for the twelve hours:
Midnight; Hour of the Rat [about 11 P.M. – 1 A.M.]
The barbariam knows he has not yet arrived, but still has understanding,
Don’t wonder about the robe transmitted before midnight.
Sit cutting off the apparent within, together with reality arriving.
Turning this over, make your bed and sleep.
(fn: “The apparent within, together with reality arriving” is an abbreviated reference to the five ranks teaching of Dongshan.)
Hakuin: (Secrets of the Five Ranks of Soto Zen in Kensho, Thomas Cleary) How sad is the aridity of contemporary Zen
Schools! They laud unintelligent ignorance as transcendental direct-pointing Zen. Considering unsurpassed spiritual treasures like
“Focusing the Precious Mirror” and the Five Ranks to be worn out utensils of an antiquated house, they pay no attention to them. They
are like blind people throwing away their canes, saying they are useless, then getting themselves stuck in the mud of the view of
elementary realization, never able to get out all their lives. In particular, they do not know that the Five Ranks are a ship across the
poison sea of the absolute state, a precious discus spinning through the prison of the two voids. Since they do not know the essential
road of progressive cultivation, and are unfamiliar with these secrets, they sink into the stagnant water of followers and individual
illuminates, stumble into the dark pit of scorched sprouts and spoiled seeds, eventually reaching the point where even Buddha himself
could hardly save them. What I received from Shoju Rojin forty years ago, I now offer as a donation of teaching to genuine students of
the mystery who have experienced the great death. This should be handed on privately, because it was not set up for people of
middling and lesser potential. Make sure not to take it too lightly!...Old man Shoju said the master teachers first set up the Five Ranks
as a compassionate expedient to get students to experience the four cognitions. This is quite different from doctrinal discourse.
Hakuin: (A Chronological Biography of Zen Priest Hakuin (by Torei zenji), The Eastern Buddhist, Spring 1994, Norman Waddell)
(age 24) One day the master (Hakuin) asked Shoju to instruct him in the Soto school’s Five Ranks of Apparent and Real. In reply,
Shoju told the master to set forth his own understanding of the Five Ranks. When the master had finished, Shoju said with a laugh, “Is
that all? Nothing more?” The master was silent. “There is nothing better for clarifying post-enlightenment training than Tung-shan’s
Five Ranks,” said Shoju reprovingly. “Its principle is exceedingly profound. If there were no more to it than what you have
understood, it would be just a useless piece of temple furniture. Why do you suppose Tung-shan formulated the number of different
ranks he did?” Shoju later transmitted the secrets of the Five Ranks to the master. But when he reached the passage, “A
115
double Li hexagram, the Apparent and Real totally integrated; Putting one on top of the other there are three...” he stopped abruptly.
The master begged Shoju to continue and give him the secret of the passage that follows: “Completely transformed, there are five.”
“You can’t expect to get it all in just one visit,” Shoju replied. “Take a look at Tung-shan’s verses on the Five Ranks. Don’t read
anything else. Pay no attention to the comments or theories others have made about them. If you do, you’ll find yourself down inside
the same old hole as the other polecats”... (age 25) (Hakuin) asked a favor of (Sokaku, a fellow student of Shoju). “Shoju is advanced
in years,” he said. “It may not be possible for me to see him again. Brother Kaku, I’d like you to get him to teach you the secret of the
‘completely transformed, they become five,’ phrase of the Five Ranks so that you can pass it on to me.” Sokaku agreed, and the two
men set out on their separate ways... (age 26) Sokaku arrived from Shoju-an during the lecture meeting, just as he had promised. The
master asked him for the secret of the “completely transformed” passage of the Five Ranks. “It’s not easy,” said Sokaku. “Sokaku,”
said the master, “Would it make it any easier if we enlisted the aid of some liquid Prajna (sake)?” The master’s fellow monks went
and tracked down a flask of sake. Sokaku’s cup was filled but as he raised it to his lips the master caught his hand. “Have your drink
after you give me the secret,” he said. “No,” Sokaku said, “let go of my hand.” “After you drink all that sake,” explained the master,
“you won’t be in any shape to explain it to me.” Unable to come up with any reason to refuse, Sokaku finally began to explain the
passage. He had done no more than utter the words “Completely transformed, they become five...” when the master suddenly realized
the meaning. “Stop! I’ve got it now! I understand it!” he declared. The others were indignant. “Don’t stop him!” they said. “We don’t
understand it yet.” “You can learn it from me,” replied the master. Sokaku had by then finished off several cups of sake and they all
had a good laugh. Next day when the master found time to be alone with Sokaku he set forth to him the understanding he had grasped.
Not a word he spoke was inconsistent with the teaching Shoju had entrusted to Sokaku.
Torei (Discourse on the Inexhaustible Lamp of the Zen School) (The five ranks) is not to be confused with what in the Tendai
School is called “meditative insight” (seeing into emptiness, then seeing into the temporary, then insight into the true form of the
middle way)...As to the five ranks, these were established to help those who have already seen into the True Nature to penetrate deeper
into the Dharma and by the light of this insight to bring forth the single eye and the great Dharma King.
Suzuki-roshi: In—in Sōtō, people say in Sōtō—Sōtō priest doesn't—Sōtō school doesn't use kōan, and they have no kōan
practice. But Dōgen-zenji, after studying kōans, and he simplified all the kōan in a—in a quite simple forms, as—like Tōzan-zenji in
China did. Tōzan-zenji used five ranks—five ranks of practice, or five ranks of seeming and reality. But Dōgen-zenji did not use five
ranks in practice or five ranks in seeming and reality because Dōgen-zenji's understanding or teaching of Zen is much simpler than
that. Quite simple. The point of Sōtō Zen—Dōgen-zenji's zazen is to live on each moment in complete combustion, like a kerosene
lamp or like a candle. So how to live in each moment, and how to become one with everything, and attain oneness of the whole
universe, is the point of his teaching and his practice.
Lu K’uan Yu (Ch’an and Zen Teaching, second series) This esoteric Dharma (of the Precious Mirror Samadhi) is absolute and
does not admit anything which can be called either the real or the seeming. However, a master should use these two terms to teach his
deluded disciples so that they know difference between these two conditions and successfully pass through the five positions of prince
and minister for their attainment of the absolute. Snow, silver, egret and moonlight are used as examples to show this difference;
although they are all white, they are not of the same white when gathered together for comparison.
John C.H. Wu (The Golden Age of Zen) This doctrine (of five positions) and others like it are not of central importance in the
teaching of Tung-shan’s school…They are merely expedient means or pedagogical schemata for the guidance of the less intelligent
students. It is regrettable that historians of Ch’an have a tendency to treat these incidentals as essentials and to ignore the true
essentials altogether.
Dumoulin (from Zen Buddhism: A History, India and China): Among the disciples if Tung-shan, it was Ts’ao-shan who
preserved this precious teaching [of the five ranks], elaborating and perfecting it in the process. His character and interests being
totally different from those of his fellow disciple Yun-chu, Ts’ao-shan loved to study…Yunchu, the other important disciple of Tung-
shan, had little or no interest in the dialectic of the Five Ranks. He directed his efforts toward the immediate experience of
enlightenment, which he incarnated in an exemplary ethical life…The Five Ranks of the House of Ts’ao-tung represent the most
important dialectical formula in all of Zen Buddhism…In contradistinction to the other fivefold formulas in Buddhist philosophy
based on ontological-psychological analysis – one thinks of the Abhidharmakosa or the doctrine of vijnaptimatra – all five ranks of
Ts’ao-tung express various aspects of one and the same thing: the fundamental identity of the Absolute (or universal One) and the
relative (or phenomenal many). The formula of the Five Ranks originated in Mahayana metaphysics but was given a Chinese form.
Given its affinity with the I Ching (Book of Changes), we may speak of it as an expression of Chinese philosophy. The basic concepts
stem from Tung-shan, who in turn was building on foundations laid by Shih-t’ou and other Zen masters of the T’ang period. But it
was Ts’ao-shan who grasped the core of the master’s teaching and gave it its final form.
Dumoulin: Textual traditions offer two variants for the title of the fourth rank; both of them make good sense…henchushi,
“Arrival at the Middle of the Bent,” [and] kenchushi, “Arriving in Mutual Integration”…The advantage of this latter title is that it
corresponds neatly to the third Dharma realm of the Kegon schema (see the four dharmadhatus above), the realm of the “uninhibited
interpenetration of li and shih”…In the original rendering of the title line, “Arrival in the Middle of the Bent,” the relationship of
opposition between the third and the fourth ranks is evident. Even though the title lines of each mention only one pole explicitly –
either the absolute or the relative – the other is clearly implied. This device serves to preserve the full force of the formula’s
symmetry. The second, middle graph of all the title lines is the same: chu[中]. In the first two ranks it is translated simply as “in,”
signifying the mutual penetration of the relative and absolute. In the next two ranks, it is better rendered as “middle,” since the sense is
that both poles exhibit a dynamic that transcends opposition…The opposition between these two ranks (the third and fourth ranks of
Caoshan’s version) supports the henchushi (“Arrival at the Middle of the Bent”) reading of the fourth rank even though the word for
the absolute is not actually used. Later, the fourth rank was given various interpretations by different commentators.
Sekida: You reach this state of mellow maturity by repeating the cycle, from the First rank to the Second, the Third, the Fourth,
the Fifth, and then coming back once more to the First. Each rank gains in profundity and becomes increasingly mellowed
116
with each repitition. The Third Rank, which can be regarded as the base camp for your ordinary life, is enriched by experience of the
Fourth and Fifth ranks, as well as of the First and Second. Training is done by repitition. Each rank is independent of the others and
has its own individual character.
Brockard and Ohashi’s titles: “In the Stright the Bent,” “In the Bent the Straight,” “Departing from the Straight,”
“Arriving at the Coherent,” and “Homecoming in the Coherent.”
Thomas Cleary (Timeless Spring): Caoshan used terms and images borrowed from ancient Chinese books as well. The
five ranks have cosmic as well as meditative and 'metaphysical' implications. The so-called five ranks of accomplishment are
slightly different and are all subsumed within the relative until the ultimate point when there is complete integration. The great
Rinzai master Hakuin said that there was a great deal of confusion surrounding the five ranks; this teaching can be a useful tool
or a swirling vortex.
Cleary (Appendix to the Blue Cliff Record): The germ of the five states—or positions, ranks—is in the Ts'an Tung Ch'i,
'Merging of Difference and Identity,' written by Shih T'ou (700-790), ancestor of the Ts'ao-Tung house. Tung Shan exposed the five
states in his Pao Ching San Mei Ke, 'Song of the Jewel Mirror Meditation,' and composed a set of poems on the five states of the
interrelation of the true/ absolute and biased/relative. Ts'ao Shan, who seems to have used the five ranks more than Tung Shan's other
disciples, had been a scholar of Confucianism until the age of nineteen and expressed the five states in terms of lord and vassal, or
prince and minister.
Daido Loori: (capping Verse and Comments on Caoshan's Love Between Parent and Child)
Why must Yin and Yang be placed in an arrangement?
If you do, you will never have today.
When the wind blows, the grasses bend.
When the rain comes, the river fills.
Why should self and other be placed in an arrangement? Male and female, parent and child, teacher and student, good and bad, up and
down — all of these pairs of opposites can be understood in terms of Master Dongshan’s integration or identity of absolute and
relative...Why must Yin and Yang be placed in an arrangement? Essentially what I’m doing is denigrating the Five Ranks because the
ranks are a series of arrangements of Yin and Yang: Yin coming from Yang, Yang coming from Yin, Yin and Yang interpenetrated.
Each rank has a value in terms of understanding a particular facet of the relationship, but the fact is that while you’re understanding
these facets you miss your life. You will never have today. What is today? Today is right now, this moment. Today is this breath, this
action, this very thusness itself. It doesn’t know about Yin and Yang. It just is. When the wind blows, the grasses bend. When the rains
come, the river fills. That moment is the reality of our lives.
Geoffrey Shugen Arnold (speaking on Luzu's Wall Gazing): This is the basis of the Five Ranks of Master Dongshan, of
appreciating reality in all of its aspects. Each rank is a different way of looking at the universe. At this (Holds up a stick). At this
(Points to himself). At life. At the moment. At suffering. At freedom from suffering. How can one teaching be responding to all the
different questions? Because it contains the universe. So what is this teaching of Luzu’s? What is solitude?
John Crook: Here then is a powerful vision as to how emptiness expresses itself in forms. In meditation one may take up
many aspects of the same phenomenon and through seeing their interdependence and lack of inherent existence allow them to merge
into one understanding or experience. When the self also participates totally in that experience that one thing becomes
uncharacterisable. Experience thus becomes empty, yet as soon as thought reappears the categories re-establish themselves. The
understanding of emptiness must therefore necessarily also invoke form. The two are co-dependent. Meditation implies action and
vice versa. Master Tung-shan in T'ang dynasty China formulated a similar teaching known as the Five Ranks that depict the
integration of opposed dualities as may occur in the practice of meditation. The first rank places the relative within the universal; the
second places the universal within the relative; the third is the principle of emerging from the universal (i.e. the appearance of the ten
thousand things from a unified sense of emptiness); the fourth is an integration of the particulate and the universal in one vision in
which however their separation is still apparent; the final rank is unity itself without divisions. Each rank is never the less present in all
the others.
Morton Schlutter: Dongshan Liangjie is commonly assoiciated with the dialectic of the Five Ranks, which may have
originated with him. One of his disciples, Caoshan Benji is reputed to have further developed the idea of the Five Ranks…However,
the dialectic of the Five Ranks was never a distinguishing characteristic of the Caodong tradition. The system was not employed by
many Caodong masters, and it was taken up by some monks belonging to other traditions of Chan.
Victor Hori (from Zen Sand): (commenting on the five positions (Goi) as part of the fifth category of the modern Rinzai Zen
koan curriculum) The Goi koan do not introduce the monk to anything new. Rather, they require the monk to systematize all the koan
that he has passed, using the classification system of Tozan’s Five Ranks. The ranks are: The Crooked within the Straight, The
Straight within the Crooked, The Coming from within the Straight, The Arrival at Mutual Integration, Unity Attained…The practicing
monk has met with the pair sho’i and hen’i in koan practice long before he reaches the Five Ranks. In fact, the distinction between the
Fundamental and its particular instantiations, as seen in the First Barrier koan and its particular sassho checking questions, is basically
the same distinction as that between sho’i and hen’i. Koan almost always divide into two or more parts that invariably see the koan
from the two sides of sho’i and hen’i. Some commentators claim that the philosophical background of Mahayana Buddhist thought
stands behind Zen, and indeed this is one of those places in which that background emerges into clear relief in that the distinction
between sho’i and hen’i can easily be taken as the Zen transformation of the Two Truths. Although the Five Ranks is associated with
Tozan Ryokai, the idea of five ranks or positions must have grown out of the Chinese theory of Five Elements or Five Forces…Some
of the final koan connected with the Rinzai Five Ranks aksi treat the hexagrams of the I Ching. In working on these koan, the monk is
expected to prepare a set of six woodblocks with yin and yang faces to be used in the sanzen room when he meets the roshi…(in
discussing how koan may be divided into a number of sections with various assignments) Tozan’s Five Ranks can be divided into 47
parts with numerous jakugo (capping phrase assignments).
117
Digital Dictionary of Buddhism on the Five Positions of Meritorious Achievement:
The lesser-known of the two types of five stages taught by Chan Master Dongshan Liangjie 洞山良价 (807-869). Both are
found listed under the rubric of 洞山五位. This one explains Chan applications of effort in five stages, as follows:
向 The beginning period. The practitioner, as a beginner, seeks awareness and realization of his possession of the Buddha-
nature.
奉 The period of deep practice. The practitioner deeply and sincerely practices meditation to find the sublime enlightenment
and a subtle realization of their own nature.
功 Period of enlightenment. The practitioner escapes from the duality of opposites within saṃsāra after intensive practice.
She also completely trusts in her Buddha nature without any doubts.
共功 mutual effectiveness. A period of integration period (between their intellect and behavior) when body and mind are
united.
功功The stage/period of no-hindrance; the final stage is to free even from their attainment of enlightenment without any
attachment and return to the regular society and teach others

July 3, 1969. (69-07-03-V)
We have been studying same thing [laughs], you know, over and over again—sometime by Prajñāpāramitā-sūtra, sometime
by five ranks, sometime by ten powers. But actually, that is various explanation of zazen power. And if you extend our
understanding, you will understand everything in the most meaningful way—the most adequate way. That adequate way is called
"middle way," you know. The most appropriate way. And you will do something which is necessary when it is necessary, in the most
adequate, appropriate way [laughs]. This is very difficult, you know. This is very difficult practice. This is—someone who can do
this kind of activity, this kind of—who can observe—who can do things in this way is good priest [laughs], good student…
I have explained the poem about "Emptiness is form," or shōchūhen.[this refers to a talk not in the transcripts]1 Shō is
reality and hen is "form" or "seeming". Shōchūhen. And the next one is henchūshō, the opposite. And chū means, you know—chū or
soku—means some activity in which—not activity—some—not relationship, but something in which everything appears—every
event, you know, appears. What will it be [laughs]? Something in which, you know, appears. Maybe say a little bit more [laughs]:
something in which everything appears—something in which always appears—that is the present moment, right now. You know,
right now, you know, things happen, not in past or present. So practice should be the practice of "right now." That is chū or soku…So
if you want to practice zazen, you know, you should practice it right now. That is chū. Shōchūhen or henchūshō. Or Shiki soku ze
ku,(Heart Sūtra: "Form is emptiness.") you know. Ku soku ze shiki (Heart Sūtra: "Emptiness is form.") is, you know—is—means
"right now there is being," you know.
So we—if we, you know, catch things right now, "Form is emptiness, and emptiness is form" because we catch it right now.
Because we practice right now zazen, you know, not future or not past, we are Buddha himself. It does not mean—"Form is
emptiness" does not mean "some day [laughs] we will—we will attain." That is, you know, right understanding of "Form is
emptiness."
…chū or soku ze means "right now," or "practice"—real practice which you do right now. Okay? You know, so "Form is
emptiness," you know. Right now it is so, but it is not always so. Do you understand? You don't understand [laughs, laughter]. Let
me have a cup of [laughs] water. You have to think…So this, you know, chū or soku ze is very, very important. That is why Dōgen-
zenji left Shōbōgenzō explaining "this moment, this moment, this moment."
The poem says:
At dawn an ignorant old woman finds ancient mirror.
Wherein she clearly sees her face which cannot be elsewhere.
No more will she reject her head by grasping at its shadow.
There was story in India — there were an old woman called Enyadatta. She used to see herself in her old mirror. And she liked to see
her beautiful face or her beautiful eyes and eyebrow in the mirror. But one day she couldn't see the beautiful eyes in the mirror. So
she became crazy. She thought she lost her beautiful eyes or face. This is the story which we should understand first.
"An old woman" means "form." An old ignorant woman means "form" or "seeming" or "attribute" opposite to the reality or
original face. "At dawn"—early in the morning—"an ignorant old woman finds her ancient mirror." It means that form—the old man
(Enyadatta is female in the Japanese version of the tale and male (Yajñadatta or Vajradatta) in the original Indian tale.) and mirror is
one. When she sees herself into the mirror, she is the image in the mirror, and the image in the mirror is herself. So it means "form is
emptiness." Emptiness is old mirror, or original face. So here, old woman is—it means old woman is emptiness or original face.
The next line is: “Wherein she clearly sees her face which cannot be elsewhere.” This is the translation. This translation may
be too beautiful, you know. If you are rigid—if you translate it literally: "Clearly it is, nothing but the reality.” Both is nothing but
reality. She is mirror. Mirror is she. Image in the mirror is herself and herself is in image in the mirror. If you take her as a subject
of the sentence, it means "emptiness is form, and clearly it is—they are nothing but the reality."
This is next line: “No more will she reject her head by grasping at its shadow.” When she saw her eyes in the mirror, she was
very happy. She was grasping her head, in other words. But she rejected her head when she couldn't see her face in the mirror. So it
means she took one and rejected another. But actually they are the same. Tentatively, you may understand this way: Early in the
morning an old woman had a mirror. And old woman and image in the mirror is one. So it is foolish of her to reject, you know, her
original— her own face, you know, accepting the face in the mirror. Even though, for some reason, she couldn't see her own face in
the mirror, it does not mean she lost her face [laughs]. I want you to understand this way.
Actually the story we have is in the Indian sūtra Shūrangām-dharani. ("The Buddha said, 'Did you hear about Yajñadatta
from Shrāvastī who on impulse one morning held a mirror to his face and fell in love with the head in the mirror? He gazed at the
118
eyes and eyebrows but got angry because he could not see his own face. He decided he must be a mountain or river sprite, lost
control, and ran madly about'" (Shūrangāma Sūtra, Taisho Tripitaka, No. 945; translation by the Buddhist Text Translation Society).)
There was an old [wo]man, you know, who enjoyed to see her image, her face in the mirror. But when she wanted to see her beautiful
eyes and eyebrow on her head, it is not possible to see her face [laughs]. So even though she tried to see her eyes, which she see, and
eyebrow, it is not possible to see. But she became very discouraged when she couldn't see her beautiful eyes on his head without a
mirror. And she became crazy. That was more like original story. I don't know which is true story but if we understand in that way—
to reject her—not to reject her face—it means, you know, because she couldn't—just because she couldn't see, you know, her own
beautiful eyes, but that is real, you know, eyes—that is "form," you know. And that is nothing but the mirror [image?] she will see,
almost all the time, in the old mirror. Old mirror means "reality."
One story is when she thought she couldn't see her own face in the mirror, she became crazy. Another one is: she—after
seeing her beautiful face in the mirror, she tried to see her own eyes and eyebrow on her head [laughs], which is not possible. And she
couldn't see, so she became crazy. Anyway, this is just parable. I don't mind which is true. But anyway it means that what you see
right now, in this moment, is also reality—not after or not before. The right now, what you see, is reality.
The next one [of the shōhengoi] is: "Form is form." Shōchūrai. Shō is "emptiness." Chū is "right now," or "is." Rai is
"come." So, according to Charles Luk, seeming uniting with the real...That which exist is just emptiness. It is utter darkness where
you cannot see anything in it. That is shōchūrai. It is enlightenment itself…It is the stage where you cannot find any particular
meaning to things you see, or when you are completely detached from things you see…things appear just like utter darkness…No
perceptual world. Even in your zazen when you have very good shikantaza, and if you hear the bird sing outside, there is no distance
between you and bird. And you actually are not hearing the bird. And the bird is not anywhere—anywhere special—not on the tree,
or across the stream, or on the wall—just [laughs], you know, sound—beautiful sound [laughs]. That is, you know—you may say that
is "bird." But it is not even a bird. Afterwards you may say: "That was bird. It was very beautiful." But at that time it was not even
a bird [laughs]. That is something like this. Or you don't even move [laughs]. Just sound. Shhh. That is shōchūrai.
In the new Japanese-English Buddhist Dictionary it says: "Even in the state in which discriminative thinking is transcended,
there exist power to manifest the function of all the phenomena." The thinking or sensational world is already transcended completely,
but still there will be the manifestation of sound or color. Even though there are sound or color, it is just same as no sound because
that is the world of sound only or color only. When it is color only, it doesn't make any sense [laughs]. It is just one color only, you
know…The world of sound only—there is nothing but a sound—one sound—one sound of the bird. That is the sound is completely
different from the sound you may hear in terms of good or bad, or in terms of who made that sound. Do you understand the
difference? The difference between what you have in everyday life, in usual sense, and the things you will hear in complete zazen. In
the world of "things only," or "sound only," you hear. You cannot hear that kind of "sound only" when you are involved in lazy
practice: "What time will it be?" "I am very sleepy this morning." "I should stay in bed more so that I can have good practice
[laughs, laughter] next time," you know. In that kind of zazen [laughs], you will not hear the bird—the bird of sound only.
This poem says:
Hard though it be, there is a way to keep free from dust.
Today's ability to avoid what is forbidden
Surpasses yesterday's most eloquent discussion.
This also is not literal translation. If you translate it literally, "There is the way to keep yourself from dust." It means that there is a
way to keep emptiness from dust. The "emptiness" means "original face" or "emptiness." And "dust" means the dualistic thinking
mind. "there is a way to keep our empty mind, to keep our emptiness, from the dust of dualistic thinking mind."
"Today's ability to avoid what is forbidden," means we don't call [say] Emperor's name. You call very intimately, friendly
name of the President. But in China or in Japan we don't call Emperor's name by his first name, and he has no second name. He has
just, first name, and we don't call [say] his first name, even. So "to avoid what is forbidden" means not to call emptiness by name of
many things, like: "I attained enlightenment." Or, "Enlightenment experience is something difficult." And, "I have attained
enlightenment." And, "This is big enlightenment." And, "This is minor enlightenment." [Laughs.] If you say so, it means that you
couldn't avoid what is forbidden. You called forbidden name [laughs]. So if someone ask you what is emptiness, there is no way to
say what it is. If you say something, that is not all—that is not emptiness itself. We should know that.
Hmm. I think I have to explain this point next time. There is many misunderstanding in this area. When you say, you know:
"it is not possible," word has just limited sense, and there is some limit. It will give some limitation to the reality. Even though I say:
"Water is cold" [laughing]—but if you don't drink it, you don't understand actually what is water…But when we say words is—when
we say—we do not say—explain the limitation of the word, but we use words to point out the reality. So we do not mean to reject the
word, or to reject our head. We should not reject our head. We should not reject our word even though it is not perfect.
Shunryu Suzuki continued - Commenting on Blue Cliff Record Case 43 Dongshan’s No cold or heat. (69-07-26-V):
When you are trying to seek for some attainment, it is the stage "form is emptiness." But after you attain—you start the practice of
"form is emptiness," you know, you should find out that everything should—is buddha. Buddha is everything. So that is "emptiness
is form."
And "emptiness is emptiness" means to get rid of the attainment you attained. And when you bec- [partial word]—are quite
free from attainment, that stage is "form is form." Where there is no—when it is hot, you should be hot buddha, you know. That is
"form is form"—the stage of "form is form." As long as you, you know, stick to your attainment, your attainment does not work. So
when you are free from your attainment, your attainment will start to work.
So if you say, "I attain this kind of stage," you know, as long as you say, "I attain this kind of stage," you are not ordinal
[ordinary] person. So you cannot communicate with ordinal [ordinary] person. You may be—you may be something different person
119
from ordinal [ordinary] one, but that is not our stage to attain. When you become completely ordinal [ordinary] person, after your
attainment, you are said to be perfect—you are said to have perfect attainment.
Maybe this is the characteristic of Zen. We do not stay [in] some certain stage. For us there is no stage to stay [in]. When it
is cold, we are cold buddha [laughs]. When it is hot, we are hot buddha. We may say: "Oh, it is hot!" [Laughs.] But we do not [say]
any complaint.
"Oh, it is hot. Oh, it is cold." To say so is all right, but if—if you don't try to escape from [it], it is all right. That is the stage
[in which] you can help people in its complete sense. Sometime, you know, if you have—if you are respected, or when people respect
you, you know, because of your attainment, you will find out some—you will find out some way to help them. That is true. But that
is not perfect. When you completely forget about your attainment, and you become completely good friend of others, I think you can
help people in its true sense.
…as long as you stick to some position, we are not really, in its true sense, we are not Dōgen's descendents. So even though
we wear those robes, you know, we should forget about those robes. Although we observe strictly, you know, the way of wearing
those things—how—there is strict manner to wear those robes—even though we are observing strictly our way, at the same time, we
should be completely detached from the rituals and robes. Do you understand? Maybe, you know, if we are—if I am very strict with
the manner or rituals, usually you think, "He is very rigid," you may say—you may say so. But actually it is not so. This is, you
know, something which is difficult for you to understand. That is why we have so many, you know—we repeat:
Form is emptiness. Emptiness is form. Form is form. And: Emptiness is emptiness.
Even though you study those four lines or statements as a whole life study, you will find—you will have something more to
study. Most of you, in [at] your age, I think, that you attained is—will be the stage—may be "emptiness is form." Most of you may
be "form is emptiness." When you, you know, see some, you know—when you at- [partial word]—you have some attainment or some
understanding [of] what is emptiness, you feel as if you attained something pretty well—not completely but pretty well. And you feel
you are something different from usual person. "Oh, they don't understand what I attained. But I know what it is, you know. I am
something different from ordinal [ordinary] person." You will be—most people will stay forever in this stage. And you will be very
proud of your attainment. And you will behave quite different way from usual people. But that is, you know, the second stage or—
first stage or second stage. And there are many things to study after you attain that kind of attainment.
Why you st- [partial word]—why you stay without ma- [partial word]—without making any progress at the first stage or
second stage is mostly because you don't know the real practice—what is real practice, and because you do not have real teacher…
From a talk on Genjo Koan, August 20, 1967 (67-08-20-A):

There are four ways of understanding the relationship of form and emptiness: form is emptiness, emptiness is form, form is
form, and emptiness is emptiness. “Form is emptiness” may not be so difficult to understand, but it will be misunderstood by some
advanced, hasty people. “Yes, form is emptiness. There is no need for us to attach to some particular thing. Form is emptiness.”
This looks very clear, and this view of life is better than attaching to some particular form or color, because in it there are actually
many, many views of life. And this view of non-existence is deeper than the view of seeing many things which actually look per-
manent and which look like they have some self-nature. But as we explained already, and as you have already understood, there is no
special self-nature for anything, and everything is changing. As long as everything is changing, nothing is permanent. So this [form is
emptiness] may be a more advanced view of life.
But “emptiness is form” is rather difficult to understand. The emptiness which is the absolute goal we will attain, which is
enlightenment itself, is form. So whatever you do is enlightenment itself. This is rather difficult to understand, or to accept, because
you think emptiness is some unusual thing. Something unusual is something very common. This is rather difficult to understand,
especially when you practice zazen. Even though your practice is not perfect, that is enlightenment. This statement is very difficult to
accept. “No, my practice is not perfect.” But when we understand form is emptiness, and emptiness is form, back and forth in this
way, and form is form, and emptiness is emptiness, when emptiness comes, everything is emptiness, and when form comes, form is
form, and we accept things as it is.
So when we come to the understanding of “Form is form and emptiness is emptiness,” there is no problem. This stage, or
this understanding, is what Dogen Zenji means by, “When the moon is in the water, the water will not be broken, nor will the moon be
wet.” Moon is moon, and water is water. This is “form is form, emptiness is emptiness.” But here there is the possibility of the
misunderstanding that there is no need to practice Zen. “Form is form, and emptiness is emptiness. If this is true, why do we practice
zazen?” You will have this kind of misunderstanding. But each of the four statements also includes the other three, so there are four
ways of understanding each statement. If it is not so, it is not true understanding. So all four statements are actually the same.
Whether you say form is form or emptiness is emptiness, or form is emptiness, or emptiness is form, one statement is enough for you.
This is true understanding of prajna paramita.
120
o) Excerpts from Lai’s article (Lai, Whalen, “Sinitc Mandalas: The Wu-wei-t’u of Ts’ao-shan” in Early Chan in China and Tibet,
edited by Whalan Lai and Lewis Lancster. Berkeley Buddhist Studies Series, 1983, pp. 229-25.)(also see the notes to C18-20 for
further excerpts from this article)
There is a little known and even less understood—especially among English-speaking scholars—tradition in the Ch'an
heritage: the use of black and white circles as means for triggering enlightenment. In a tradition that distrusts words, such Ch'an
diagrams would appear to be the better carrier of esoteric meanings. A picture does, at times, speak better than a thousand words. The
I Ching ("Book of Changes") has long recognized this principle. It says that the sages created the I Ching's basic ideograms, hsiang, to
convey the mystery of change in the universe…and appended remarks to them to bring out their fuller meanings. Words are seen as
secondary to the forms of the trigrams. A later commentator, Wang Pi, the Neo-Taoist, went one step further and said: Once the
meaning or the principle behind the forms is grasped, one can even forsake the forms themselves. Truth is ultimately ineffable and
therefore even the use of diagrams should be seen as a means. The Buddhist would hardly disagree. Paramartha, the highest truth, is
beyond words and concepts. Discourses in words or in diagrams are ultimately skillful means, upaya.
Because of this concurrance in outlook, the Ch'an tradition in China slowly adopted a skillful use of diagrams in the
transmission of its teachings. Chinese Buddhist interest in the I Ching probably began at an early date…A revival of I Ching
scholarship in the T'ang period is said to occur under the monk I-hsing (683-727). I-hsing was a pupil of Subhakarasimha and an aide
in the translation of Mantrayana texts under this Indian master. Apparently I-hsing produced some kind of diagram or diagrammatical
arrangements, t'u, of the hexagrams in the I Ching. Unfortunately whatever diagrams I-hsing might have produced have been lost, but
it would not be amiss or speculative to suggest that he probably learned the art of distilling esoteric messages of the Buddha-Dharma
into simple diagrams from the Indian Tantric tradition. Tantrayana utilized the yantra or the mandala as the carrier of its hidden
teachings. In these forms and diagrams, the structure of the mind and the geography of the universe are depicted. Meditation upon the
forms would lead to an interiorization of the archetypal patterns and thereby finally to liberation. The Chinese Ch'an tradition acquired
this art also and created its own set of sinitic mandalas.
The earliest known case of Ch'an diagrams that has survived to this day is the work of Tsung-mi (780-841), a patriarch of
both the Hua-yen and the Ho-tse (Shen-hui) Ch'an tradition. Tsung-mi's teacher, Ch'eng-kuan (738-839?), the fourth patriarch of the
Hua-yen school, already made explicit references to the parallels seen between the Hua-yen philosophy and the I Ching. The implicit
use of the I Ching for the formation of the Hua-yen philosophy was made previously by Fa-tsang (643-720), the historic founder and
third patriarch of the school…
The Ts'ao-tung Ch'an diagrams are called Ts'ao-shan wu-wei t'u or Diagrams of the Five Positions attributed to Master Ts'ao-
shan Pen-chi (840-910). They are created by Ts'ao-shan to explain the wu-wei (Five Positions) doctrine taught by his master, Tung-
shan Liang-chieh (807-869)…Traditional Ts'ao-tung scholarship believes that the diagram, the wu-wei doctrine and Ts'ao-shan's
explanations are symmetrical, that there are no discrepancies between the component parts of "Ts'ao-shan/ Wu-wei / T'u". Sectarian
exegeses of the diagrams presume this symmetry and often rely on commentaries from a later period. The major aim of this paper is to
introduce the diagrams and their philosophy and furthermore to show that the component parts of "Ts'ao-shan / Wu-wei / T'u" came
together through a series of syntheses. The common elements shared by the three notwithstanding, there were innate tensions between
them that led to divergent interpretations. Historical innovations, developments and, possibly, corruptions explain the confused
scholarship on this tradition and its relative neglect and mistrust by large sectors of the Ts'ao-tung followings…
The English translation of Dumoulin's book, A History of Zen Buddhism, has called it "five ranks," but this is
misunderstanding the original intentions of the diagrams or the philosophy. Wei fi is the traditional Chinese cosmological and
calenderological idea for "space," just as shih would correspond to the notion of "time". Since Chinese did not have abstract ideas of
Time and Space in manners similar to the West, wei and shih should be seen preferably in terms of astrological categories, i.e. the
positions of the stars and the phases of the moon. Wei also had socio-cosmic functions. A person should occupy a "proper position,"
cheng-wei, and should be given a "proper title," cheng-ming. The latter was a philosophical position held by Confucians concerning
the ideal polity (usually rendered as "rectification of names": the father should be a father, a son should behave like a son, etc.). In the
more metaphysical usage, "occupying a proper position" can imply taking a proper orientation toward reality. Because there are
superior and inferior positions, usually coordinated with yang (superiority) and yin (inferiority), and because there is in China the ideal
of finding the perfect harmony between such major and minor positionings, one can speak of taking a stand in and of the major and
the minor position. A feminine element in a lower position is occupying, in that sense, her proper position, cheng-wei. The opposite of
a "proper position" is a "biased position," p'ien-wei. The "bias" can be due to mispositioning, i.e. the superior taking an inferior
position, or due to the innate inferiority of the position, i.e. the yin element in the peripheral position—proper for her but peripheral
nonetheless. These also apply to the proper/improper positions of yin-yang in I Ching hexagrams.
The wu-wei philosophy of Tung-shan pertains to such "positionings," and the full name for it is wu-wei p'ien-cheng the five
positionings in terms of (different) proper and biased arrangements. Tradition says that this philosophy originated with Tung-shan,
although one legend reports that Tung-shan admitted of receiving it from Yueh-shan (745-828) who at one time studied under Ma-tsu
(709-788). The wu-wei philosophy was and is regarded as "secret teachings" and the wu-wei-t'u, along with other esoteric diagrams in
the Tung-shan tradition are still supposedly being passed down in Japanese Soto Zen from masters to their inner circles of disciples.
The secret transmission goes back to the legendary transmission of the wu-wei philosophy from Tung-shan to Ts'ao-shan. The story
goes that when the latter finally decided to leave his master, he was told to return at midnight. At midnight, the wu-wei philosophy
was transmitted to him. The Hsien-chu'eh was compiled by his disciple Hui-hsia and the third-generation student Kuang-hui
commented on it such that the existence of this teaching was made public. Like the transmission of the Dharma from mind to mind
through the Ch'an patriarchs, this secret teaching in Ts'ao-tung Ch'an defies historical verification for it had not been intended to be
objective or publicly knowable. There have been skeptics now and in the past, within and without the Ts'ao-tung tradition, who
questioned the alleged origin of the wu-wei philosophy. The wu-wei philosophy is not evident in the public and private teachings of
Tung-shan's teaching as recorded in his Yulu, and some versions of this wu-wei philosophy are too sophisticated to be dated back to
121
Tung-shan himself. However, the wu-wei philosophy was associated always with Tung-shan by name and it is not impossible that the
germs of that philosophy had their roots in this mid-ninth-century figure. One might feel that the overt I Ching philosophy in the wu-
wei ideology should be dated to Sung when a new era of I Ching speculation surfaced and became public. The more elaborate of the
wu-wei philosophy does have this "Neo-Confucian air" as one critical commentator within the tradition charged. However, like the
T'ai-chi-t'u (Diagram of the Great Ultimate), the wu-wei-t'u too might have an invisible root leading back to the T’ang era and to
Buddho-Taoist circles. It is not inconceivable that the wu-wei p'ien-cheng philosophy had its roots in T'ang, for another Ch'an treatise,
the Ts'an t'ung ch'i attributed to Shih-t'ou (d. 790), was clearly built upon the I Ching and made explicit use of the (p'ien-cheng) hui-hu
paradigms…
The message is elliptic, but at least these "exoteric" verses give some idea to the "esoteric" meanings of the wu-wei. There
are two clues. The reference to the use and non-use of words points to (Indian) Madhyamika dialectics. The reference to the proper
and the biased position points to what I would relabel as the "major" and the "minor" perspective on reality, and they can, with some
care, be associated with the perspective of the Two Truths, the supramundane and the mundane, the locus of wisdom and of
compassion. The final goal in the progression of the five positions (that one can take vis a vis reality) is definitely the harmonization
of the proper and the biased perspective, that is, to wit, "seeing things from both sides" in such a way that all imperfections vanish and
even the distinction between word and silence—nay, even the dialectical paradoxes of words-in-silence or silence-in-words—is
transcended. I will paraphrase the wu-wei liberally, in categories more familiar to the Buddhist scholar steeped in the Indian
perspective, and show again how the Chinese cosmology had not betrayed the message of Nagarjuna's Madhyamika:
Proper Position: One might have attained the "proper perspective" of seeing universal emptiness (sunyata) but in being
fixated with this transcendental norm, one unknowingly allows nihilistic "bias to exist still." All discursive knowledge depends on
mundane logic, and therefore one must "rely on the biased (lower knowledge)," for it too, properly used, "can make understanding
possible." In short, perfect understandings can be gained from both perspectives: the universal emptiness and the secular particulars.
Biased Position: Although one may still be in samsara and not fully enlightened, yet the two paths of enlightenment—
through the particular realities and through universal emptiness—have not been excluded. By understanding the limitations of our
conditioned existence through the very tools provided by its mundane discursive logic, higher prajna can be made available. In that
case, the use of language or of words should be such that the ineffable truth be contained. note: The above two positions are
approaching Truth from two independent arenas; in the next two positions, we find attempts to synthesize two sides of the same truth-
perspective.
Coming (toward Final Enlightenment) from the Proper Position: If you approach Truth from the Absolute side, silence - the
domain of the ineffable - alone is instructive.
Coming (toward Final Enlightenment) from the Biased Position: In the realm of the Relative, relative words must be used
again to evoke the Absolute Silence.
Coming (toward Final Enlightenment) from Both Sides: Even the distinction between the Absolute and the Relative, silence
and the word, nirvana and samsara has to be abandoned. See it as it is, tathata. The unitive vision will dominate.
Interpreted in this way, the wu-wei philosophy can be seen as the transformation of the Madhyamika dialectics into a yin-
yang, or "host-client" {pin-chu), dialectics. The only nominal difference is that the Chinese scheme assumes that the perfect reality,
harmonizing the yin and the yang, should be "approached" through the major (host) as well as the minor (client) perspective. The
union of samsara and nirvana is best "seen" when a person zigzags through the samsaric and the nirvanic "position" until he spiritually
comprehends both in his being. At that final harmonizing stage, he attains the wholesome insight.
The Exoteric Verses paraphrased above, when compared with the Samddhi Song, is clearly much simpler and to the point.
The five positions given in the Verses are also fairly simple. However, traditionally, the wu-wei are not aligned to these five in the
Verses but to a more elaborate set of five found in the Three-lined Verses.
Clearly the latter set (three-lined verses) is more intricate and more dialectical in structure. It begins the series not with a
relatively pure set of the "proper" and the "biased" but with a more complex one already involving a combination. Furthermore,
instead of using the one term, lai, "come," for the last three stages, the Three-lined Verses uses a progressive set of lai "come," chih
"approach," and tao "arrive." The verses used to describe this more dynamic set are also more complicated. (They are excluded in the
present study becuase of space and the innate difficulties in the language.) I share Ui's opinion that the Three-lined Verses were
produced at a later date, and think that in introducing the lai-chih-tao sequence, it incorporated a temporal (shih) element that was
absent in the original's relatively pure spatial (wei fi) philosophy. This temporal element is in my opinion technically difficult to
convey through diagrams, and departs from the simpler understanding of wu-wei in Ts'ao-shan's commentary…
If the wu-wei philosophy has always been associated with Tung-shan, the actual diagrams have always been thought to have
been created by Ts'ao-shan. However, to be exact, Ts'ao-shan created the wu-hsiang, the five "forms," a set of five circles, but they
have always been thought to be depicting the wu-wei and thus traditionally considered to be the wu-wei-t'u. For the sake of historical
clarity, we should separate out the wu-hsiang and the later assumption of it as wu-wei-t'u. Not only might the wu-hsiang not be
originally affiliated with the wu-wei scheme in the Exoteric Verses and the Three-lined Verses, it is also technically very difficult to
see how they are representations of the elusive I Ching trigrams and hexagrams derived from the Samadhi Song. If we look at the Yu-
lu of Ta'so-shan, we find few of the I Ching elements but instead, a still different set of wu-wei—and all these in one and only one
passage in his collected sayings. The passage is translated below. The reader would note a new element: the alignment of the wu-wei
with the chiin-ch'en (Lord and Vassal, a virtual synonym of host and client, pin-chu, scheme. This new alignment apparently
originated with Ts'ao-shan…
Ts'ao-shan's prose explanation of the wu-wei chun-ch'en was fairly intelligible even in translation. The first section aligns
Lord with Emptiness, Vassal with phenomenal particulars. The Lord looking up to the Vassal means that the universal is corrupted by
the particular. To counteract this, the Vassal should in reverence look up to the Lord, that is, abandon once more the particular in
preference for the whole. The Lord and Vassal in harmony produces the union of samsara and nirvana, form and emptiness. The
122
Middle Path is attained. One finds the non-abiding nirvana (“nirvana as not grasping onto anything as the absolute"). Put another way,
the Lord is wisdom and the Vassal is compassion. The Lord needs the Vassal and the Vassal needs the Lord. Sunyata and upaya,
prajna and karuna, must complement one another. The bodhisattva acts in the world and when action ceases, he rejoins the nirvanic
cool. Nothing in Ts'ao-shan's explanation requires a knowledge of the I Ching. The wu-wei is simply the art of shifting one's
perspective in order to attain the perfect vision.
With the wu-hsiang and the accompanying verses, there arrive greater difficulties. The diagrams are mysterious and the
verses are even more so. What is perhaps most peculiar are the appearances of the word li (the same word as the basic trigram
analyzed before) in three of the five verses (depending on editions)! Verse number 3 talks about "ice amidst burning flame"—a subtle
reference to the trigram: ☲. Since Chinese poets are good jugglers of words, these overt and covert appearances of li must somehow
point back to the trigram li of the I Ching and therefore to some trigram mysticism originating in Tung-shan…
(Lai writes on the debate concerning the fourth circle:)
In favor of the blank fourth circle: The poem accompanying the wu-hsiang is the closest circumstantial support there is
(Caoshan’s verse). The fourth verse supports the use of a blank circle. The fourth stage is "pure enlightenment" or wisdom without
compassion, i.e. emptiness. And the rabbit that lives in the moon (according to Chinese folklore) fails to leave behind this circle-moon
and its light. The white circle is a good antithesis to the fifth black circle that represents "chaos" and "departure from light" as well as
the "unknowing" king and the "yet unawaken?" Mai-treya. Structurally, this would mean pitting circle 4 against circle 5, just as circle
1 and circle 2 are set up as opposites. In this case, circle 3 (the hidden li trigram circle:◉ ☲) is given the key position of being the
stabilizing core to the five circles. This is in agreement with one authorative later rearrangement of the five in terms of the Five
Elements.
In favor of the black-encircling-white version: If we align the wu-hsiang to anything beyond the accompanying verses, then
we have to have circles 1 and 2 in tension, circles 3 and 4 in tension, with the resolution in circle 5, where Lord and Vassal are in
harmony and the proper and the biased are being "carried simultaneously." Then, since the third circle is li, the fourth has to be kan
(☵).A Hegelian mind would appreciate the dialectics: thesis and antithesis produce a preliminary synthesis (circle three) which in
term generates its own antithesis (circle four) leading to the final perfect synthesis (circle five). The following is a simple commentary
diagram of my own (see diagram at right). Structurally, the
first two opposites and the next two opposites both point to
the final synthesis. Put the pairs together and the result is
the fifth black circle. Clearly the second set is a more
complex combination of opposites.
If that is the case, a review of the fifth circle is
necessary. It is not really then a black circle, but a black-on-
white circle except the perfectly overlapping white is
invisible. This nuance is not lost to a commentator who
created this circle: to preserve the intention:
“Traditionally, the fifth circle is depicted as black.
However, since the previous four circles use black and
white to depict the proper and the biased, then the fifth
should represent the "carrying both." Why then was the
black circle used? If it is purely black, the meaning of
"carrying both" would be lost. So I borrow from the ancients and produce this criss-crossing circle to convey this (coincidence of
opposites).” (from the Zenshu)
Which then is the authentic circle? The blank or the white-in-black? The tentative answer would be: if the circles were wu-
hsiang circles the meaning of which was explained in the poems, the blank fourth and the black fifth made perfect sense as they are. If
the circles were meant to be wu-wei-t'u, then the second option is the more logical one. Perhaps this answer shows how wu-hsiang
were at one time independent of wu-wei. If my simple alignment earlier already poses insolvable problems, the traditional and more
complicated alignment has even more problems.
Other problems aside, a philological problem is whether cheng-chung-p'ien正中偏is "bias within propriety, (relative within
the Absolute)" or its reverse "propriety within bias, (the Absolute within the relative)." The issue involves the word chung 中(lit.
"middle") and whether it is to be taken as a preposition denoting the location ("in the middle of") i.e. the relative within the Absolute,
or as a verb pertaining to the action of propriety/the Absolute (the proper/the absolute "centering itself") upon the biased/the relative.
The Chinese ambivalence becomes polar opposites in English. Even with the help of the chiun-ch'en parallel, it is not easy to decide
which would be the more proper reading. (I follow the lead from the Exoteric Verses, i.e. 正位卻偏 Æ 正中偏) With the greater
possibility for mutual illumination through cross-references, the more problems there are also demanding solution. deal with the full
tradition of accumulated wisdom (and folly), I will limit myself to focusing on the diagrams and their historical fate.
I would suggest that Lin-chi I-hsuan's theory of "Four Modes of Host Client Relationships" could have influenced Ts'ao-
shan's contribution of chun-ch'en wu-wei . Host-client is virtually a synonym for chun-ch'en, Lord and Vassal. Even the notion of
"seeing, confronting" in Lin-chi's paradigm echoes Ts'ao-shan's idea of "facing, looking up." (Later, Lin-chi' Ch'an adopted Ts'ao-
shan's use of chung, i.e. etc.!)
123
Lin-chi Ts'ao-shan
Client confronts host 賓見主 Vassal faces Lord 臣向君
Host confronts client 主見賓 Lord faces Vassal 君向臣/視臣
Host confronts host 主見主 Lord and Vassal in Harmony 君臣道合
Client confronts client 賓見賓
And the dialectics are similar. In the Lin-chi sequence, a novice comes to see his master but in his unawakened state, it is a case of a
supplicant confronting his host. A turn-about is to occur. The novice may be able to eliminate his lesser self (client) and find a Higher-
Self position (as host). Then in seeing his master again, it will be a case of "mind meeting mind" on par with one another—host meets
host at last. (Egoists who never see eye to eye constitute client confronting client.) Since client and host are "positions" (wei) in a
concrete social sense, and since host should be above (superior) and client below (inferior), it would not be too hard to envision the
production of the wu-hsiang circles based, not so much on Tsung-mi, but on Lin-chi's insights or equivalents.
If that is the case, the wu-hsiang circles, in form inspired by Tsung-mi, in substance by host-client dialectics, were never
meant to be the pictorial depictions of the wu-wei scheme found in the Samadhi Song. Except for a mystique surrounding the li
trigram for the mind, the wu-hsiang circles were not heavily reliant on the intricate I Ching changes. It is only much later that these
various themes in Ts'ao-tung Ch'an were brought together and we have then this supposedly logical, but in fact highly problematical,
alignment of the adjuncts making up the full Wu-wei-t'u philosophy (see
diagram at right).
Because of the influence of a redaction in Sung, one of the wu-wei
terms (p'ien-chung-chih偏中至) had also been rephrased as "Approaching
amidst both" (chien-chung-chih兼中至), and the corresponding circle was
given as blank…
(Conclusion) By the eighth century, the Ch'an tradition in China
had become an established tradition. In rejecting Indian scriptural authority,
Ch'an could experiment with insights drawn from the native traditions. In
this new atmosphere, Taoist elements, for some time regarded with
suspicion, were revived within the Ch'an circle. In Ts'ao-tung Ch'an, there
was probably an early mystification of the trigram li as the symbol of the
mind and perhaps a simple form of the wu-wei or five-positions philosophy
was transmitted from Tung-shan to Ts'ao-shan. However, far from being
just native Chinese speculations, these ideas were also able carriers of the
basic insights of Madhyamika dialectics.
Following the footsteps of Tsung-mi, Ts'ao-shan created his own
set of wu-hsiang circles, originally fairly independent of the wu-wei
philosophy. He probably used a blank circle for the fourth diagram and the
set was fairly well explained by the accompanying verses. However, later
association with other schemes necessitated perhaps the redrawing of the
fourth into the white-in-black version. Because Ts'ao-shan had already
alluded to the li trigram in the verses, the momentum to create a perfect correlation with other schemes was then set up. There are
different ways to align the wu-hsiang to the chun-ch 'en series and to the fuller wu-wei progression. My own preferences have been to
follow the line of direct correlations, but the traditional ways of alignment are more elaborate. Dumoulin's set given earlier, however,
is still 'static' compared with the fuller 'final' set listed above. The final set incorporated the dynamic temporal (shih) concern traceable
to the Three-lined Verses. In the end, the fivefold evolutions from the hexagram chung-li were also brought into the picture, and the
Samadhi Song became indispensable as the proper interpreter of the wu-wei-t'u philosophy. However, since there were innate
discrepancies between the simpler wu-hsiang structures and the Samadhi Song, the resultant tension led to redactions, developments
and perhaps corruptions of the earlier scheme.
124
q) Nan Huai-Chin on Dongshan’s 5 Ranks of Meritorious Achievement:
"Tung-shan went up to the teaching hall and asked the assembly: 'How is it when you are going toward it? How is it when
you are upholding it? How is it when you are working on it? How is it when you are working on it together? How is it when you are
working on your work?'"
Passages like this are called recorded sayings: they are records of what he said at the time, in vernacular language. "When you are
going toward it," means when you are going toward this Path, and your meditation work is about to get there. "Upholding" is the same
as lifting something up; it means getting a grasp on something, taking a firm hold. What is "going toward it"? When you are about to
be enlightened, but you are not yet enlightened, if we take a comparison from The Surangama Sutra's "realm of the skandha of form,"
it is like when you are about to break through the realm of the skandha of form. The sky is about to brighten: it seems light but it is not
yet light. It seems you understand but you do not yet understand. "Upholding it" means you have properly reached it. But when you
have awakened, you still have to make efforts. Thus Tung-shan asks, how is it when you are working on it? "Working together" and
"working on your work" are both stages in the process of cultivating realization. Altogether, there are five stages in the process. Thus
in the Ts'ao-Tung school they speak of the five positions of lord and minister. They differentiate five steps from making efforts in
meditation work, to awakening, on to complete success.
"A monk asked: 'What is going towards?' Tung-shan said: 'How is it when you eat food?'" This monk understood this
statement, and did not ask a second question. Next he asked: "'What is upholding?' Tung-shan said: 'How is it when you turn your
back?' The meaning of this was: how is it when you turn around?'"
"The monk asked: 'What is working?' Tung-shan said: 'How is it when you put down your hoe?'" In other words, when you
have been doing something and working at it until you are tired, how is it once you relax? This really means abandoning everything.
"The monk asked: 'What is working together?' Tung-shan said: 'Not finding form.'" The physical body made up of the four
elements is in the category of form, and so are things like the meditative realm of purity of the single expanse of light.
"The monk asked: 'What is working on work?' Tung-shan said: 'Not common.'" This refers to the qualities unique to the
enlightened ones, which they do not have in common with the unenlightened.
Tung-shan was afraid not everyone would understand, so he composed some verses. In these verses the Ts'ao-Tung school
tells us a step-by-step progression of meditation work in the Dharma Gate of the mind-ground. These verses describe methods of
meditative effort. You are wrong if you read them as mere literary creations.
Tung-shan's verse on "going toward":
The sage lord always models himself on the sage emperor Yao
He manages people with proper norms of conduct, sinuous dragons at his waist
Sometimes he passes through the noisy city markets
Everywhere he goes the cultured people hail his sagely court.
This is "going toward." When you reach this stage, and you have awakened to the Path, you are correct whether you are moving or
still. You are always in this realm, and you never change. This is almost enlightenment. This is "going toward."
Tung-shan's verse on "upholding":
The wash water and the rich make-up: who are they for?
The cuckoo's cry warns people to return
The hundred flowers have all fallen, but the bird's cry is endless
It is still calling in the depths of the chaotic mountain peaks.
Tung-shan's verse on "working":
On the withered tree flowers bloom, a spring beyond the ages
Mounting the jade elephant, riding the unicorn
Now hidden on high beyond the thousand peaks,
The moon is bright, the wind is pure, it's a fine day.
Tung-shan's verse on "working together":
Sentient beings and buddhas do not infringe on each other
The mountains are high by themselves, the waters are deep by themselves
The business of understanding clearly the myriad differences and distinctions
Where the partridge calls, the hundred flowers are renewed.
Tung-shan's verse on "working on work":
The horn on the head has just sprouted—it is not yet worthy
Intentionally seeking buddha is very embarrassing
Far away, the empty eon—no one knows
Sudhana went south to visit fifty-three teachers.
What these poems describe is all step-by-step meditation work, all a process of cultivating practice.
p) Mel Weitsman teachings on the five positions (from notes)

(Overview:) 1. darkness prevails, light is hidden, 2. Light dominates, dark is hidden within, 3. balance, within revealed is the
absolute, 4. totally in the world, 5. no idea of practice, total integration, no zen, no helping – but everything one does is correct.
Rinzai zen is progress oriented with stages and levels. Soto has progress but no gain and understanding no gain is realization.
The five positions became an intellectual game and people dropped them as a teaching method.
1st is ri, retreating from the world, leaving the world – absolute Samadhi. 2nd is ji, entering the world. – positive Samadhi.
These two form the rhythm of practice, moving between these two fundamental aspects of our practice. As in formal zazen, we sit
down and then we get up.
125
Hakuin sees the five ranks as a progressive practice, but they can also be seen as just five positions and how things look from
those five positions. We do learn in stages, but we are not so into talking about it. In Soto Zen, there is sudden enlightenment followed
by gradual practice. Hakuin made a system, but Soto Zen is like swimming around in the big ocean, just knowing where you are
moment by moment. To think there’s progress is wrong. To think there is no progress is wrong… Be careful of models – they look at
things in a structured way. Enlightenment is present when we begin practice. You don’t need to get enlightenment before you do the
gradual practice. Enlightenment is there, but not full realization. Some realization is there, but do we know what it is?
Many teachers do not understand the five ranks. Others got into splitting hairs and missing the point, so they fell into disrepute…
The 8 consciousnesses are: the five sense consciousnesses (1-5), the individuating or sense discriminating and thinking consciousness
(6), the mano-vijnana or ego consciousness (7), and the alaya or storehouse of memory and seeds (8). The consciousnesses are
inverted or turned and become wisdoms. Consciousnesses become wisdoms when they are purified.
The 1st and 2nd positions are the basis, they are like opposites and we move back and forth between these two. They are
interconvertible, going forwards and backwards. The 3rd, 4th, and 5th positions are not opposites like the 1st and the 2nd. They are where
the 1st and the 2nd are integrated. They include both the 1st and the 2nd but they do not treat them singly. The 3rd, 4th and 5th positions
show how this integration deepens and illuminate different aspects of this integration. They are a further development, a progression
of actualizing realization, the 4th and 5th keep extending the integration of the 3rd position. The 1st and 2nd are like enlightenment –
where are practice starts. Then the 3rd, 4th and 5th are like the practice that follows and refines enlightenment.
1st is form is emptiness – absolute samadhi. 2nd is emptiness is form – positive samadhi. 3rd is where the 1st and 2nd are
integrated. 4th is practice in the world. Total engagement in compassionate activity. 5th is the black circle – no need to strive anymore.
Hakuin is afraid we will be sufficed by a little gain.
On Tozan’s verses and Hakuin’s commentary:
1) Met but not seen – longing for our true home…nothing to be seen or heard – it’s beyond consciousness. Everything is
veiled in darkness – being there without knowing. Meeting yourself – but no recognition, that is, no identification. This is just
stillness, water without waves. Resuming true mind.
2) In the midst of anything, you shine through it. Everything comes back to life – houses are houses, people are people. This
is the bright side, where everything is illuminated. Entering into the phenomenal realm but the upright is hidden – you don’t see it. The
first and second are the basis.
3) The pivot point, the center of our practice. The black dot at the center is the real. The white circle around it is the
phenomenal. It is also a combination of the seeming and the real, like the 1st and 2nd positions, but it is a different position. Within
emptiness, there is a path. We take some direction, but not it is not fixed in any way – karma is cut-off. This is the rank of maturity in
our practice – not remaining in attainment. This is resurgence – now the light is seen based on the dark – activtiy based on big mind.
The 3rd is the realm of actual activity, the realm of our life.
4) An intesification of the 3rd position – totally bright – just operating in the world, forgetting the realm, simply working in
the world for all beings. Samadhi in activity. Working in duality and with dualities – this is where the real difficulty lies – where
opposites meet. Nothing to give but there is giving. Saving the world – but just light up your corner of the world. Suzuki-roshi said, “If
you attach yourself to a comet, people will feel sorry for you.” This is a very high level of practice, but there is still more – Tozan is
always reaching further.
5) Unity attained. The image is an old man, stumbling. Like Deshan who was so gentle in his older years. The tiger becomes
a pussy cat. Leaving Zen behind. Everything done is total bodhisattva activity. Just doing it with no attachment to result. Just do what
you have to do.
The five ranks are a wonderful study to orient practice. I keep coming back to this. All of our practice is included in it. So,
with a good grasp of these five ranks, you see what is included in our practice.
126
r) The Five Modes of Tungshan by Robert Aitken, from The Morning Star.
Mode I
THE PHENOMENON WITHIN THE UNIVERSAL
When the third watch begins, before the moon rises,
don't think it strange to meet and not recognize the other,
yet still somehow recall the elegance of ancient days.
Tung-shan Liang-chieh was a ninth-century Zen teacher in the line of Ch'ing-yiian, and is venerated as the founder of the
Ts'ao-tung (Soto) Sect. His gatha about the third watch is the first in his cycle of five poems about understanding the Dharma entitled
"The Five Modes of the Phenomenon and the Universal." It is a cycle that relates to the substance of Zen Buddhist practice, and is
closely related to his "Cycle of Honor and Virtue," which relates to the manner of practice. I discuss the two cycles together in these
essays. "Five Ranks" and "Five Degrees" are usual translations of the ideographs I render here as "Five Modes," if only to de-
emphasize the progression. Each mode is complete in itself, but I find also a step-by-step development from one mode to the next.
In this first mode, the phenomenon is you yourself after you have become well settled in your practice. You reach midnight,
the third watch in Chinese horology, and find yourself suddenly facing the most profound darkness and silence, the vast and
fathomless void. Your discriminating mind is altogether quiet. You have entered the place beyond thought and words, where the ice
has melted and the old house has collapsed. There is nothing at all there. At the same time you have a strong sense of encouragement
and a feeling of endearing intimacy with the most ancient wellsprings. You are enjoying your Mu.
Notice that Tung-shan does not begin with the first watch. He does not begin with advice, like Wu-men, to take up Mu and
settle into this single word of a single syllable. He does not caution us not to speculate on interpretations. He skips ahead and begins at
a point equivalent to the middle of Wu-men's comment on "Chao-chou's Dog": "Inside and outside become one, and you are like a
mute person who has had a dream. You know it for yourself alone" (GB-1). As Hakuin Ekaku says, this is a most important step—the
Great Perfect Wisdom Mirror is completely revealed, but strange to say, it is like black lacquer. You cannot see what it is, and if you
try to express it, you cannot help falling into error. Some people regard this mode as the be-all and end-all of Zen practice, and error is
too weak a term for their position. They loll complacently in self-absorption, declaring everything to be void. "Nothing special," said
the monk Hui. That won't do, as Ch'ang-sha said (BS-79). "The light of things" is hidden in the void, yet it is plain to be seen, plain to
be known intimately: A monk asked Yun-men, "What is the pure and clear body of the Dharma?" Yun-men replied, "Flowery hedge."
(BCR-39)
Such an inclusive realization of the omnipresent worlds of the Dharma is still to come, however. In this first mode, things are
completely dark. The other is there, but you can't make out the lineaments. You have an encouraging sense of beginningless, ancient
times, but you can't put it into words. Don't think this strange, that is, don't preoccupy yourself with your inability. You are in process
and there is more to go. The question remains, what is the other?
Wu-tsu said, "Shakyamuni and Maitreya are servants of another. Tell me, who is that other?" (GB-45)
Zen teachers are forever speaking of that other. Lin-chi said: On your lump of red flesh, there is a true person of no rank who
is constantly going in and out of your face. Those of you who have not yet confirmed that one, look! look! (BS-38)
Shakyamuni, Maitreya, and all ancestral teachers, including Lin-chi himself, are servants of this true person of no rank who
goes in and out of the face of each of us. "Look! look!" You cannot afford to stay in the complacent mode of "nothing special," for
when malice appears, you will be at a loss, and you will retreat or lash out in response, making everything much worse. Maintain your
practice and your understanding will deepen. The green pear hangs in the sunshine, and the farmer says confidently, "Not yet!"
How should one proceed with this ripening process? Here is the path, set forth in the first gatha of Tung-shan's "The Five
Modes of Honor and Virtue":
As the sacred master, make the way of Yao your own:
he governed with propriety, and bent the dragon waist;
when he passed through a market, he found culture flourishing—
and the august dynasty celebrated everywhere.
The Emperor Yao was a king of legend and folklore from misty beginnings where personal nobility was the highest order of
human attainment. The metaphor is Confucian, a natural image for a Chinese master, but the point is Buddhist: "You yourself are the
sacred master. You yourself are the Buddha. Begin there. Live up to your sacred nature. Live up to your Buddha-hood!"
If Confucian and Buddhist metaphors seem removed from the standards of our modern acquisitive society, the point is that
any ideal of dignity and honor and integrity will stand out vividly in contrast to the conspiracies and conflicts of class and race and
nation-state that endanger humanity—and in contrast to anthropocentric conspiracies and conflicts that endanger the Earth and its
many beings. Tung-shan presents for us a model of personal dignity and honor and integrity for our difficult task of practice within the
predatory systems that surround us and infuse our lives.
Like other masters of the past and present, Tung-shan speaks to you and me with the utmost respect. The Buddha himself
used the highest honorifics in addressing his followers. We are indeed all members of the sacred community of Bodhisattvas. This is a
much deeper acknowledgment than simple acceptance of the self.
"He governed with propriety, and bent the dragon waist." The mythological Yao is your attendant spirit and mine, as we
govern ourselves and engage with our family, colleagues, and community. "The dragon waist" is the imperial midsection, the belt-line
of the Buddha, yielding with a bow in the give-and-take of communal decision making.
Confucianism stresses the natural influence of the one with inner harmony to bring harmony to the world. Buddhism stresses
mutually dependent arising. This is harmonious, as that is harmonious. Governing with propriety and bending the dragon waist, Yao
finds the culture of a harmonious society celebrated everywhere.
This is a matter of bringing forth what is already there. We are Buddhas from the beginning, and in temporal terms this
means from birth. We are guided by parents and teachers to respond from our innate nobility, and very early we can identify that
127
nobility as our own, and begin to express it as ourselves. Step by step we cultivate flexibility and honor through the daily exigencies,
and our words and conduct resonate far beyond the burning of the soup or the repair of a skinned knee.
"When he passed through a market, he found culture flourishing." Here the sacred master enters the city with bliss-bestowing
hands. This is the ultimate scene of the Ten Ox-Herding Pictures, the Future Buddha (you and me) arrived, mingling with publicans
and prostitutes and enlightening them all. The culture flourishes with the encouragement of each Buddha, each center, fulfilling
herself and himself and all beings in our multi-centered universe.
Tung-shan links generous nobility and judicious governance with culture, for indeed Yao and his spiritual descendants
encourage the culture that is inherent and potential in the human being: music and dance and drama and poetry and storytelling and
metaphysics and architecture and sculpture and painting. They encourage the enjoyment of rivers and mountains and flowers and trees
and clouds. They encourage a bountiful and dynamic spirit of serving and trading among individuals and groups with specialized
talents.
"And the august dynasty celebrated everywhere." This is pride of community, taking joy in common nobility and turning the
Wheel of the Dharma. The inner working of the universe—the ultimate harmony of mutual interdependence—is actualized. The Hua-
yen literature presents a model of this celebration called the "Net of Indra," where every point is a jewel that perfectly reflects and
indeed contains every other point. The dynasty, the epoch, is august because its many queens and kings behind counters in trade; in
classrooms with children; in studios, gymnasiums, factories, farms, homes, and offices, take pride in living up to their noble heritage.
(In Tung-shans ideal, everyone has work and a home.) They celebrate each other as they say "Good morning; how are you?" They
celebrate the world in their particular bioregions, cherishing configurations and interrelationships.
Tung-shan's vision arises from an experience that kindles the Buddha's own nobility. We can sense its potential at every
juncture through our delusions and preoccupations. How can we bring it forth from beneath our own Bodhi tree?
Thus Tung-shan establishes the tone of practice. It is a holy path, and you accept yourself with the utmost veneration as a
pilgrim who takes the ancient teachings as your own. You have a sacred responsibility to yourself, to your ancestors, and to all beings,
to fulfill your noble heritage.
Indeed you inherit the royal crown of the Blue Planet itself and its earth—each clod of clay, as William Blake says in the
Book of Thel: My bosom of itself is cold, and of itself is dark, And he that loves the lowly pours his oil upon my head, And kisses me,
and binds his nuptial bands around my breast, And says, "Thou mother of my children, I have loved thee, And I have given thee a
crown that none can take away."
I frequently say that you share the nature of Shakyamuni Buddha. Tung-shan says, in effect, you share the nature of the
Emperor Yao. It is also true that you share the nature of the royal clod of clay, the mother of everyone and everything. Live up to your
nobility!
When you govern yourself with propriety and take up the noble practice of breathing Mu—letting Mu breathe Mu—the old
house collapses, and you are free to know the ancient joy of the vast and fathomless Dharma. All modes of Zen practice depend upon
this first step, and are included within it.
Mode II
THE UNIVERSAL WITHIN THE PHENOMENON
An old woman, oversleeping at daybreak, meets the ancient mirror,
and clearly sees a face that is no other than her own.
Don't wander in your head and validate shadows any more.
Several terms in Chinese can be translated "old woman," and this one implies a muddlehead. Tung-shan is here taking an
ordinary, sexist metaphor of his time and using it to present the feminine talent of both women and men to forget the self.
Katsuki Sekida once told us a story of attending sesshin with a friend, an older man. On the last morning after breakfast they
sat silently together on the narrow balcony of the zendo, watching the sunrise. "Oh," said the old man vacantly and slowly, "the sun is
coming up." Mr. Sekida recognized the potent stupidity of this mundane remark, and urged his friend to see the roshi at his next
opportunity. There the old man encountered the ancient mirror.
In the interval between waking and sleeping, between sleeping and waking, and when life flickers in the last moments before
death, the "certain certainties" of food, sex, and money fade away, and deeply instilled coordinates of purpose and memory disappear.
This is the condition that Mr. Sekida's friend found in his practice. People in this state feel lost, they drop things, fall down, and weep
inexplicably. They appear before the roshi unable to speak, yet they are clearly simmering. Wonderful!
When this existential stupidity is fully ripened, the ancient mirror finally drops its dark veneer. The morning star has a
chance. The gecko has a chance. "Here I am," calls the bell; "Here I am," shouts the thrush. In his comment on this second mode,
Hakuin quotes Dōgen's contrast of self-centered pursuits with the act of perceiving the bell and the star: "That the myriad things
advance and confirm the self is enlightenment. That the self advances and confirms the myriad things is called delusion." Dōgen here
warns us against ordinary acquisitiveness—the Faustian dream, Mode Zero, so to speak, a phase that precedes the Way of the Buddha:
Shall I make spirits fetch me what I please,
Resolve me of all ambiguities,
Perform what desperate enterprise I will?
I'll have them fly to India for gold,
Ransack the ocean for orient pearl,
And search all corners of the new-found world
For pleasant fruits and princely delicates.
Christopher Marlowe's magnificent language evokes the admirable energy of Faust, and we are seduced by a lawn party of
lords and ladies, their elegant appointments, their splendid food and drink, and their gracious servants—the whole affair ransacked
from ocean, forest, and the labor of the poor. Resources are depleted; entire nations are ruined.
128
I'll have them read me strange philosophy
And tell the secrets of all foreign kings;
I'll have them wall all Germany with brass,
---
And reign sole king of all the provinces;
Yea, stranger engines for the brunt of war
Than was the fiery keel at Antwerp's bridge,
I'll make my servile spirits to invent.
The confident men who laugh so intimately among their peers at the lawn party are gathering intelligence and making
contingency plans. The creative leadership of Yao has shifted and the genius of the nation has been subverted to a mindless escalation
of protection and aggression. The brass ring about the country becomes Star Wars, and the technology that developed a clever bomb
under a bridge brings forth the pure ugliness of nuclear conflict and planetary devastation.
We and our fathers have created civilizations and prepared their destruction with the pursuit of authority as personal
fulfillment. Our mothers have participated as well,, but Faust was not a woman, and like Gretchen our mothers have for the most part
been drawn along in complicity with the masculine forces that governed their lives.
Having said all this, I must acknowledge also the virtue of confirming and naming the myriad things. We would not be
human without our disinterested quest of knowledge and our joy in recreating forms and experiences with art, music, and literature.
These pursuits are not errors, however, the sort Dōgen had in mind. The delusion is self-aggrandizement, the confirmation of the
importance of others for our greed, power, and acquisition that have no bounds.
Dōgen taught zazen and realization as a process of individuation within his specific sociocultural and historical context. He
lived in safer times, but you should not permit the sense of urgency you feel in our dangerous world to divert you from his guidance.
He and Tung-shan and Hakuin and their ancestors and successors stood on ground you and I can stand upon and deal with the prospect
of nuclear winter and biological holocaust.
The ground of our ancestors is under your feet, but it takes great effort to realize it. If this is merely a personal effort to reach
something, it is called delusion, Dōgen says. In fact, it is Mara, The Destroyer. However, when you join the mountains, rivers, trees,
animals, and other people in the universal pursuit of understanding, then at a ripened moment the morning star or the thrush or a word
from a friend comes forward and actualizes your true nature. You are then the Bodhisattva Kuan-yin, hearing the sounds of the world.
Inside and outside are one in this experience; male and female are one in the practice. When you muster your masculine elan
to seek out your essential nature, you are at the same time readying your feminine sanctuary. Your senses are open. The sound of the
wind and the crack! of the kyosaku pass right through your body. Eventually you find yourself in the vast and fathomless darkness of
nothing at all, and it is then that you awaken at last and encounter the ancient mirror. The myriad things stand forth vividly and call
out bravely. You hear the gecko as if for the first time, "Chi! Chi! Chi-chichichi!"
In a single cry / the pheasant has swallowed / the fields of spring.
Like the Buddha's experience of the morning star, this was a momentary realization. Thereafter, Tung-shan warns us, "Don't
wander in your head and validate shadows any more." Indeed. Even if all appearances become the jeweled mirror of your own
house—even if you yourself become the jeweled mirror of all houses, your practice continues, and your jeweled mirror and those of
others become more and more clear. The cry of the gecko or the song of the thrush can open the gate—it is up to you to walk through
and maintain your Way.
This ongoing practice is set forth in Tung-shan's second gatha in his cycle of Honor and Virtue:
For whom do you bathe and make yourself presentable?
The voice of the cuckoo urges you to come home;
hundreds of flowers fall, yet the voice is not stilled;
even deep in jumbled peaks, it is calling clearly.
"Service" is the title of this gatha, meaning service to your noble potential. "Lord and Vassal" is the subtitle Tung-shan used
for his "Five Modes of the Phenomenon and the Universal." We serve our most honored nature by forgetting ourselves in our service,
casting off body and mind, reflecting all things as ourselves.
"For whom do you bathe and make yourself presentable?" Tung-shan is reminding us of the noble nature we serve. We purify
ourselves, "eliminating mistaken knowledge and attitudes held from the past" (GB-1). And as Dōgen says in the Genjokoan, this
casting away is continued endlessly.
"The voice of the cuckoo urges you to come home." The voice of the cuckoo is true nature itself, but from the vantage of
practice, it is a wonderful reminder. One of my first teachers, Asahina Sogen Roshi, used to say in his Sunday talks to lay members of
Enkakuji, "When someone comes in, Mu. When someone goes out, Mu. When someone coughs, Mu. When you walk down the hall,
Mu. When you open the door, Mu. Let everything that happens remind you of Mu." Not only do you return to Mu, you return all the
more strongly there each time, with all the more determination, and all the more modesty about what you might have attained so far.
"Hundreds of flowers fall, yet the voice is not stilled." Your delusions have dropped away, your concepts of sage and ordinary person,
delusion and realization, subject and object, have been forgotten, yet this is not enough. The bell continues its reminder, the gecko
cries, the neighbors raise their voices, the helicopter drones and rattles overhead. Come back to your home. Come back to Mu!
"Even deep in jumbled peaks, it is calling clearly." Even in the most difficult circumstances, when you feel isolated by the
malice of people on the job and misunderstandings with your family members, when injustice is everywhere and the world is in
crisis—the thrush sings magnificently in the hibiscus hedge. Come back to your home, come back to your place of rest. When you
come forth from there, you come forth appropriately.
Mode III
EMERGING WITHIN THE UNIVERSAL
129
Within nothingness the road is free of dust.
If you can simply avoid mentioning the emperors name,
you will surpass the eloquence of the Sui dynasty poet.
Nothingness (k'ung in Chinese, ku in Japanese, literally "sky") is the environmental equivalent of Mu, so to speak. The road
of k'ung is the Tao of the Buddha, completely free of dust—that is, completely free of compulsions, anxieties, and preoccupations.
Mode III is the darkness and emptiness of Mode I revisited, but now there are no obstacles:
A monk asked Tung-shan, "When cold and heat come along, how can I avoid them?" Tung-shan said, "Why not go where
there is neither cold nor heat?" The monk asked, "Where is there neither cold nor heat?" Tung-shan said, "When it is cold, let the cold
kill you. When it is hot, let the heat kill you."
Preoccupation with unpleasant weather, with the advance of old age, with the imminence of death, with the danger of nuclear
war—this is a dusty path. Why not go where there is no old age and death? Why not go where there is no danger?
Where is there such a place? Right here in nirvana. When it is hot, is there anything but heat? When it is cold, is there
anything but cold? In times of bereavement or danger let your situation enter you fully.
How about the situation of comfort or pleasure? Well, that's like the reststop on a climb. Time for rebandaging the blisters
and offering water to a dry throat. Time for an interlude of sharing with good companions. Then on we go.
All along one deals with the challenging and difficult factors of ones life. The Heart Sutra promises freedom from anguish,
not freedom from afflictions. The path is one of suffering the afflictions of life—allowing them, as Tung-shan says. If you allow the
afflictions to advance and confirm yourself, your body and mind disappear, and the thrush can take over.
This is the Great Death, for which physical death is an imperfect analogy. When Imogen in Shakespeare's Cymbeline dies,
her half-brother Guiderius sings: Fear no more the heat o' the sun, Nor the furious winter's rages, Thou thy worldly task has done,
Home art gone, and ta'en thy wages.
Guiderius is addressing his sister's body, now released from fear of heat and cold. With the Great Death, however, we escape
into heat or cold. Altogether intimate with the flaming sun of summer or the freezing blizzards of winter, we return to our original
home free of worry, and we continue our practice of freedom from worry.
Remember that the old teachers were never talking about a state, always about an experience, a peak experience that opens a
door. If the experience comes too soon, the door may not be evident. People often complain to me that they have been practicing for a
long time without anything happening. "Count your blessings," I want to say. You will have real cause for complaint if Mu becomes
evident when you first sit down. "Is this all?" you will ask. The peak experience earned with arduous climbing will reveal further
peaks, and broader vistas.
This continuing practice, the Great Life, is a matter of being careful about the name of the emperor. In old times in East Asia
and even today in Japan, one does not mention the august name of the current ruler. He is known as "His Imperial Majesty, the Present
Emperor." The analogy here is, of course, that you do not give your deepest understanding or the object of your deepest understanding
a name. Like the pious Jew who will not pronounce the name of God, like Bodhidharma responding to the Son of Heaven, we
conscientiously avoid concepts of our liberation.
Emperor Wu of Liang asked Bodhidharma, "What is the first principle of the holy teaching?" Bodhidharma said, "Vast
emptiness, nothing holy." The Emperor said, "Who is this, standing here before me?" Bodhidharma said, "I don't know." (BCR-1)
"Who are you?" the Emperor asks. "I don't know who I am," Bodhidharma replies. "I don't know where I came from; I don't
know where I am going." Bodhidharma not only avoids mentioning the Emperors name, he declines to identify his own august nature.
Dwelling there, you come forth with eloquence that surpasses a legendary Sui-dynasty poet and orator whose coherent words
silenced all competitors in speech contests. The point here is, of course, not to defeat others, but to bring forth the mind of the
fathomless void and present the appropriate topic clearly, or take the appropriate action decisively. It is the search of Mode I, the
Phenomenon within the Universal, brought to fulfillment.
The appropriate topic is the Dharmakaya itself, the pure body of the Dharma that is altogether empty—the nature of all
phenomena. This is the Way that is free of dust, but it is along the dusty roads of the Ganges Valley that the Buddha turned the Wheel
of the Dharma—his appropriate action. Not everybody preaches, some will write, some will create music or art, some will take in
abandoned children, some will volunteer in cooperatives, some will organize against exploitation. Some will do all of these, and more.
As Hakuin comments:
In this rank, the Mahayana bodhisattva does not rest in the realm of attainment, but from the sea of no-effort lets great
uncaused compassion shine forth. Standing on the four pure and great Universal Vows he lashes forward the Dharma Wheel.
It is a Way that is creative and free, and so can offer encounters and activities that are quite remarkable and funny, though the
upshot is peaceful. Here is Tung-shan's gatha for the third mode of his cycle of Honor and Virtue:
Flowers bloom on a withered tree in a spring beyond kalpas;
you ride a jade elephant backwards, chasing a winged dragon-deer;
now as you hide far beyond innumerable peaks—
the white moon, a cool breeze, the dawn of a fortunate day.
This gatha is entitled "Achievement," partly in a congratulatory sense, and also as a milestone marking a new beginning, the
way a graduation ceremony is called "Commencement." Other meanings of the original term are "merit" and "good results." You have
indeed attained profound equanimity. The end, however, is not yet.
"Flowers bloom on a withered tree in a spring beyond kalpas"— this is the path, the Tao of the Buddha, free of dust, the road
beyond time and space. The tree does not come or go, and is completely at rest, yet it blooms with the marvelous skin tones of
Rembrandt and the joyous celebrations of Mozart. It comes forth with the eloquence of all great poets. "Dwell nowhere, and bring
forth that mind," as the Diamond Sutra says. After supper, you take up dishcloth and dishes. After breakfast, you step from your house
to the corner to catch the bus.
130
"You ride a jade elephant backwards, chasing a winged dragon-deer." The winged dragon-deer is the ch'i lin, the
mythological mount of beings who inhabit the air. This is the realm of Dharma-kaya Koans: Lifting my leg, I kick the Scented Ocean
upside down; lowering my head, I view the Four Dhyana Heavens. (GB-20)
The Scented Ocean surrounds the Peak of Wonder, and from its summit you can view the Four Dhyana heavens of Hua-yen
cosmology below you. Yet, like flowers blooming on a withered tree, this is ordinary, daily life, though it is not the daily life of
anxieties and compulsions. It is the supernatural world of this world. In the realization poem he submitted to his teacher Shih-tou, the
Layman P'ang wrote: My supernatural power and marvelous activity: Drawing water and carrying firewood.
"Now as you hide far beyond innumerable peaks"—the innumerable peaks are all about, and you are not somewhere else.
Like the Buddha Shakyamuni you have left your palace of indulgence. You are hidden away from your old categories of delusion and
enlightenment, worldly people and sages, but there you are in the midst of greed, hatred, and ignorance.
From Shakyamuni's time to the present, the Buddhist monk has been called the "home-leaver." That is, the monk leaves
family, friends, and worldly career to come back to the origin. The traditional layperson could not do this. The home was not sacred,
and the temple was not profane. As modern laypeople we hide ourselves in our own families, among our own friends, at our own
workplace. We leave home without leaving home. We find our home where we are.
Commonly we say in Zen, "There is nothing to attain." This is a subtle metaphor, open like all traditional wisdom to radical
misunderstanding. "Ordinary mind is the Tao." This is not the ordinary mind of looking out for number one. It is rather "the white
moon, a cool breeze, the dawn of a fortunate day." It points clearly to the practice of all the Buddhas. As Yun-men said, every day is a
fortunate day (BCR-6).
Mode IV
PROCEEDING WITHIN PHENOMENA
Like two crossed swords, neither permitting retreat;
dexterously wielded, like the lotus in the midst of fire—
a natural imperative to assail heaven itself.
Self and other are provisionally separate; emptiness is provisionally forgotten. Your aspiration for realization—and your
aspiration that all beings be realized—encounters people, animals, and things of the world, including your own thoughts and feelings.
You muster your body and mind and center yourself upon a single matter like the koan Mu, the task at hand, or a friend in
conversation. These are beings of the ancient mirror, and you take up the sword of Kuan-yin to challenge them.
The Buddha seated under the Bodhi tree was completely centered on his question about suffering. "Why should there be
suffering?" Everyone and everything likewise became centered, engaging the Buddha in Dharma combat. Neither side could advance
or retreat.
Suddenly the tension vanished, and the morning star prevailed. Both sides realized their wisdom and virtue to their own best
understanding—the Buddha as Buddha, the morning star as the morning star. But this is the mode of returning home, a mode yet to
come in our sequence. The Dharma encounter presented in this fourth mode of Proceeding within Phenomena is subtle confrontation
of Mu, for example, continuing on and on.
Holding Mu firmly, you find everything else is Mu, holding you firmly. This is called the samddhi condition of "Silver
Mountain, Iron Cliff." It is Bodhidharma, facing the wall of his cave for the last nine years of his long life. It is the wall facing
Bodhidharma and holding him. It is the Buddha holding fast to his question of suffering, and finding it holding him as well.
The vow to maintain the tension of this mode, whatever happens, opens the way to practice to the end of one's life and
beyond, even if there is no resolution. Pain and inconvenience hold us on course, malice and misunderstandings hold us, family
members and friends and their love hold us, the mutual practice of working with sisters and brothers in the Sangha holds us, the calls
of doves and cardinals hold us.
This is "the lotus in the midst of fire" in Tung-shan's usage, a metaphor from the Vimalakirti Sutra that originally referred to
aspiration in the midst of desires. Tung-shan broadens the metaphor to mean "aspiration in the midst of samsara"—all the phenomena
of the world.
The two are joined. The athlete knows about this creative tension. Skiers and surfers press ahead, the snow or sea presses
back, and away they go, released. The artist, musician, poet, and indeed all of us—homemakers, bureaucrats, merchants, teachers-—
all know the tension and its fulfilling possibilities.
In traditional mondo, inside and outside are joined in what is really confrontation with oneself. With each breath of zazen,
and indeed in every conversation and every kind of encounter, the engagement without surrender can lead to syntheses that would
otherwise not be possible. This from the record of Lin-chi:
Ma-yu came to see Lin-chi. He spread his mat and asked, "Which is the true face of the twelve-faced Kuan-yin?" Getting
down from the rope-bottomed chair, the Master seized the mat with one hand and with the other grabbed hold of Ma-yii. "Where has
the twelve-faced Kuan-yin gone?" he asked. Ma-yu jerked himself free and tried to sit on the chair. The Master picked up his stick and
hit at him. Ma-yii seized the stick, and holding it between them, they entered the Masters room.
The spirit of "holding it between them, they entered the Masters room" is like that of "two crossed swords, neither permitting
retreat ... to assail heaven itself." We dramatized this in a Dharma encounter at the Koko An Zendo. The student and I ended up
grasping my little staff and exiting together up the stairs, as everybody clapped. This is the joyous tussle of children and baby animals;
it is the delight of sexual love; it can be the dynamic of family and community interaction. It is corrupted in confrontations where
Mara the destroyer presides—in dark passages of communal, corporate, and international warfare.
The nineteenth-century statesman and warrior Yamaoka Tesshu narrowed Tung-shan's metaphor of two crossed swords to the
literal, and reduced the poetry to swordsmanship. The master Tekisui Giboku had given him the fourth mode about the two crossed
swords as a koan:
131
Every minute for the next three years, Tesshu butted his head against this koan. During breaks in conversation, Tesshu would
cross two pipes, trying to figure out the problem, while eating he would put his chopsticks together like two swords. Tesshu always
kept a pair of wooden swords near his bed. If a possible solution presented itself at night, Tesshu would jump out of bed and ask his
wife to grab a sword and confront him.
Finally, it was in zazen that the swords crumbled. He announced that "final awakening had come, like dew reflecting the
world in total clarity."
I think that the metaphor itself holds the sword, as all the koan metaphors do, as all true poems do, as the challenges of daily
life do from moment to moment. To take metaphor literally and to persist there playing with pipes and chopsticks and wooden swords
might enable the fool to become wise, as in Blake's proverb, but I am sorry that Tesshu could not confront the likes of Chia-shan to
check his "final awakening."
A monk asked Chia-shan, "What if one sweeps away the dust and sees the Buddha?" Chia-shan said, "You must brandish
your sword." (BS-68)
Not yet! Not enough! Not enough yet! Even when the dew naturally reflects the world, the true master will keep his sword
handy for any thought of finality.
This is the natural virtue of continual engagement, using virtue in its neutral meaning of "quality," and is rooted in the fact of
uniqueness among all beings. Though there are important milestones-— very important milestones—like the fifth mode to come, the
final awakening remains unmentionable. It is like a negative number, existing in somebody's head, while the Wizard of Oz turns out to
be a little man working the levers of power in the governor's office in Kansas.
Tung-shan brings us back to the poetry of differences that Tesshu tried to work out with his left chopstick and right
chopstick. Here is Tung-shan's gatha called "Virtue and Virtue," the fourth in his cycle of "Honor and Virtue":
Ordinary beings and Buddhas have no interchange;
mountains are high of themselves; waters are deep of themselves.
What do the myriad distinctions and differences reveal?
Where the partridge calls, many flowers are blooming.
This is the Nirmanakaya, the Buddha body of infinite variety. Every dewdrop glistens in the sun, and even a dead ant is
altogether precious: Go bring him home to his people. Lay him in state on a sepal. Wrap him for shroud in a petal. Embalm him with
ichor of nettle. This is the word of your Queen.
Unless it is clear to you that Buddhas and ordinary beings, and indeed each particular thing, are uniquely themselves, you
become abstract and careless. In learning to pay attention, the Japanese term mottainai is very instructive. Literally meaning
"irreverent" or "sacrilegious," it is commonly used to mean "wasteful." An ordinary usage would be "It is sacrilegious to use so much
paper." Nuclear war and biological holocaust are the natural upshot of ignoring mottainai.
All this is not to deny oneness and emptiness. Oneness and emptiness on the one side complement uniqueness on the other.
As Wu-men wrote: Moon and clouds are the same, valleys and mountains are different. (GB-35)
It is pleasant to retreat into the universe of oneness and emptiness. One finds there a cool nirvana, with no distinctions—and
no responsibilities, for there is no one to be saved. But, as Ch'ang-sha said, "a spring mood is better than the autumn dew falling on the
lotus flowers" (BCR-36). In the spring mood, or mode, mountains are high of themselves, seas are deep of themselves. Joy comes and
we take delight, sorrow comes and we weep. The Hibiscus bracken-ridgei and its varieties, kauaiana, mokuleiana, molokaiana, all of
them gladden our hearts, and each Hibiscus brackenridgei, variety kauaiana, comes forth personally as itself. Each flower, each leaf
has its own particular configuration, and its own particular challenge. What do all these distinctions and differences reveal? Tung-shan
answers his own question: "Where the partridge calls, many flowers are blooming." I am reluctant to offer my own comment, and
prefer to follow my first teacher, R. H. Blyth, and quote the poem he loved more than all others:
Swiftly the years beyond recall,
Solemn the stillness of this fair morning.
I will clothe myself in spring-clothing,
And visit the slopes of the Eastern Hill.
By the mountain-stream a mist hovers,
Hovers a moment, then scatters.
There comes a wind blowing from the south
That brushes the fields of new corn.
Mode V
ARRIVING WITHIN TOGETHER
Not falling into being or non-being—who can be in accord with this?
Everyone longs to leave the eternal flux,
not just to live in harmony, but to return and sit by the charcoal fire.
Fundamentally, of course, everyone is in complete accord with the complementarity of being and non-being: every person,
every animal, every plant. Standing up, sitting down, eating, drinking—there is no separation in this ultimate unity.
Realizing this in daily life is another matter. Not falling into being is not becoming preoccupied with technology and fashion
or pursuing fame. Philosophically, it is not confining yourself to the world of fullness, oneness, uniqueness, and variety. The Buddha
cannot find a home in such one-sided notions.
Not falling into non-being is avoiding the Cave of Satan, a vacuous echo chamber, where nothing matters and there is nothing
special. It is the exclusive place of purity and clarity, emptiness, the vast and fathomless void, where no Bodhisattva can survive for
even a moment.
132
Avoiding these two perils of being and non-being was a challenge to Shakyamuni and Tung-shan. It is our challenge, our
field of practice.
Fluctuations in the practice of Shakyamuni Buddha were probably very tiny and our deviations are broad, but once we enter
the path, our lives are practice, whatever our condition might be. One of my Zen friends likens practice to the radar beam that guides
the airplane to its destination. This beam does not lock the airplane into a fixed path. It does not create a constant condition. It is only a
beam, and when the airplane strays and its mechanism senses the beam becoming fainter, then built-in corrective devices bring it back
to the proper direction, only to have it stray again. So long as the mechanism functions, the airplane swings back and forth across the
beam, unerringly on its true path.
Keizan offers a poetical mechanism to help us stay on the beam:
Though we find clear waters surging to the vast blue sky in autumn, how can it compare with the hazy moon on a spring
night? Most people want to have it pure white, but sweep as you will, you cannot empty the mind. (TL-6)
Do you incline toward the full, complete, Sambhogakaya of the great ocean, surging to the heavens? The hazy moon, the
misty rains in Manoa Valley are a good reminder that harmony is a vast net of interbeing, and not merely a projection of human
expectations. It is in interbeing that we take our pleasure here, not just the interbeing of people, animals, and plants, but of form and
emptiness, life and death. Basho knew this lesson well:
The day when Fuji / is obscured by misty rain— / that's interesting.
Do you incline toward the pure and clear Dharmakaya, the vast sky with not a bit of cloud? In Asian languages, "pure white"
means "colorless," and "colorless" means "formless." "Most people want to live without any blemish," Keizan says in effect, and
indeed this is our ideal. The life of practice set forth by the earliest Zen teachers in the vow we repeat at every gathering:
Greed, hatred, and ignorance rise endlessly, I vow to abandon them.
The Three Poisons rise endlessly, and sweep as we will, we cannot empty our minds of them. Nonetheless, we vow to
eliminate them completely. Joyously we sweep and sweep under the hazy moon. "Everyone longs to leave the eternal flux." The other
day someone spoke of a recent personal tragedy, saying that her grief had taught her how to "get off the train." She explained that at
last she was not caught up by the continuity of work and "driving on to the next task," and that for the first time she could enjoy the
greenness of leaves and the redness of hibiscus flowers. Their beautiful colors became intimately her own. She was no longer wasting
her powers in the world of achievement. I see this change continuing to unfold in her life as she consciously applies her deeper
understanding.
In getting off the train, one comes home. William F. Powell translates Tung-shan's last line: "But after bending and fitting, in
the end still return to sit in the warmth of the coals." We try to accommodate ourselves, we try to live in accord with circumstances, to
harmonize, to go on to the next task—but ultimately we long for the mood of Kuan-yin, sitting in royal ease, one knee upraised.
My friend who described the experience that came with her tragedy continues her professional work, her Zen practice, and
her family life. The warm coals could be her metaphor, however, as it can be ours, home fires that sustain us late and soon, as we get
and spend. The Mudra of Royal Ease we love in images of Kuan-yin can be the seal of our own consciousness as we wait in the
gridlock of morning traffic. Tung-shan sets forth this practice, this home, this Mudra of Royal Ease, in the final gatha of his cycle of
Honor and Virtue, called "Virtue upon Virtue":
When head and horns peep out, it no longer endures;
if you arouse your mind to seek Buddha, it's time for compunction;
in the Kalpa of Emptiness, there is no one who knows;
why go to the South to interview fifty-three sages?
What is the antecedent of "it" in the first line—"it endures no more"? In a note relating to this poem, Powell quotes a dialogue
between Nan-ch'uan and Tao-wu:
Nan-ch'uan asked, "What can you say about the place where knowledge does not reach?"
Tao-wu said, "One should absolutely avoid talking about that." Nan-ch'iian said, "Truly, as soon as one explains, horns sprout
on ones head, and one becomes a beast."
There is nothing wrong with being a goat or a water buffalo, but a goat-woman or a buffalo-man is not truly human. Tao-wu
and Nan-ch'iian were both correct, but I can't help noticing suspicious bulges on the foreheads of both of them, not to mention my
own. Earlier, Tung-shan cautioned us about avoiding the name of the emperor. That was a lesson in cultivating creativity in
expounding the Dharma. Here he is concerned not with our maturity in teaching, but with our very purpose and motive.
Even when you feel an aspiration for Buddha-hood, you correct yourself, Tung-shan says. Such aspiration is bodhichitta, the
fundamental imperative of all great teachers—but it can also be an addiction and a pose. As Paul warned the Corinthians, "Let him
that thinketh he standeth take heed lest he fall." Paul is concerned about keeping the faith. Tung-shan suggests that faith itself can
bring us down. It is time to take stock. There is nothing at all to be called Buddha-hood. Be easy!
The Kalpa of Emptiness is an incredibly long interval in the measurement of vast reaches of time that Indian philosophers
devised, and here it is a metaphor—the mind of not-knowing, the mind of Bodhidharma standing before the Emperor of China, and the
mind of his many wonderful heirs, including Ma-tsu: "not mind, not Buddha" (GB-33). In the final chapter of the Hua-yen literature,
the pilgrim Sudhana traveled to the South to interview fifty-three great teachers, and his last teachers were Maitreya and Saman-
tabhadra. There is no need to follow Sudhana's path. Maitreya is not the future Buddha, after all.
133
s) From A Dharma Talk by James Ishmael Ford, Sensei, 3 September 2001:
(also see his comments on the individual positions in the Coashan table above)
The most important point within in this is our, you and I, coming to understand the nature of dynamic reality, where
emptiness and the realm of form not only exactly are each other, but also inform each other. There is movement in this reality at least
as we human beings experience it. It is dynamic, and it can be known. It means what we do counts, everything we do, every choice we
make, has consequences. Understanding both the “hows” and the “whys” of this is our way toward wisdom.
In some schools there are descriptions of fifty-two different combinations of insight on the way to deepest understanding.
But, in our Zen way five seem to be enough to give us a sense of how this dynamic happens. Tung-shan Liang-chieh…adapted five
images out of the I Ching… to guide us into a deeper understanding of this dynamic quality of reality.
Called the Five Ranks, it has become the penultimate koan collection in training for both the Japanese Rinzai and
Harada/Yasutani Zen curricula. Here we are confronted with the relationship between the “relative” or “apparent” or “phenomenal,”
and the “absolute” or “real” or “empty.” And it is here we begin to see the movement of our experience as we come to spiritual
maturity…
Hopefully a reflection on these five ranks, give us some sense of the exact identity of the phenomenal universe with our very
selves and the emptiness that is sunyata. Also, I hope, this brief description opens us to sense the dynamic quality of these aspects of
reality, how they differentiate and inform each other…And I hope it speaks to the nature of wisdom on this way that is Zen Buddhism.
This Zen way we are walking has nothing to do with retreat from the world. Rather it is about our most intimate connection with the
world wherever we find ourselves, meditating in a monastery, washing dishes in our home, or doing business on Beacon Hill.
This briefest of descriptions of the Five Ranks is meant to show how our own personal experience of sunyata, yours and
mine, may genuinely inform our every action, allowing us to walk in the world with, as one commentary says, “bliss bestowing
hands.” This is the wisdom way of the Buddha.
Now, one more caution is important here. It would be a mistake to take the apparent teleology, the seeming direction of these
five ranks as more than utilitarian. Again, the real world is dynamic, and the intricacies of relationship are so vast one can never say
with certainty what a “direction” might or should be. We can experience all these spiritual states at different times without any specific
progression.
134
Alfonso Verdu, Dialectical Aspects in Buddhist Thought: Studies in Sino-Japanese Mahayana Idealism. Center for East Asian Studies,
The University of Kansas, 1974 (Extensive excerpts are included here as this publication is hard to find and offers translations and
considerations not found elsewhere. His commentaries have some useful sections, although he gets involved in some philosophical
sidetracks (and has a predilection for words like “Kegonian”).)
Pg iii: This book purports to present a sequence of essays on one of the most essential, though neglected, developments in Buddhist
Mahayana thought: its “dialectical” character. What I mean by “dialectical” is the method of comprehensive philosophizing that
pulsates in the great thinkers of all times and explicitly has characterized the Hegelian movement in the West. Nothing is more proper
in Buddhist philosophy than to show the human faculty of reason in the act of overriding its own self. In exposing its own limitations,
Reason shows also the infinite and unspeakable transcendence and freedom that it harbors within itself. Through the process of
historical dialectics, beginning with the Hinayana schools of psychological atomism and phenomenalism, past dialectical “negativism”
(Madhyamika) and subjective idealism (Vijnanavada) up to the summit of “totalism” in the T’ien-t’ai and Hua-yen doctrines,
Buddhism has borne one of the most coherent, progressive systems of philosophy that man’s thought has ever produced…This
expansive breathing from categorical rationality to the suprarational lights of intuition has also extended itself – contrary to the belief
of modern Western Buddhist dilettantism – to the very midst of practice Ch’an and Zen teaching, especially in its Ts’ao-tung
(Japanese: Soto) branch.
Pg 3: Nagarjuna, the Indian founder of Madhyamika (the “Middle Way” school), was the first Buddhist thinker to introduce a
dialectical system as the means of developing progressive philosophical views and definitions of truth…In this historical development
of Buddhist philosophy, the Hua-yen (Japanese: Kegon) school – together with the T’ien-t’ai (Japo: Tendai) school – appears as the
positive counterpart of the more negativistic Madhyamika school of Nagarjuna. The Hegelian principle that the proper dialectical
moment lies in the suspension or negation of the thesis is fundamental but not final or definitive. The superseding of this negation into
a new synthesis is of positive character, namely, the negation of the negation by the overreaching of the opposites into an identity that
“preserves” their difference. In Hegelian terminology this “identifying” moment that surpasses the “dialectical” stage of suspension is
called the “speculative” moment. Because Nagarjuna did not heed this positive “result” of the dialectical method, his exposition
remained a closely connected manifold of negations. Thus, it was the Hua-yen school which brought the Buddhist dialectical moment,
initiated by Nagarjuna, into the formally positive “speculation” concerning the philosophical expression of truth.
Pg 4: The fact, however, that dialectics in Eastern thought was not restricted either to the Indian instance represented by Nagarjuna or
to the later developments in Chinese Buddhism should not be overlooked. Neither Indian thought nor Buddhism as such is the
exclusive propounder of dialectical theories. In a more “cosmogonic” context, Chinese thought in its original patterns of Confucianism
and Taoism contains already clear signs of surprising high dialectical expression. Chinese classical dialectic ontologies can be
involved in the method of divination as given in the famous I Ching (Book of Changes).
(Source material and precursors to the Five Positions)

Pg 4: Kuei-feng Tsung-mi, the sixth patriarch of Hua-yen, who was intimately connected with well-known Ch’an masters of his time
and was closely followed by the founders of the Ts’ao-tung branch of Zen Buddhism, who gave “Zenistic” formulation to Kegonian
dialectics in the poetical forms of the “Five Ranks” or “Five Degrees” (wu wei, Jap: goi).
Pg 55: Tsung-mi, the fifth patriarch of Kegon and a master of Zen, who greatly influenced the trends of the Soto school….By his
close relationship with the Ho-tse (Jap: Kataku) branch of Zen Buddhism, Tsung-mi became an ideal synthesizer of both speculative
and practical Buddhism.
Pg 53-54: In the Sraddhotpada, however, causation was found to operate on the basis of a “reflexive, two-sided permeation”: the “true
thusness” determines itself from original knowledge into ignorance, and from ignorance back into knowledge, on a perpetual cycle of
self-permeation. This cycle is a dialectical one: “thusness” posits limitation (negation of knowledge) and reconstitutes the “limitation”
into the orignal “unlimitation” (“negation of negation” of knowledge); sameness posits difference; and one posits many; while the
many of difference are reabsorbed into the oneness of sameness, although now preserved as “differences-in-identity.”
Pg 54: This is the fundamental process followed by the Kegon school, whose whole metaphysical doctrine takes its source from the
famous chapter of the Gandavyuha (Chapter on entering into the dharmadhatu of interpenetration) of the Avatamsaka (Hua-yen)
Sutras. This chapter symbolically envisages ultimate reality as a tower in the heavenly city of Jetavana, which is composed of an
infinite number of jewels (analogous to Indra’s net), each of which contains the infinite images of all the others. This is the world of
All in One and One in All that is disclosed to the pilgrim and seeker of truth Sudhana…
There is an infinite self-containedness of infinity: Each limited being contains within itself the infinite by which it is contained….an
old biography of Fa-tsang relates the expedient used by the teacher in order to illustrate this all-comprehensiveness to his students:
“He took ten mirrors, arranging them, one each at the eight compass points and above and below, in such a way that they were a little
over ten feet apart from each other, all facing one another. He then placed a Buddhist figure in the center and illuminated it with a
torch so that its image was reflected from one to another. His students thus came to understand the theory of passing from ‘land and
sea’ (the finite world) into infinity.” In this way an endless multiplication of the finite figure would take place in the new realm of the
infinite self-multiplying reflections of the mirrors. Thus the Kegon doctrine of “interpenetration” or “nonimpededness” is illustrated,
as being the inner quality of…the abode of all enlightened sentient beings.
Pg 56: Kegonian “four poles of all-comprehensive reality,” which makes use of the Confucianist symbols used by Tsung-mi and by
the Soto founders…The symbolic circles, which were used by Tsung-mi in his own diagrams, represent fundamental unity (the white)
and multiplicity (the black). According to Kegonian terminology, unity is accepted universally as the a priori source of consciousness
(or subjectivity) and in indicated by the character pen (Jap: hon, or priority), whereas “multiplicity” signifies the manifold of
experience (or objectivity) and is indicated by the character mo (Jap: matsu, or posteriority). Although shinnyo, or “true thusness,” is
fundamentally one (white), it is represented as containing the potentiality of self-actuation and self-definition (the black dot in the
135
center): thereby it is at the base of the realm of the Tathagata-garbha (matrix of thus-coming). The pure white and pure black circles of
hon and matsu indicate the primordial differentiation between subjectivity and objectivity. The reconstitution of identity within the
spiritual realm of consciousness reabsorbs multiplicity into the original identity, in which the subject and the object coalesce into an
all-comprehensive “identity-in-difference”: this establishes the realm of muge (nonimpededness) or yuzu (interpenetration), which, as
cognitive realization, becomes the all-embracing storehouse of consciousness.
Pp 59-60: According to Kegon, reality is neither monistic nor dualistic; this expression is in the very core of Kegonian thinking, since
strict monism, as opposed to strict dualism, constitutes a mere negation, implies partiality, and therefore does not reveal all-
comprehensive ‘identity in difference’ of ultimate reality.
Pg 65-66: Three stages:
1. The first stage exhibits total unawareness of the priority of the subject which is made into another object among many. Thereby the
subject settles for sheer multiplicity.
2. The second stage involves a simple, one-sided negation, which, though reaffirming the subject, negates the objects altogether and
blots out their determinations from the filed of consciousness. This is the highest state of samadhi, whereby a self-expanding “blank”
consciousness is attained.
3. Finally, the third stage conveys the true ‘negation of the negation’: it negates the oppositional ‘otherness’ of the object, but
preserves its determinations as ‘nonother,’ or as ‘permeated’ with the identity of ‘true suchness.’
The first stage gives forth the sheer multiplicity of the finite (Thesis)
The second yields a one-sided, all-exclusive unity of illimitation or better said ‘indefinition.’ (Antithesis)
The third reveals an all-sided, all-including unity of illimitation which incorporates the finite into the infinite. (Synthesis).
Pg 103-106: The wu-chiao (J: gokyo, or five doctrines) scheme, originated by the third patriarch and real founder of Kegon, Fa-tsang
(J: Hozo, 643-712, regarded as the 3rd Kegon patriarch), and formulated anew in Tsung-mi’s work Yuan-jen-lun (J: Genninron, On
Man’s Original Nature) is a compendium of the historically dialectical role played by the main streams of Buddhism. The wu-chiao
theory, which is similar to the a-li-yeh shih scheme, is shown also as developing in five stages. This is the fivefold framework that will
also become the pattern of the Ts’ao-tung wu-wei (J: Soto no Goi, or the Five Ranks of Soto Zen). It seems as though the number five
measures the pulsation of Chinese and Buddhist thought.
According the wu-chiao theory, as developed by Tsung-mi in his Yuan-jen-lun, the history of Buddhist thought has developed through
the well-known dialectical transition from “negation” to the “negation of negation.” Each of the stages overlaps with the foregoing
one. The fifth transcends all others in a perfect global formulation of the Buddhist teachings…Besides his listing of the Hinayana and
Fa-hsiang schools, Tsung-mi’s mention of the Madhyamika (Ch: San-lun, J: Sanron), under the name P’o-hsiang-tsung (school of
“destruction of all characters,” or negativistic school) is particularly significant. He admits that the P’o-hsiang doctrine of “void”
represented a major dialectical advance upon the Fa-hsiang (J: Hosso) subjectivistic approach, and this in spite of the fact that the
Indian Madhyamika was already in existence long before the Vijnanavada school of Vasubandu and Asanga was founded. In its
Chinese development, the “middle way” doctrine is considered to represent a more perfect formulation of Buddhism than the
subjectivistic one.
Nevertheless, Tsung-mi still thought that the “emptiness” concept as propounded by the P’o-hsiang school, was too negativistic and
obscure a doctrine, accessible to only a limited number of esoteric circles. The pure indeterminability and ineffability of the concept of
“void” (sunyata) as applying to both “subject” and “object,” “vijnana” and “dharmas,” was too far off an expression of suchness to
exert any appeal on the uninitiated. On this account the doctrine was not considered to be very “catholic” in the Mahayanistic sense. In
his Yuan-jen-lun, Tsung-mi refers to Kegon as the “open doctrine” of the “All-in-all Buddha-nature,” as ultimately overcoming the
“pure void” stand of the P’o-hsiang school, which in the master’s appraisal is “hidden” or “secret.” The “open” and true character of
reality is embodied in the a-li-yeh shih (alayavijnana) as the full manifestation of the Tathagata-garbha and the dharmadhatu of
“interpenetration” described by the Kegon Sutras and by the writings of Fa-tsang….
All stages up to the fourth manifest partial aspects of truth, each one more perfect than the preceding. Only the fifth includes all
aspects taught throughout the whole historical range of Buddhism in a perfect and all-encompassing totality. Although these stages do
not correspond to the Five Degrees of the Soto Zen school, they contain nevertheless all of the elements that intervene in the mystical
dialectic of Soto.
Title Doctrine Dialectical stand Chinese formulation

1. Popular (also Pudgala- Karma-remuneration in Heaven and Affirms both Unity and The Ego is. The dharmas are.
vada) Hell Plurality as oppositional
2. Hinayana (Sarvastivada Non-existence of ego (anatman) Negates: Unity, Affirms: The Ego is not. The dharmas
School) Existence of all dharmas. Plurality are.
3. Idealistic Mahayana Mere ideation (vijnaptimatrata) Affirms: Unity, Negates: Consciousness is. The
(Vijnanavada) “Only consciousness exists” Plurality dharmas are void.
4. “Middle Way” Negatavism. Relativism. Relative Negates both: Unity and Consciousness is void. The
Mahayana (Madhyamika) and absolute “emptiness.” Plurality dharmas are void.
5. Kegon Mahayana (also Totalism. Mutual inclusiveness. Affirms both: Unity and The essence of all Nature:
Tendai and Zen) Metaphysical interpenetration. Plurality as nonoppositional “Meeting and melting.”
Pg 117 The highly synthetic approach of Kuei-feng Tsung-mi, which represents a concrete link between Kegon and Zen, is grounded
on the transcendental unity of “interpenetration” between “form” and “nonform.”…
136
The Soto doctrine of the Five Degrees enumerates five approaches to the relationship between “unity” and “plurality,” “ideintity” and
“difference,” “absoluteness” and “relativity,” in manner similar to the chueh-pu-chueh (J: kaku-fukaku, “knowledge-nonknowledge”)
relationship exemplified in Tsung-mi’s scheme. Although an obvious structural parallelism between the a-li-yeh shih scheme and the
Five Degrees exists, one essential difference must be noted: the Five Degrees represent an attempt to visualize explicitly the five
perspective moments that are implicitly identical for the enlightened mind. In this sense, they should embody not only a pure thought
dialectical process, but an all-comprehensive and universal one, capable of absorbing within itself the pan-cosmism and universalism
proper to the strictly original sources of Chinese thinking, namely Taoism and Neo-Confucianism.
(Introduction to Five Positions)

Pg 118: To view the texts as a philological basis for the Five Degrees Doctrine fails to provide one with the clues needed for an
evident and clear-cut interpretation; and this is especially unfortunate when the inner structure of the dialectic is examined. A faithful
translation of the original Chinese text will not be free of linguistic and metaphorical obscurities; this fact hampers the possibility of
definite, clear-cut interpretations and demands a great deal of guesswork. The most difficult (and also the most decisive) texts are
divided into four basic sets of verses, each of which contains five stanzas; the first two sets are attributed to Tung-shan, the founder of
Soto Zen, while the two remaining sets are compositions of his disciple and cofounder, Ts’ao-shan. Additional explanatory texts of
both founders and the interpretive writings of the two later Soto masters Chi-yin Hui-hung (J: Jakuon Eko) [11th or 12th c.?] and Yung-
chueh Yuan-hsien (J: Eikaku Genken) [1578-1657] will be quoted in translation and used as the primary sources for reference and
commentary.
Pg 118: The key terms in the Wu-wei shuo (J: Goi no setsu, Doctrine of the Five Degrees) are cheng (J: sho) and p’ien (J: hen). Cheng
(the straight) denotes absoluteness, substance, equality, and ideal principle. P’ien (the biased) denotes relativity, diversity, function,
concreteness, matters, and so forth. The perspectives concerning the interrelationship of both constitutes the Five Degrees.
Corresponding symbols suggested by Tung-shan, which are frequently used by Ts’ao-shan and subsequent interpreters, are the “lord”
or “ruler” as the meaning of cheng and the “vassal” or “subject” as the meaning of p’ien.
Pg 118-119 Basic graphic expression of the Five Degrees were used by interpreters (such as Hui-hung), who relied upon a set of very
brief and intriguing instructions presented in the Pao-ching san-mei (Samadhi of the Precious Mirror) text. Apparently, the text was
composed by a master of Tung-shan and quoted in its entirety in the extant records of the founder. These symbols resolution of
opposites is as proper to the Kegon as it is to the Tendai school; and it embodies a doctrine in which dynamic and intuitive realization
is supposedly featured in the attainment of Zen-satori. Blyth formulates the Five Degrees through correlative sentences, which may be
as unpoetical, impractical, and devoid of Zen as he wants: God becoming man, Man becoming God, God being God, Man being man,
Being neither God nor Man…Only external similarity will remind one of the theological, spurious formulation used by Blyth.(p 120)
(Translations and commentaries)

The Chu-wei-sung, or Verses on the Sequence of Degrees, of Tung-shan.
(pp. 121-129: Dongshan’s verses with Verdu’s comments and some Yuan-hsien excerpts:)
1. There is diversity in the midst of equality.
In the beginning of the dead of night at the small hours, and before the moon shines,
do not be surprised that people meeting do not recognize one another.
And yet, they still harbor a faint memory of the fascination of the past day.
The “pitch dark” period of the dead of night is a lucid symbol of undifferentiated consciousness…This stage corresponds to a
standpoint of noetic emptiness, the highest state of samadhi…The enlightened mind has reached the peak of total cessation of
sensorial and intellective functions. But this stage of pureness is neither final nor exclusive: it contains the “seeds” of “past
experiences” in the subliminal levels of consciousness. When “the moon starts shining,” the process of discrimination will be ready to
reappear.
2. There is equality in the midst of diversity.
The old woman, who missed the dawn [of the new day] stands in front of her old mirror now.
She sees her face with perfect clarity; there is no further reality beyond this.
Stop turning your head again this way and that and giving credence to those reflections.
Contrary to the foregoing state, we find ourselves in the middle of the day with its multiplicity of objects, cares, and concerns. This
represents the state of discrimination at its height…The very essence of things, viewed as absolute “emptiness” is the equality that is
inherently embedded in diversity. In the second stage, “diversity,” is considered to be the proper platform on which to reestablish the
“absolute” relativity of things. This perspective delves into “absoluteness” from the formal medium of “relativity.” Under the
immediate fact that that “absoluteness” intrinsically permeates each corner of “relativity,” it can be stated that “there is equality in the
middle of diversity.”
3. Coming from the midst of equality.
There is a path in the midst of nothingness (which leads afar from the dust and grime of worldly life).
Only by not infringing [upon the taboo of] of the forbidden name [of the Emperor] of your time will you be able
To surpass once again the genius of the tongue-cutting [orator] of the past dynasty.
This is the stage in which the mind begins to show appreciation for the true values of silence, quietude, and serenity, learned “in the
middle of equality.” It is here that the dynamic reversion towards equality proper (of the second stage) finds its rewarding fulfillment.
As the second stage marks a trend of the mind turning from the multiplicity of the “biased” towards the realm of the “straight,” this
third stage shows the stage of the mind after it has in fact been already in the very midst of equality and is now emerging from
it….The stanza enhances the value of complete silence by the persuading counsel to avoid” talking too much”: excessive talking leads
to unforeseeable risks…
137
4. Moving into the midst of both (equality and diversity).
When two sharp blades become locked in duel,
Then good hands [at fencing], like lotuses in the midst of a flame,
Have in themselves, just as they are, the vigor to strike the heavens.
(Caoshan calls this “going into the midst of diversity”(henchushi) – or, “the vassal alone” – so it contrasts directly with the third stage.
Yuan-hsien (16th c) thought Hui-hung (12th C) changed kenchushi into henchushi arbitrarily.)
In Yuan-hsien’s interpretation, the two intersected swords would symbolize the movement of the mind towards the midst of both
aspects (of equality and diversity) through some kind of harmonious consortment of both levels of reality. According to Yuan-hsien,
this stage envisages going out of the experience of sheer emptiness and utter equality (in order to return to diversity) without
abandoning it in a way. Thereby equality and diversity, silence and talk, stillness and action will be harmonized into a functional
coexistence….One is free from “forms” in the very act of dwelling in “forms.”…”equality” and :diversity” come to function like “two
sharp blades locked in duel”; they are crossing one another, as the two blades cross their points, where the fencing hands that handle
them still retain the vigor to strike at the heavens. This means that whether in the midst of equality or in the midst of diversity, the
mind always retains the total vigor of its enlightenment and as such, is always ready to exert itself in the activity of mercy towards all
sentient beings without being absorbed by it, similarly to the legendary “lotus in the midst of fire,” which is never consumed by it. In
this respect the synthesis between “stillness” and “activity” is a functional one and does not represent yet a formal identity. This is
expressed by the character chih (J: shi) which denotes active motion towards the center, and not the formal and simultaneous arrival of
both aspects at the middle, which is expressed by the character tao (J: to).
5. Arriving at the middle of both.
Who will dare to harmonize both “being” and “nonbeing” without falling [again] into either [of their extremes]?
Many men wish to escape the stream of the ordinary [and humdrum] and yet, in the final reckoning,
Fall right back into the midst of the coals, and there they sit.
Arriving at the summit of ultimate truth is not such an easy task to perform. There are many who fall into the pit of a false evaluation
of their achievements, and the result is that, in the final reckoning, they find themselves down below, at the very point at which they
started, with empty hands, in the midst of the dirty coals of primordial ignorance. This concerned warning concomitantly enhances the
sublimity of the all-comprehensive knowledge realized through true enlightenment. The harmonization between “nonbeing” and
“being,” one and many, identity and difference, equality and diversity – which was said to be the aim of the preceding stage – has to
reach a climax in a formal and thorough identification. The vision of the Jetavana tower with the jeweled net, in which every precious
stone shines with the reflections of all others, is representative of a truth intrinsically superior to a mere functional harmonization
where “oneness” and “plurality” merely rest on one another, but do not really merge with each other. …In the words of Yuan-hsien,
the “fifth degree” no longer represents the state of sheer functional consortment between “stillness” and “action”…this ultimate
“degree” is properly characterized by the expression…”the entire function (of both stillness and action) is but one body of reality.”
Yuan-hsien…: “[Ultimate realization] is something that illuminates both the particular and the universal, that makes use both of ‘light’
and ‘darkness’ [simultaneously].”
Thus the coincidence of li and shih, equality and diversity, is uplifted to a dimension of absolute and ontological fusion. …As Yuan-
hsien further says, “[By] exhausting the [knowledge of the] ultimate reality and forsaking all merits proper to former stages], one
arrives at the level of total and traceless fusion of both li and shih. Li and shih, standing together, become fused and by no means arise
again [as opposing one another].”
(Pg 130: The Samadhi of the Precious Mirror Hymn. Also see C18-20 for the other translations and notes on this section.)
The main text of the I Ching and the appendices provide the foundation for the classical doctrine of the Yin (darkness) and the Yang
(brightness). These opposing principles were taken (uncritically) by the Buddhist author of the Pao-ching san-mei as perfect synonyms
for the apparently similar terms an-ming or li-shih. Presupposing this equivalence in meaning, the Yang is symbolically represented by
an undivided line and is identified with the Soto concept of cheng (J: sho or straight). The Yin, symbolized by a broken line, is the
equivalent of p’ien (J: hen, or biased, or relativity).
The mentioned “pairs” of opposites as adopted by the Buddhist philosophers are far from an exact correspondence to the original
meaning of Yin and Yang. Of these, the latter really denotes activity, and the former passivity. The obvious distortion of the original,
classical meanings, in order to permit their usage in Buddhist metaphysical contexts, later motivated the revisions and readjustments
of the Five Degrees dialectic on the basis of Yuan-hsien’s scheme.
p. 132: (C18-20): The hexagram chung-li expresses the interdependence of p’ien (hen) and cheng (sho).
When folding it, three variations arise. In completing the change, the variations become five.
Just as the [fivefold taste] of the sane-kazura grass, similarly the [five-pronged] “diamond-scepter.”
p. 132-133: The hexagram chung-li, which is number thirty in the table of the sixty-four combinations of the I Ching, is considered
here to be the most harmonious, complete, and well balanced of all the hexagrams. It is composed by the duplication of the basic
trigram li, which represents fire. It is the symbol of a singular essence with the twofold oppositional capability of “union” and
“separation.” By duplicating the trigram, the opposing elements of Yin and Yang are found to occupy the inner section (four inner
lines) of the hexagram chung-li; the very middle (two lines) is Yang, while the outer middle is Yin. Because both principles constitute
the four inner elements of the chung-li, the Pao-ching san-mei interprets it as being a representation of oppositionless nonduality,
which, in Buddhist terminology, is the real “suchness” of both aspects (the cheng and the p’ien) of existence. Obviously, the chung-li
will portray the state of perfect fusion between the cheng and the p’ien, namely, the fifth stage, or kenchuto.
Fortunately, Chi-yin Hui-hung provides an exegesis that gives us the clue to correct understanding of the difficult Pao-ching san-mei
verses…I quote him in my translation:
138
By interchanging the lines of the li hexagram, five diagrams will result; by folding it [the chung-li], three diagrams are
obtained; the first one will be the chung-li itself. By taking the second, third, and fourth lines we shall have the trigram sun.
By taking the third, fourth and fifth lines we shall have the trigram tui. This is why it is said that by folding the chung-li it
becomes three. Now, placing the sun below and the tui above, we shall obtain the hexagram ta-kuo. And furthermore, placing
the tui below and the sun above, we shall obtain the hexagram Chung fu. This is why it is said that by completing the changes
one obtains five variations.
(Dialectical Issues)
P. 133 cont: Taking into account the probability that Hui-hung relied upon the texts of Ts’ao-shan, it is obvious that he would interpret
the two resulting hexagrams, ta-kuo and chung-fu, as antithetical expressions of interdependence between the Buddhistic principles li
and ch’i. On this basis, he was reasonably expected to interpret the chung-fu hexagram as representing henchushi (coming to the midst
of diversity) and not kenchushi (moving toward the center of both), which, as seen above, seems to be Tung-shan’s meaning of the
fourth stage of his Chu-wei-sung. As a matter of fact, the two resulting hexagrams are in unmistakable opposition.
…Yung-chueh Yuan-hsien probably remembered the original wording of the Chu-wei-sung and the Kung-hsun wu-wei of Tung-shan,
and never admitted that the fourth stage should be interpreted as the antithesis of the third (henchushi), but rather as a correlative (if
not exactly antithetical) to the fifth (kenchushi). Obviously, he could have argued against Hui-hung’s interpretation by stating in
addition that the hexagrams chung-li and chung-fu could be considered as a correlated pair, by leaving the ta-kuo, number three, as
both the pivot and center of the diagram…In spite of this possibility, Yuan-hsien relied upon the symbolism of the diamond pounder
and on the very questionable structure of the circles used by Ts’ao-shan in his Chun-ch’en wu-wei. Otherwise he ignored the I Ching
hexagrams. His arguments against Hui-hung process as follows:
(pp134-135):Hui-hung changed the kenchushi [fourth stage] and transformed it into henchushi, thereby intending to oppose it
to the shochurai [third stage]; this considerably misled [the interpretative efforts of] the scholars who followed thereafter.
Now we shall try to correct [such a false interpretation]. Obviously the [third] rank of shochurai is [to be considered as] the
pivot and center of the [other] four stages. The first two stages of shochuhen and henchusho are meant as a way into the
shochurai; the last two stages of kenchushi and kenchuto represent the coming out [from] shochurai, properly depicting in
this way the supreme level [of enlightenment]. One could not say that they oppose one another. This is the first reason why I
do not agree [with Hun-hung’s exposition].
Again, if henchushi [as the fourth stage] were to be considered as opposed to shochurai [third stage], then it would follow
that two stages [within five] would occupy the center of the process which conflicts with the symbolism of the “diamond
scepter.” This is the second reason why I do not agree [with Hui-hung].
Again, the [so-called] henchushi [fourth stage] is represented by a white circle, whereas the shochurai [third stage] is
symbolized by a circle that is black on the inside and white on the outside; yet such circles do not constitute any opposition at
all. This is the third reason why I do not agree [with Hui-hung].
Again, kenchuto, as represented by a totally black circle, really stands as a correlate to kenchushi, which is represented by a
totally white circle. May one conceivably say that kenchuto alone remains behind without a counterpart? This is the fourth
reason why I do not agree with Hui-hung.
P 135-6: The bulk of this argumentation, as massive as it might seem, does not constitute an acceptable refutation of Hui-hung’s
conception. Mention of the diamond pounder, a symbol used by the author of the Pao-ching san-mei, may apply to Yuan-hsien’s
conception of the five positions. Nevertheless, the symbolism of the diamond pounder should not be given more significance than can
be attributed to the “fivefold taste” of the Sanekazura fruits, a symbol also used by the Pao-ching san-mei.
P. 136-7: Seemingly, the origin of the diamond pounder may be traced back to a type of weapon used in ancient India, which was -
viewed subsequently as a symbol of the power of Indra (the god of thunderstorms, who is frequently mentioned in the Pali Scriptures).
It was linked to the concept of the Mani jewel or diamond stone (vajra) and passed to
posterity as a token of truth and enlightenment. The Diamond Cutter (Vajracchedika)
was also used as a title of one of the most representative sutras of the prajna-paramita
series. The name of Vajra (J: Kongo), when applied to the symbolic pounder,
supposedly refers (1) to its hardness, its ability to smash and dispel all varieties of
evils, and (2) to its symbolic representation and of the original bodhi mind,
containing (in itself) the utter simplicity and transparency of unity and the total
variety of its color reflections in the bipolarity of consciousness and the world. The
center has a spherelike shape, which, by a symbolism reminiscent of the
“storehouse” character of the alayavijnana, supposedly contains the seeds of the
universe in its undeveloped, nonoppositional potential state.
The two oppositional poles of development grow out of this indeterminate but
potentially saturated center in the form of lotus flowers, which represent the
primordial spilt between subjectivity and objectivity. Thus, three fundamental stages
originate: center, subjectivity, and objectivity.
139
As a further polar development, the five constituents of subjectivity (skandhas) grow out of the lotus petal in the form of one central
prong and four surrounding ones on one side, and the five sits of the world are represented by the opposite side of the sphere with
another group of five prongs in the same arrangement. Mount Sumeru,
the center of the universe, is portrayed by the central prong, while the
other four exhibit the four directions(N, S, E, W) and the four
continents:
Therefore, the vajra-pounder could be said to constitute a bipolar

mandala, which symbolizes the relationship of oneness and plurality on
the basis of “five stages.” The polar development clearly refers to
cosmogonic origination and to the split between subject and object.
From this viewpoint, the Vajra-pounder cannot be taken as a rigorous
symbol of the Five Degrees dialectic as propounded by Tung-shan and
Ts’ao-shan. Nevertheless, the fact that the said pounder has a spherical
center that serves as the pivot of a bipolar development, reveals an
undeniable parallel to the most probable conception of Tung-shan, who
seemingly proposed his fourth stage as kenchushi, and correlated it
with kenchuto rather than shochurai, and two polar pairs of
relationships. One pair represents “origination” and “reversion” as a
circular process that beings and ends in “equality”. “ (shochurai). The other pair symbolizes the level of enlightenment from two
correlational points of view: one envisages the functional aspect of the “substance (kenchushi), while the other envisages the
“substantial” and “unitary” aspect of the function (kenchuto). In a very true respect these two aspects of enlightenment imply a “going
out” of equality. They fathom a dimension of “nonexclusiveness” which is impossible to view as a mere realm of undifferentiation.
(Diagram exhibiting Yuan-hsien’s understanding:)
pp138-139: It is obvious that Yuan-hsien was using the symbols devised by Ts’ao-shan
for his own set of stanzas, the Chun-ch’en wu-wei. Yet, it is not absolutely clear whether
Ts’ao-shan really intended to use a totally white circle to symbolize his fourth stage, or
whether his intention was to have a concentric combination that could be visualized by
white on the inside and black on the outside, as did Tsung-mi. This, after all, would be
the obvious result of simply thickening the circumferential line of the white circle in this
way:
Were this the case, opposition would certainly stand between the third stage (shochurai) and the fourth
(henchushi) in the following manner:
This arrangement, which is in accordance with Hui-hung’s interpretation, would

actually alter the entire inner structure of the Five Degrees and would make the
symbolism of the vajra-pounder even more remote than it was previously
understood to be in Yuan-hsien’s theory of the shochurai as the pivot between
two pairs of correlations. At any rate, this proves that trying to force the original
texts of Tung-shan and Ts’ao-shan (concerning the Wu-wei, or Five Degrees) into one common model does not serve any purpose;
and in my opinion, the most probable thing is that an objective difference lies between the ways that both founders of Soto conceived
the internal relationships of the Five Degrees. Yuan-hsien was probably correct in interpreting Tung-shan’s Chu-wei-sung, whereas
Hui-hung seems to have developed the Pao-ching san-mei variations of hexagrams on the structural frame propounded by Ts’ao-shan.
It would be useless to imply that only one rendering could envelop the proper understanding of schemes, which, when viewed from
the opposite side, are exposed to the most extravagant speculations.
The Kung-hsun wu-wei-sung, or Verses on the Five Degrees of Meritorious Achievements, by Tung-shan.
p. 140: The second set of stanzas by Tung-shan follows the same pattern of the previously explained Chu-wei-sung; nevertheless, the
Kung-hsun wu-wei brings into prominence a new approach to the dialectic of the Five Degrees. In the Chu-wei-sung, the stages seem
to be mainly regarded from a merely cognitive point of view; whereas in the Kung-hsun wu-wei, the progress involved in the five
stages includes a new moral and volitive aspect: now the emphasis is placed upon the “gradual acquisition of merits.” It could be said
that a hierarchy of ascetical progress and accumulation of merits seems to parallel the noetic gradation implied by “entering into
equality” and “going out of it.” There is still one difference: the cognitive Five Degrees, when fundamentally presented as subsequent
140
viewpoints of the already enlightened mind, would not involve a subjective and actual progress towards the ultimate goal of
Buddhahood. …The ultimate reality of “interpenetration” or “interinculsion” is at least implicitly presupposed from the outset and not
merely “discovered” as a result of “going out of equality” (the third stage). The Kung-hsun wu-wei, however, adopts a nomenclature
that positively implies an actual evolution towards the goal of the “supreme merit” that accompanies the attainment of “exhaustive
knowledge.”
(Pp 141-149: Kung-hsun wu-wei-sung – Verses on the Five Degrees of Meiritorious Achievements:)
1. Submission (or Conversion).
From the very beginning, the sainted rulers have modeled themselves on the emperor Yao.
Governing their peoeple with propriety, they [the rulers] have bent “their dragon hips.”
There was a time when, as [the imperial carriage] passed a bustling marketplace,
Everywhere the sainted Court was congratulated on its enlightened virtue.
2. Service.
All this bathing and washing, all this garnishing yourself profusingly, [and] for whose sake?
The inner [meaning] of the tzu-kuei bird’s voice is persuading you to wed [your beloved].
Even if all of the hundred flowers were to wither one after another, the echo of its “cuckoo…cuckoo” sound would never be
extinguished;
While flying towards the recesses of the rough peaks the tzu-kuei endlessly keeps singing his “cuckoo…!”
3. Merit or Achievement.
When the withered tree bursts into bloom, it is like a springtime of an unworldly era,
Like one riding backwards on a jade elephant and hunting the Ch’i-lin unicorn.
From this moment he disappears into the height beyond the thousand pinnacles.
The moon is white [up there], the wind pure, on a beautiful day at the hour of the dragon.
4. Collective achievement.
The many mortal beings and the buddhas do not conflict with one another.
The mountains are by nature high; the waters are deep of themselves.
What do ten thousand diversities and distinctions reveal?
Where the partridge cries, the myriad flowers bloom anew.
5. Unsurpassed or Absolute Merit.
Scarcely have the horns on his [spiritual] head [begun to] grow when they are already intolerable [to him].
If he [impatiently] seeks the Buddha by imagining in his heart [what He is like], he should be ashamed of himself.
The far-off Kalpa of Emptiness is something that no man can know.
Let him decide to face Southward, there to question the Fifty-Three [Buddhas].
(Verdu’s commentary on the five degrees of meritorious achievement:)
1. Submission (or Conversion)
This first stage supposedly entails the primordial attitude of “turning of attention.” Although inactive, this position includes an initial
tending towards good-in-general. This general disposition is portrayed by the symbol of the legendary wise kings of China who
supposedly imitated the example of the emperor Yao…the “sage emperors.”…the attitude of “bowing” and “bending” towards the
people, in order to display respect for the common welfare of the ate, was the basic attitude of such wise rulers…”turned towards”
their subjects and inferiors…the fundamental attitude is one in which the superior turns towards the inferior…reminiscent of …the
“lord’s looking at the vassal.” Nevertheless, the central thought in the line-up of merits will be the pure fact of such a primordial
“disposition of mind,” which is “readiness” or “intention to serve.”…
2. Service
This stanza uses the figure of a maiden laboriously preparing for her wedding….Love is more than a disposition of mind and a
“readiness to serve”: love is also “active service.” That is the reason this love is compared to the persistent and penetrating cry of the
“cuckoo-bird”; for it is equal to the continued effect of an initial resolution….This symbolizes the active performance of shugyo, the
“religious practices” based on the five paramitas. The tendency of such continuous practice, climaxed by the acquisition of
“concentration” and “insight” brings the initial action of shugyo into the nonaction of the total calmness, the boundless ocean of
peaceful “equality.”…From the standpoint of the enumeration of merits, this second stage represents an advance and a continuance of
the first stage, though this progress does not necessarily posit a dialectical contrary, as in the case of the Chu-wei-sung…the first stage
uses a symbol relating to an attitude which is properly that of the superior towards the inferior, while the second stage reverses the
direction of “service” by symbolically implying the relationship of the inferior towards the superior. This counterposed use of
symbolism contains a trace of the opposition between shochuhen and henchusho…an interior parallelism, similar to the antinomic
structure of the Chu-wei-sung is still noticeable.
3. Merit or Achievement
This stage is the natural evolution of the preceding one, and it reaches the exact correspondence of having entered into the realm of
“equality” as presupposed by the third state (shochurai) of the first set of stanzas (Chu-wei-sung). Entering the sphere of
undifferentiation is considered the first fruit of “service”…This is the first dynamic appearance of a fruit that will ripen in three
consecutive stages of growth and development. Because the initial two stages involve only the attention and accurate cultivation
leading to the yielding of such fruits, the proper line-up of meritorious achievements begins in the third.
This third stage is considered to be the peak of a gradual advance towards equality, the climax of a growing dissolution of difference
and plurality…This is the moment in which both the “man and the ox” have disappeared from sight. Only a bottomless chasm, which
cannot even be said to be deep or high or wide, remains….In this instance, irrationality must be interpreted as conveying the total
141
“loss of reference” and the traceless disappearance of a platform on which “to situate” the plurality of things within the limits of a
“sense-making” framework.
4. Collective achievement
The fourth stage represents the result of “going out” of equality and “returning to” the realm of diversity, in which things regain their
sense of relativity again. But this acquisition is a “returning to” diversity as the functional aspect of “suchness” that attains fruition in a
collective share of individual merits….After achieving “individual merit” in samadhi, it deploys itself into “ten thousand” harmonious
reflections.”…the reality of “suchness” is apprehended as the reality of all dharmas….”Suchness” is the “uniformity” that is
manifested in a multitude of things that are “such” precisely by virtue of being “high” and “deep.” That is the reason the fourth stage
signifies a return to the ineligibility of things, but in a direction that leads to “super-intelligibility” as a nonoppositional
oneness….This is the functional aspect of prajna which, though not yet synthesized into a reality of total “interinclusion,”
continuously and dynamically points towards perfect interpenetration…The fourth stage does not expressly imply the interweaving of
both cheng (sho) and p’ien (hen) as a previous condition for a conception that posits a functional “coming to the center” of both
(kenchushi); and from this viewpoint, this stage…could be interpreted rigorously according to Hui-hung’s pattern, namely, as
henchushi. Or “coming to the center of diversity.” Yet no difference, however pronounced, will affect the lineal structure of the Kung-
hsun wu-wei, for it is primarily based upon the hierarchy of meritorious growth, rather than pnm the dialectical conflict between
opposites and its resolution. In fact, whether or not the fourth stage is taken to be kenchushi or henchushi is irrelevant, because this
fourth stage paradoxically presupposes “going out” of equality, but “without leaving it.”…The simple fruit of samadhi (the third stage)
multiplies itself into a cluster of innumerable seeds of mercy towards all beings. The multiple efforts of shugyo (the second stage),
which result in individual enlightenment (the third stage), now transform themselves into innumerable manifestations of mercy, by the
implication of this “sharing of merit” among all sentient beings. This stage could be also called that of hoben, in which “all skillful
devices” of merit are realized.
5. Unsurpassed or Absolute Merit
pp. 148-150: The perfect realization of truth, as envisioned in the act of satori, contains unsurpassable merit par excellence, absolute
achievement, the total synthesis that unites both the “individual merit” of samadhi and the “collective merit” of “functional mercy”
under the single reality of “suchness.”…a seeker of Buddhahood can easily go astray in his search. As soon as he develops some
spiritual insight (the “horns growing in his head”) he becomes intolerably impatient. And in his impatience he tries to imitate the
Buddha in the imperfect and immature way he wantonly imagines Him to be. The result will be to end up in a mere state of dead
emptiness…Real apprehension of truth lies in entering the dharmadhatu of interpenetration, which is the Tusita (heaven) or the
Vairocana tower of Maitreya that the Gandavyuha (or chapter on entering the dharmadhatu of the Avatamsaka Sutra) describes. The
aspirant to Supreme Enlightenment (Sudhana), while heading towards the “South,” begins a long pilgrimage during which Manjusri
directs him to visit a number of buddhas, equaling fifty-three, whom he asks for their advice concerning the life of devotion. As a
result, he is introduced into the Vairocana tower, the residence of Maitreya, which he discovers to be the abode of all bodhisattvas and
spiritual leaders who have attained total enlightenment. Within he sees himself in a world of total “interinclusion.” All things are like
the “jewels fastened to the net hanging in Sakra’s palace,” which continuously reflect one another…individual realities are not
destroyed, but are enveloped into one great reality, wherein each individual existence contains all other individual existences within
itself….This is the resumption of all functions.
(pp. 151-155 Yuan-hsien’s elucidation on the question and answer text (from the Record of Dongshan):)
The monk asks: What is the meaning of hsiang (intention)?
The master says: What do you do when eating your meals?
The monk says: What is the meaning of feng (service)?
The master answers: What do you do when you turn your back on your superior [and disobey him]?
The monk says: What is the meaning of kung (individual merit)?
The master answers: What do you do when you lay aside the mattock?
The monk says: What is the meaning of kung-kung (collective merit)?
The master answers: It is not having one color.
The monk says: What is the meaning of kung-kung (the merit of merit)?
The master answers: Not shared!
(Yuan-hsien’s commentary:)
1. “Turning towards” [hsiang] means “to face.” Surely the first thing one does it to know the existence [of a thing]; if one
does not know the existence of such a thing, how can one turn towards it? When the master Tung-shan answers: “What do
you do when you take your meal?” he means that even in the midst of daily doings, no matter whether one is moving or
resting, one should not forget about it, even for [the short] time [that it takes to eat a meal].
2. The word feng means the same as ch’eng feng (note 90). In this [religious] context, the first step is hsiang, to be followed
by feng, just as, in a secular context, one must first indicate to one’s superior the proper attitude of respectful obedience, for it
is only then that one can receive a charge from him. No service can be rendered by a man who stands with his back to his
superior (that is, who disobeys him). The religious counterpart of standing with one’s back to one’s superior would be
succumbing to such external defilements as lust, for the man who does this is, in effect, turning his back on his proper
religious duties.
3. To grab the mattock [in order to work] is like “intending,” that is “disposing oneself [hsiang] and “serving” [feng]. Should
one lay aside the mattock, there would no longer be “intending” and “serving.” By reason of achieving the result [kung] of
the foregoing “intending” and “serving,” one suddenly forgets [everything]; and that is why [Tung-shan says] it is like
putting aside [or abandoning] the mattock.
142
4. The first syllable in the word kung-kung indicates that the plurality of [good, clean] dharmas arise in unison. Tung-shan
declares that it is like “not having one color”: that is to say, in the previous stage, since all becomes of one singular color, the
totality of diverse dharmas conceal themselves. In the present stage, however, since even this one singular color undergoes
total extinction, the result is that the various dharmas [totally] reemerge together, and they are not expected to become of one
uniform color again.
5. Now, as to the “merit of merits.” The profundity of this merit, over and above all its predecessors, is the reason that it is
called the “merit of merits.” When Tung-shan says it is “not shared,” this is because it is not common with anything now,
whereas it had points in common [with other things] above. For here not only is it dharmas that are beyond reach but non-
dharmas which are no less so. Everything [dharmas and non-dharmas, that is, being and nonbeing] is so intermingled [and
fused together] that there is nothing to which to affix a name. Beyond this point, what is there to seek? [Differently worded, it
could be] put like this: “The Universal and the Particular are so fused [and interpenetrated] that there is no trace of where
either is hiding, and this very fact is the end point of attainment of the Way. What quest can there possibly be beyond that?
Yet [in spite of what has just been said] it is still called “merit” [or even “achievement”]. The reason is that, when viewed in
the light of [the stages catalogued] above, it also is a part of the attainments of human faculties. This too is a [meritorious]
“achievement.”
(P. 157: Caoshan on the relation of lord and vassal to sho and hen:)
The master said: The degree “straight” [or “proper”] is identical with the realm of “emptiness,” wherein there is not, and
never has been, anything [in particular]. The “biased” [or “lateral”] degree is identical with the realm of form, wherein there
is a myriad of [particular] forms. [The proposition that] the “biased” is contained within the “straight” constitutes a turning
one’s back on the universal and directing oneself toward the particular, while the opposite proposition constitutes a rejection
of the particular and an entry into the universal. A “synthesis” of both constitutes an unfathomable correspondence with a
multitude of objects without [at the same time] falling into [the notion of] individually existing [things or entities], neither
straight nor biased. For this reason, it is called the Mysterious Void, the Great Way, the Unattached, the Real Principle. Our
gifted and virtuous predecessors elevated this one degree to the level of the supremely subtle and supremely obscure. One
should be absolutely clear about the following: The lord is the degree “straight”, while the vassal is the “biased” degree.
When the vassal faces his lord, this is the “straight” contained within the “biased”; when the lord faces his vassal, this is the
“biased” contained within the “straight.” When the paths of the lord and the vassal meet, this is what is meant by “synthesis”
[J: kentai].
(p. 158: Caoshan does not specify the third and fourth stages as shochurai and either henchushi or kenchushi…so this does not help
resolve the debate between Hui-hung (the “ruler” alone = shochurai, the third stage and the “vassal” alone would equal henchushi, the
fourth stage – into the midst of the “biased.”) Yuan-hsien (3rd = shochurai, 4th = kenchushi – the “ruler” and the “vassal” coming to
meet one another, and the 5th = kenchuto – the “ruler” and the “vassal” actually meeting together).)
pp.159-167: Chun-ch’en wu-wei – Five Degrees with Respect to Lord and Vassal by Caoshan
1. The lord looks at his vassal, or equality becomes diversity.
There is nothing wondrous [in the fact that] the servants have to offer
unconditional reverence and service to the dignitaries [without protesting].
But also the man mustering himself the honors of nobility
should utter [no complaint] in the times of trial.
2. The vassal turns to his lord, or diversity resolves into equality.
The level of the “straight” is [usually] compared to the hour of the rat.
But only the relationship of servant to lord discloses it.
Before the Buddha left the realm of the Tusita heaven,
There was a black chicken walking on top of the [white] snow.
3. The lord alone or abiding in equality.
Ice engulfs within a flame,
While willow blossoms fly about in the ninth month.
The cow made of mud bellows on the surface of the water;
A wooden horse neighs towards the wind.
4. The vassal alone or abiding in diversity.
The sun first setting on the royal palace
Cannot rid itself of that “jade hare” [the moon].
Why on earth are those men and gods so late,
When they have not even got an imperial command?
5. The lord and the vassal meet on the road, or the merging together of equality and diversity.
When the universal and particular have been packed away in a jumble,
Even telltale signs of them cannot be discerned.
When Bhismagarjitasvara-raja has not yet dawned,
How can you expect Maitreya to be awake?
(pp160-168 Verdu’s commentaries on Caoshan’s verses:)
1. Circle: black top half, white bottom half.
The lord looks at his vassal or equality becomes diversity.
143
The “ruler” (or lord) deigns to look down to his servant and thereby abases himself to the level of the inferior; and in a similar way the
“equality” in the stanza is the “subject” of the “merging with the relative.”…”within equality, there is diversity.”…One reaches
“equality,” and “in there” he sees “the developing of diversity.” This would correspond to “equality becoming diverse.”…The
symbolism of this stanza depicts “equality” as the common and “equal” lot that affects both the dignitaries and the servants…
2. Circle: white top half, black bottom half
The vassal turns to his lord, or diversity resolves into equality.
The present stanza uses the “hour of the rat” (between 11:00 P.M. and 1:00 A.M., the time of deep sleep) in order to illustrate the false
and deceiving tendency to portray the realm of the “straight” (equality) as a state of total cessation and passivity. In order to
emphasize the dynamic and positive character of this level, the stanza resorts to the living relationship between servant and lord.
Service to the lord, essential to this relationship, makes clear and reveals the very essence of the “straight.” The plurality of the
“biased” resolves itself into equality without ceasing to be plurality, as the servant, in his plural and various efforts to serve the master,
resolves his many “serving” activities into the unity of undivided attention to the master, without ceasing to serve him…The formal
and definitive resolution of plurality into unity without ceasing to be plurality is the realization of nirvana itself, the nirvana that is not
beyond samsara, but yet is together with and in samsara; this is the realization of equality that does not vitiate diversity but enhances
and sublimates it…illustrated by the jeweled net in the Jetavana tower…
3. Circle: a small black circle within a white circle
The lord alone or abiding in equality.
When one overcomes rational thinking and enters the realm of the mental void in the ecstasy of undifferentiated consciousness,
wherein all duality and diversity lose their meaning…the organizing, coordinating role of logical thinking has vanished, leaving the
objects of the out world to themselves and to their own disorderly turmoil…The use of paradox and irrationality in this stanza is even
more conspicuous…The symbolic “black circle” surrounded by a “white ring” alludes to the attainment of a center of “equality” and is
conceived as enveloped by its pleroma of infinite potentialities. Thereby the essential “being-together-ness” and the “identity”
between equality and relativity are emphasized once again, although in a different way: in the former stage. “equality” is actively
considered as the very scope and resolution of “relativity,” whereas in the present stage, “equality” is considered in itself, and only an
indirect reference is made to its potentiality “to merge anew into diversity.”…From the “subliminal” accumulation of karmic potencies
brought under the one-colored veil of sheer formlessness, the outgrowth of rational schemes of a discriminated world is envisioned.
4. Circle: Small white circle inside a large black circle
The vassal alone or abiding in diversity
The sun is the source of light, generating discrimination…The present stanza describes the very moment that the sunshine has
displayed the infinite variety of our outer world, symbolized by the sumptuous compound of the royal palace. All is difference and
variety in this picture: the emphasis has been placed directly upon the fact of “discrimination” being “such.”…Here the sheer fact of
“diversity” is stated as explicit…Nevertheless, there is a clear reminder that “diversity” in itself carries a perpetual and never-receding
sign of “equality.” The functions in their functioning bear the ever-underlying presence of the “body” (substance)….the affirmation of
“relativity” necessarily posits the reductio ad absurdum of a “pure and sheer relativity.” In the same manner, the previous stage
unavoidably conveys the reductio ad absurdum of “pure and sheer absoluteness.”…The presence of nirvana in all aspects of daily life
makes it the most commonplace of all things...there is no excuse for “men and gods” coming “too late” to instruct us about the
character of nirvana from above…anyone coming with a message from “above” is a deceiver and not the real Buddha or Tathagata,
who does not bring any message from somebody “beyond” but is himself the direct manifestation of thusness, here and now.
5. Circle: completely black
The lord and the vassal meet on the road or the merging together of equality and diversity
The ultimate identity between li (the universal) and shih (the particular), which has been shown to underlie all opposite angles of
reality (as seen from the four previous standpoints), becomes totally manifest in this last stage….”absoluteness” and “relativity” bear
upon one another as mutually implying themselves by the very act of “opposing” each other. Thus, the mind returns to the basic truth
of “suchness”…li and shih are seen as one and the same reality of “sunyata,” the absolute voidness…There is a perfect fusion of
extremes while preserving the determinations of essences. This is the real “dharma world” of existence…In order to know Maitreya
(the Buddha of the future) one must first know the King Ion (as representing the past) and vice versa; the opposites signs of their “one-
pointed-ness” bear the ultimate never-passing reality of “comprehensive manifestation.” Thus the black circle would point to the
nondiscrimination or “nondistinction” within the comprehensive form of “interinclusion.”
The total scheme of this interpretation of Ts’ao-shan’s verses, according to Hui-hung, comprehends two pairs of opposite standpoints:
1. posits the actions of going out (toward diversity) [and] coming in (into equality)
2. implies the impossibility of abiding in sheer equality [and] abiding in sheer diversity
3. reveals their unsurpassable, fundamental “being-in-each-other-ness.”
p. 170: Wu-wei hsien-chueh (J: Goi kenketsu), or Ts’ao-shan’s Clear Determination of the Five Degrees:
The degree “straight” is actually a “biased” one. If one discerns it in terms of its “biased” quality, then it harmonizes two
senses. At times it has features that come from the degree “straight”; these are the worded in the midst of the wordless. At
times it has features that come from the “biased” degree; these are the wordless in the midst of the worded. [And] at times it
has features that arrive [or appear as] with both bound together [as in a synthesis]. Within this scheme one does not speak of
“worded” and “wordless” [anymore]. Within this scheme one has but to face [the fact itself of the synthesis] and then pass on
[to daily business]. Within this scheme there cannot but be shift and change, for in the very nature of things, there must be
shift and change.
Yet words [used] in the course [of everyday worldly business] are all unhealthy, so that a man engaged [in this business]
must with discernment get [the point of] the words and phrases, then face forward and pass on [to other business]. The
144
“worded” may come and the “wordless” may go. It is not that there are no words [used] among the [enlightened] writers, it is
that they are not concerned either with the “worded” [alone] or the “wordless” [alone]. This is called “binding” [the worded
and wordless] as in a single sash [as though in synthesis], so that they cannot in any way be distinguished [from one another].
Pp 170-172 – Verdu’s commentary: There are aspects of reality that can be worded, that is, put into words, whereas there are other
aspects to it that defy expression and cannot be worded. The contention of the text is that there is nothing that can comprehensively be
thought to be completely expressible or inexpressible. That is why the degree “straight” is itself a “biased” one; after all, “straight” is a
word, and every word is biased. The use of words, on the other hand, is neither ultimately conclusive about truth, nor ultimately
reprehensible and to be rejected altogether. In the final analysis, truth will be in the utterance of the expressed-inexpressible. The
sounds of Kan! And Katsu! as used by Yun-men and Lin-chi, and the ample wealth of the Kung-an accounts and Zen stories will be
concrete examples of the final unity between the worded and the wordless.
….By looking into the core of the “word,” one sees its essential transcendency, insofar as its ultimate becoming transcends the sheer
utterance of its sound. The sound of a word is bound to the momentary limits of external form, though in its essence there exists the
eternal freedom of the “superword.” By uttering the “word,” one “comes” to the form; but the correct insight into the “word’s”
essence is similar to “leaving” again the narrowness of the form. The “word” is like “coming to form,” whereas the “nonword”
corresponds to “leaving the form. In shochuhen (the first stage) there is “coming to form”; and in henchusho (the second stage) there
is “leaving the form.” This is the reason why shochuhen means attaining to the “worded that is “in the nonworded”; and henchusho
signifies attaining to the “nonworded that is in the worded.” However, the one who speaks “words” through inspiration, which is
analogous to the enlightened writer of the sutras and the Zen instructions, speaks from a superior level, the level of total synthesis,
wherein the “word” and the “nonword,” the “form” and the “void” the “coming” and the “going,” the external appearance and the
inner essence are one and the same reality. This “superior state” of synthesis is the level wherein the “oppositions,” not the reality of
the things themselves, disappear. The Zen writer, while “wording” from this level, does not remain silent, though his words do not
merely flow in a flatulent stream of temporal succession they are also all at once uttered in the nonsuccessive sameness of an eternal,
wordless infinitude.
Pp172-177: Wu-wei chih-chueh (J: Goi shiketsu) Last Words on the Meaning of the Five Degrees.
1. In equality there is diversity
When thought and operations of the senses have been submerged and arrested, then both the material form and the void are
forgotten [and concealed]. Ultimately it cannot be put in words: [it is as though] no change and motion has ever taken place.
[Nevertheless], there is no [possible and perpetual] concealment, for the whole substance of reality becomes again [totally]
manifest. This is called “the biased in the midst of the straight.”
“Equality” is the realm wherein the mind becomes motionless and empty. Everything is obliterated from consciousness in this
experience of the void: it is the realization of the “wordless.” This mental silence, however, does not reveal the wholeness of substance
and its function, which identifies “void and form,” “silence and utterance.” The total body of truth is contained neither in obliteration
nor in concealment. Within the immutable horizon of “equality,” “true thusness” manifests its total reality through the chain of
causation, and as such appears again to the mind, when the later returns to diversity from its journey to the realm of “equality.” It must
be said then that there is the “worded” in the “wordless.”
2. In diversity there is equality.
Mountains are mountains, and rivers are rivers; no man is secure with [the use of] names, and no thing can be classed [by
them; that is, by names]. This is called “the straight in the midst of the biased.”
In the world of discrimination things (like mountains and rivers) differ from one another: thus the deluded mind applies names to
them. The man of insight, however, is not content to believe that one attains truth by the mere utterance of words and names.
“Diversity” as such and by itself is “vain talk.” The “word” implies external diversity, but the “suchness” of things connotes the
infinite freedom of the “inside.” One cannot chain this inner essence to any external wording; from this standpoint, any effort to define
reality will be futile and will end in complete failure. It must then be said that there is the “wordless” in the midst of the “worded.”
3. Coming from the middle of equality
Stark naked and scrubbed clean, of majestic appearance, throughout heaven and earth, it alone is exalted and unmatched. This
is called “emerging from the midst of the straight.”
To abide in mental silence is to attain to the “wordless.” One sees the purity of the “ecstatic” apprehension of the “void.” This is the
level of the “mysterious reality” relative experience, even if it is the greatest among many, that is, it is wherein the notional aspect of
utter purity is seemingly realized as a cloudless sky in an empty consciousness. There is no trace of defilement on this boundless
ocean of formlessness. This experience is called the greatest and the first of all experiences. It is however, as the top in a gradual
series, but not yet the comprehensive one, which is not first, not second, and not last. That is why the stage proposes experience as
something one has abided in and is already coming from, as though trying to emphasize that it is not ultimate and that it has to be
eventually superseded. This is abiding in the “wordless” alone.
4. Arriving in the middle of diversity.
It is quite like the Son of Heaven within his realm, who need not borrow the edicts of Yu or T’ang, of Yao or Shun, for, as
His eye can see and His ear can hear, He need never borrow the power of another. [The fact that] the ear does not enter into
the midst of the sound, and that the sound does not block the ear, [is proof that] the body can wrap itself in a kuo-t’ou
garment without acquiring a name in the world’s midst [that is, one can be in the world while not being of it]. Thus is what is
meant by “arriving at the mist of the biased.”
As stated in the previous stage (the third), one cannot forever stay within the “wordless” and “formless” alone; this momentary stage
of utter “oneness” is itself directed towards anew resolution in the “worded” and the “form”; thus the previous stage was called
“emerging from the midst of the straight” in order to emphasize the essential directionality of utter “oneness” towards diversity and
145
plurality. In the present stage this new emerging into the diversity that makes up the worldly (and “worded”) reality of everyday
experience is expressed in terms of the very directionality that “diversity” itself has towards “identity” and “oneness.” Now, the
“biased,” that is the “worded” or the “diverse,” is experienced in its true nature, namely, as not impeding the very effect of the
experience on “oneness” and the “wordless.”…the natural body can go on with the handling of daily business without becoming
entangled in the warp of false discrimination, attachment, and all the blinding effects of ignorance. This is the proper way of abiding
by the “worded,” which takes place only after “coming out from the realm of the wordless” as it took place in the previous stage.
5. Reaching the midst of both (equality and diversity)
It is not the mind [subject]; it is not the world [object]: it is not the universal; it is not the particular. It has been always
beyond description. [True] natural reality knows no distinction between essence and appearance. This is called “reaching the
midst of both” (the straight and the biased).
Kentai (synthesis), the self-related, self-explaining superzone of reality, defies all attempts at description. This “superzone” of true,
natural reality, as a further designation for the Tathagata-garbha, serves the dual purpose of li (the universal) and shih (the particular)
without the least trace of contradiction. It is the “true infinite” propounded by Hegel and foreshadowed by the Awakening of Faith.
There is no disappearance or draining of phenomena in this realm; in the pleroma of exhaustive manifestation the body of reality is in
its total plenitude. The only one indescribable trait of this wonderful realm is that the phenomenon and the real (noumenon) constitute
a perfect identity. There is no difference between the manifold of appearance and the continuous self-identity of the essential. This is
the Hua-yen world of li-shih wu-ai, wherein the “form” is as equally the “void” as the “void” is the “form.” “Word” and “nonword”
are but the discriminative mind-aspects of perfect identity-in-itself.
(Later Speculations on the Dialectical Nature of the Five Degrees.)

p. 191: Yuan-hsien, who lived during the early part of the seventeenth century, is remembered for his controversial attack on Hui-
hung’s interpretation of the Five Degrees dialectic. Through his speculations about the central character of the third stage, Yuan-hsien
paved the way for a number of subsequent revisions that were attempted in Japan, primarily during the eighteenth and nineteenth
centuries. In well-known Buddhist centers, such as Nara and the Ueno temple at Edo (now Tokyo), the tenets of both the exoteric
Kegon school and the esoteric Shingon school were propounded not only as nonopposite doctrines, but as intimately correlated and
mutually perfecting expressions of both Buddhist philosophy sand Buddhist practice. The Shingon predilection for emblems, triads,
and quintuples of metaphysical and cosmological correspondences unavoidably influenced the speculations of the monks and scholars
in various circles of the Soto school.
These speculations must be attributed, in part, to the remarkable tendency towards syncretism that was shown by esoteric schools in
general…It is puzzling to see the great extent to which the Soto Zen schools allowed themselves to be influenced by this predilection
of the Shingon sect for a species of ritualistic alchemy in which the metaphysical and the physical, the spiritual and the material, the
ideal and the concrete realms of reality were claimed to operate as a function of occult forces and powers that were thought to be
intrinsically conveyable through symbols, mandalas, secret formulas and mystic syllables….The main source for the esoteric
speculations on the nature of the fivefold structural aspects in cosmology, psychology, and even Buddhahood will be the Chuteki-
himitsusho, a Japanese text written at the Ueno monastery, located in the eighteenth –century town of Edo (now Tokyo), by a monk
who was well versed in the Shingon doctrine and was familiar with the writings of Yuan-hsien.
p. 193: Summary of the Hui-hun Yuan-hsien debate:
Hui-hung accepts a dual opposition between the 1—2 and the 3—4 members of the Five Degrees; and thus, he views the fifth stage as
representing the ultimate synthesis. He does not admit that the symbol for the fourth member is a completely white circle. Instead, he
envisages a black circle with a white spot in the center; obviously this opposed the third, a white circle with a black spot in the center.
The title of the fourth stage is henchushi (arriving to the center of the biased), as
over against the third, which is shochurai (coming out of the straight):
146
Yuan-Hsien, on the other hand, proposes the fourth stage as a correlate of the fifth,
and thereby excludes it as an expression of the general synthesis while still retaining
it as the summit of the hierarchy. He assumes that the fourth symbol is represented
by a totally white circle. This implies a quasi opposition to the fifth as totally
black:
Thus, the fourth stage is called

kenchushi (heading towards the center
of both), and is over against the fifth,
kenchuto (reaching the center of both).
According to Yuan-hsien, the third stage portrays both the “mean” position and the
transitional phase between the first and second pair:
.
(Syncretic Formulations of the Five Degrees: The Neo-Confuicanist Pattern)

p. 195: The Neo-Confucian formulation, although approximating Yuan-hsien’s scheme, forfeits, in my opinion, the entirety of the
original Buddhist flavor peculiar to the “five stages.” The “enlightened” dialectics incorporated into the writings of Ts’ao-shan and
Tung-shan, which include both cosmic and mystical aspects, become mere steps of a cosmogonic evolution through the interaction
between the classical Yin and Yang forces.
The Yin and Yang principles, whenever used in Buddhist texts such as the Sandokai and the Hokyo-zammai and by authors
comparable to Hui-hung and even Yuan-hsien (who was a consistent, faithful Buddhist), were always interpreted as exhibiting a pair
of opposites similar to the Buddhist li (J: ri, or the universal) and shih (J: ji, or the particular), an (darkness, for equality) and ming
(light, for diversity)…nirvana and samsara; thus, cheng (J: sho) and p’ien (J: hen). Because of the accepted naive understanding, the
Buddhists view Yang, which is represented by a straight line (---), as the equaivalent of cheng (the straight, absoluteness); whereas
Yin, as represented by a broken line (- -), is considered to denote p’ien as the principle of relativity and diversity. However, this
interpretation does not seem to be in accordance with the original meanings ascribed to the Yin and Yang symbols used by the Book
of Changes; and certainly they are not the meanings accorded them by Chou Tun-I and his Neo-Confucian successors.
The distortion of the notions originally embodied in the Yin and Yang designations accounts for the semantic inconsistency that the
Soto Buddhists confront in their representation of Yin (their equivalent for p’ien/hen) by “whiteness” and Yang (corresponding to
cheng/sho) by “blackness” and that openly contradicts the essential meaning of the characters – Yin signifying “darkness” and Yang
“light” and “clarity.”
P. 197-8: Now the question arises as to which of the aspects (of Yin and Yang, heaven and earth) should hold priority. On the
Confucian basis of the I Ching appendices and the diagram above, one could assume that the principle of Yang should hold logical
priority: the “straight line” is the point of departure and the presupposition for all change. Nevertheless, the Taoist interpretation
chooses Yin (the female, “quiescence”) as holding ontological priority; and previously it has been stated that in early Buddhism, the
latter is consistently given primacy. Hence we have the negativistic conceptions of nirvana as being primarily extinction, quietude, and
rest, within the evolution of most philosophical schools that precede Nagarjuna’s sweeping revision, which will be climaxed in the
Kegonian synthesis. These revisions account for the flagrant inconsistencies that are involved in the Buddhistic use of the symbols
Yang and Yin. The texts relying on the Hokyo-zammai (which is clearly Kegonian) will give priority to Yang (light) and view it as an
expression of “oneness (cheng/sho). Yin (darkness), correspondingly, becomes a synonym of p’ien (hen, the biased, diversity). Here it
is that the confusion of symbols arises, since in that case the white circle would apply to Yin and the black one to Yang. Contrariwise,
the followers of Yuan-hsien’s interpretation will maintain a more traditional and conservative variety of Buddhism by giving priority
to “quietude”; thereby they follow the traditional Taoist path in proclaiming the “triumph of the female”: Yin (quiescence) will be the
“Ultimate-less” concept that applies to the primordial, absolute, and original state. Yin (passivity) will signify cheng (sho, or the
straight) and Yang (action) will signify p’ien (hen, or the biased). The incongruency of representing the Yin by a white circle and
Yang by a black one disappears in this interpretation, but at the expense of the more progressive stand, which is proper to Kegonian
thinking. Nevertheless, the Buddhists’ misrendering of the original meaning of Yin (quiescence) and Yang (motion) remains intact,
whenever applying such terms as designation for “equality” and “diversity.”
According to eh the I Ching appendices, neither principle is to be held exclusively as the seat of absoluteness or as a source of
diversification and relativity; rather, interaction (between the two) is advocated. Thus, Yin and Yang are the initial and intrinsic
principles of relativity and diversity that ensue from the nondualistic and universal stage of absoluteness in the so-call Great Ultimate.
In the contexts of both appendices and also of Tun-i’s teaching, Yin and Yang are to be considered, prior to cosmic “diversification,”
as potential constituents of dependent being. Both are “relative” to one another: paradoxically, absolute “quiescence” and absolute
“motion” never occur as conflicting opposites, in other than the “ultimate” and “original” state wherein they coincide, namely, in the
Great Ultimate, the metaphysical Tao. For this reason the “Supreme Ultimate” (T’ai-chi) and the “Ultimateless (Wu-chi) apply equally
and indivisibly to the Absolute as such. In order to express this transcendent unity and coincidence pictorially, Tun-i made use of the
famous diagram containing the two opposing aspects of movement and quiescence, which were enclosed within an undifferentiated
ring representing their ultimate identity-in-difference.
p. 199: In this sense, according to Tun-i, the Supreme Ultimate would be a designation meant to emphasize the positive character of
this transcendent ground of all determinations in its beyondness (close to tathata), whereas the term “Ultimateless” would stress the
more negative character of inner illimitation and unconstricted indetermination (as sunyata). On this basis, the Ts’ao-tung wu-wei
interpreters who follow Yuan-hsien will choose a completely “black” circle to convey a negative representation of absoluteness
(emptiness, nondetermination) and a “white” one as an expression of absolute and pure realization of activity that they will interpret
147
noetically as taking place in enlightenment.. This twofold expression of absoluteness corresponds to Yuan-hsien’s fourth and fifth
stages of the Wu-wei. However the latter implies simultaneous use of the trigrams and is viewed as representing those two correlative
stages respectively: pure Yin (absolute quiescence) signifies nirvana, while pure Yang denotes bodhi (or enlightenment). In
accordance with the presuppositions above, the expression of the Goi by means of trigrams takes the following shape:
p. 200: Obviously, the scheme above accord priority to the Yin principle (broken lines) by allowing synonymity with nirvana, and
thereby it differs completely from the arrangement of the Chung-li scheme of the Hokyo-zammai, which is patterned accordingly:
.
It clearly favors Hui-hung’s interpretation b y proposing the fifth stage as “inter-fusion” (rather than pure quiescence) and
“coincidence” of unity and diversity. Evidently the former scheme (which follows Yuan-hsien on a Taoist basis) posits pure
“quiescence” as the last achievement of Buddhahood (the nirvana of extinction), a trait which is more in accordance with a
Vijnanavada or even a Hiunayana framework of thought. The Chung-li scheme, however, aids Hui-hung’s followers in establishing
the Wu-wei (five degrees) on the more genuinely Kegonian basis of a nirvana in which “interpenetration: is the ultimate stage to be
achieved.
(pp. 200-211 Present the ontico-cosmologically oriented Neo-Confucian interpretation and some problems with it and a more
Buddhistic rendering from the annals of the Soto sect.)
p. 212: A thorough application of the Five Degrees to the Neo-Confucianist theories has reduced their role to a bare cosmogonic
symbolism. In Chu His’s framework, viewed separately, they would entail only the purely materialistic aspects of evolution. The
Buddhification of the Tojo Ungetsu roku chart renders them into an idealistic dialectical structure revealing both genetic and mystical
aspects. In a realistic cosmogonic context the movement between “quiescence” and “motion” (and vice versa) necessarily induces a
progression and regression in the evolution of the macrocosm in itself: it has little place for the microcosm of man.
(The Esoteric Approach to the Five Degrees of Soto Zen)

p. 212: The esoteric Shingon-like expression of the Goi will offer two seemingly clear-cut formulations: one will be exclusively
cosmogonic, thus implying the five material elements and the cosmos, while the other will be exclusively noetico-mystical and will
involve an assimilation of the Shingon tenet of Five Wisdoms on the basis of the Kun-hsun wu-wei of Tung-shan.
p. 215: Obviously, the formulation of the “five wisdoms” by the esoteric Shingon is a sublimation of the nine forms of consciousness
of the Fa-hsiang or Wei-shih schools. The Kegonian touch that enters this sublimation is personified by the Shingon in the figures of
the five Nyorais (five-wisdom Buddhas). The vajra-dhatu becomes a replica of the dharma world of interpenetration wherein the
absence of samsara error does not vitiate the differentiation among the eight remaining forms of consciousness; it only dispels the
error implied by the parikalpita projections of independent worldly substances. The senses are purified through enlightenment: the
mano-vijnana, the manas, and the alaya still retain an eternal function to be realized in the Shingon vajra-dhatu. Each of the five
Buddhas sets the example by the “sublimated” use of the discriminative consciousnesses. The alaya mirrors universal and all-
comprehensive knowledge; the manas performs the function of realizing the equal “paratantra” (dependent) nature of all things; the
mano-vijnana exercises correct discrimination, that is, proper insight into the diversity of things whereas the five sensorial
consciousnesses indulge in welfare and in the wholesome worldly activity proper of the nirmana-kaya, as exemplified in the
appearance of the historical Buddha.
Between the lofty elements of the vajra-dhatu and the worldly elements arising from the garbha-dhatu, the five positions of space and
the seed sounds offer the connecting bridge between the two realms. The five mystic or germ syllables that appear in the table
(although different versions or sets are available) are the keys to the entry into the vajra-dhatu. Their usage and frequent utterance
directly effect the induction of the five wisdoms. Therefore, the syllables are the keys, and the five positions are the doors or gates to
the vajra-dhatu.)
148
(Verdu then gets into different versions of the syllables and a few different Shingon five positions correlations…)
p. 222: it is easy to infer that Tung-shan’s Kung-hsun wu-wei, and perhaps also the Chu-wei-sung, lacks the dialectical character
exhibited by Ts’ao-shan’s sets of stanzas: the Chun-ch’en wu-wei and the Wu-wei hsien-chueh. All indications are that Tung-shan
tried to do no more than present a simple ascetico-mystical progression towards Buddhahood without further dialectical
sophistication.
p. 228: At any rate, the whole point of the controversy surrounding the Five Degrees dialectic lies here: it shows the principle parties
(Yuan-hsien’s group on one hand, and Hui-hung’s on the other) aligning themselves behind the ever-conflicting tendencies within
Mahayana Buddhism at large, a conflict that fully manifested itself in the very midst of primitive Zen, with the splitting of the
Northern School (with its quietist doctrine of gradual enlightenment). And as is well known, Hui-neng was the most unyielding
adversary of Buddhist quietism. Needless to say, the Hui-hung interpretation of the Five Degrees will finally emerge as the only one
that is in perfect accordance both with the dialectical tenets of Kegon and with the lively comprehensiveness of the satori experience
as cultivated by the Hui-neng and Lin-chi brands of Zen Buddhism.
(The Reinstatement of Hui-hung’s synthesis of the Five Degrees)

p. 230 – (Verdu gets into further formulations and speculations on the five ranks:)
first is the re-ordering of Caoshan’s Chun-ch’en wu-wei with the Lord alone and the Vassal alone as the first pair, then the Lord
looking at the vassal and the Vassal looking at the lord as the third and fourth. The doubt is grounded in the Wu-wei chun-ch’en chih-
chueh (the preliminary discussion translated above on p. 157) where they are given in that order.
p. 232-3: the above text of Ts’ao-shan’s, which seems to posit the pair shochurai-henchushi as being prior to shochuhen –henchusho
has been superficially considered and wrongly interpreted. The intention of Ts’ao-shan, which becomes clearer if one considers the
context as a whole (specifically in connection with the stanzas), is to expose the mere significatory and semantic role of the symbols
(the lord and the vassal) by stating that the one represents equality and the other represents diversity. The intention can go no further.
Clearly, it was never intended to identify the merely preliminary explanation of basic “meanings” with the actual stages of shochurai
and henchushi. Neither the subsequent mention of the action of the “lord looking at the vassal” nor that of the “vassal turning to the
lord” carries the formal and exclusive intention to designate the stages shochuhen and henchusho. It denotes only the essential
character of the “correlation” between the two, without specifically referring to whether this correlation is to be accepted in its actual
function of meditating between the terms, shochuhen and henchusho, or as explicitly signifying only one of the terms while implicitly
connoting the other (shochurai and henchushi).
In understanding such reasons, the Hensho goi zusetsu reproduces a similar formulation, which returns to the proper order if the
original Chun-ch’en wu-wei, although this time substituting the
lord and vassal symbolism by that of the host and the guest.
In this latter chart, the stages paradoxically connoting the “host”
(sho) alone and the “guest” (hen) alone are again rendered as the
third and the fourth – the order consistently maintained by Ts’ao-
shan in both his Kunshin goi and his Goi shiketsu – that is, as
subsequent to the primordial actions that make up the essence of
the host-guest relationship, whereby the host receives the guest
and the guest greets the host. The host by himself would imply the
reflection of the host, looking at himself as such and recognizing
149
his “being-there” for the guest; and equally the guest by himself (the fourth stage) would depict the moment of self-consideration as
“guest,” by which he realizes that he is such and only such by his comportment toward the host. The result will be that by “looking at
himself” the host will see the guest, whereas by the same token the guest, “by looking at himself,” will see his own host. In the final
stage of realization is reached that there is not such a thing as a host and a guest as separate from each other. Their unity transcends
their difference through an overlapping, singular action wherein there is no host and no guest.
p. 234: (On the use of the K’un trigram for the fifth stage) This reveals a textual tendency toward a more negativistic conception of the
ultimate state which excludes all positive expression of unity and plurality and passivity and activity from its realm. The purely
negativistic attitude is proper to the Madhyamika school and accounts for the expression “neither sho nor hen,” “no host, no guest,”
“the deep dark mystery,” and so forth. The meeting and embracing of the kun (lord) and the shin (vassal), the fusion of the sho and the
hen, literally equal the total disappearance of both, or as stated in the above mentioned simile of the Ten Ox-herding Pictures, “The
man and the ox gone out of sight.” They view the state symbolized by the trigram (K’un, pure Yin) absolutely, as something contained
in itself and no longer as a correlate to Yang. Such an interpretation clearly distorts the original intention of the I Ching and its
Confucian commentators, although it parallels the Taoist primacy of “passivity” (nonaction) in which the “female” finally conquers
the “male” by her absolute and self-sufficient indifference…The trigram (K’un) in the fifth stage symbolizes the absolute, all-
pervasive, and unopposed “void,” which goes beyond the relative concept of “quiescence” that is implied within the Confucianist
context and also in the Neo-Confucianist and esoteric formulations of the Five Degrees. To attribute such a new dimension to this
trigram, no matter how Mahayanistic and Buddhistic such a dimension is, falls short of expressing the utmost positive attitude of the
Kegonian dharma world of interpenetration, wherein the obscure and unappealing “negativistic void” of the Madhyamika dialectic is
replaced by the absolute affirmation of all things. The positive Kegonian attitude….was also the best philosophical asset of the…poem
Hokyo-zammai, whose…author was well versed in both in the doctrine of the Indian Avatamsaka Sutras and in the mysteries of the
Chinese I Ching. By deducing the significant pairs of five trigrams and hexagrams from his choice of the two most perfect hexagrams
(as representing the perfect harmony between Yin and Yang), the author of this poem gave “formal status” to the famous dialectic of
the Five Degrees. This dialectic was to find its close and completion only within a structure that included all (and excluded none) ofd
the aspects of reality and within a sythesis of which, centuries later, Hegel became the Western formulator and herald.
pp. 236-8: There is only an evasive but significant innovation on the symbolism used by the Goi kenketsu genji kyaku (On the
Original Wording of our Revelation of the Five
Degrees): instead of a totally black circle to express
the fifth stage, as a mere vanishing of both opposites
rather than as an “interpenetration” and interfusion
that preserves the formal presence of both within
their identity, the text introduces the use of a “gray
circle” as follows:
Undoubtedly, this simple amendment is the most perfect contribution that posterity has added to the early formulations of the Wu-wei.
Had Ts’ao-shan a or Tung-shan happened upon the idea of substituting their impervious and intriguing black circle for the gray, the
investigations through the tortuous and painful path of the development and growth of the Five Degrees dialectic would have become
a placid and easy stroll toward the Kegon philosophical haven; and the solution would have been fantastically Buddhistic.
But in view of the absence of this “strikingly” simple solution to the founder of the Five Degrees, thje questions still remain: Did
Yuan-hsien interpret the literal meaning of Tung-shan’s stanzas correctly? Does Tung-shan’s exposition in the Chu-wei-sung differ
intrinsically from Ts’ao-shan’s Wu-wei hsien-chueh and Chun-ch’en wu-wei on which Hui-hung relied?
On the basis of extant historical sources, the answers to these questions can be given only through a manifold of highly articulated
probabilities, whose short enumeration will be a summation of the results of our investigation.
1. The Pao-ching san-mei, although distorting the original symbolism of the hexagrams, sketches a truly Kegonian exposition of the
dialectical process, which is embodied in the Five Degrees.
2. The Pao-ching san-mei, by using the symbolism of the vajra pounder furnishes grounds for an interpretation that posits the third
stage of the Five Degrees as central and the fourth and fifth as correlates.
3. Tung-shan, probably the first to discover the text of the Pao-ching san-mei incorporated it into his own writings. Probably puzzled
by its chung-li hexagram and intriguing speculation, he relied heavily on the vajra pounder symbolism. Correspondingly, Yuan-hsien
and his esoteric followers, using the diamond pounder emblem and deciding to remain faithful to the original Confucianist meanings
of the I Ching trigrams, devised a number of schemes that were akin to the Vijnanavada and the Fa-hsiang systems of thought,
4. Ts’ao-shan Pen-chi, who was born just one year before Kuei-feng Tsung-mi’s death, seems to have used the dialectical ariya-shilki
schemes devised by the latter. Knowing the stanzas of his Master, Tung-shan, Ts’ao-shan developed the Chun-ch’en wu-wei, which
ignores the diamond pounder symbolism but assimilates the circular emblems used by Tsung-mi. Hui-hung, rightly interpreting Ts’ao-
shan’s intentions, developed and explained the chung-li speculation of the Pao-ching san-mei and found it to be in perfect accord with
the Kegonian tenets of Tsung-mi and with Ts’ao-shan’s probable rendering of the fifth stage as the overall synthesis. Nevertheless, the
use of the symbolism of the Yin and Yang lines remains faulty.
5. Later scholars attempted to justify Ts’ao-shan’s and Hui-hung’s scheme without relying on the Pao-ching san-mei’s distortion of
the Yang-Yin symbols (Yang for cheng/sho and Yin for p’ien/hen); the result was a Madhyamika-like negativistic synthesis.
6. Other scholars, applying the chung-li (hexagram) speculations of the Pao-ching san-mei as explained by Hui-hung had no
misgivings about twisting the meanings of the Yin and Yang symbolism in their own favor. They benefited greatly by the price paid in
distorting the Confucianist meaning of Yin and Yang; their results turned out to be utterly Kegonian.
150
From: Zen Buddhism: A History – Japan by Heinrich Dumoulin:
Gasan and the Five Ranks
With Gasan, the doctrine of the Five Ranks became part of the heritage of Soto Zen. Just how this remarkable innovation
came about is not entirely clear. Certainly Dogen and those of his disciples who had visited China and spent time practicing and
studying in Chinese Zen monasteries knew of the formula. Dogen had expressly rejected it, as he did all academic and special forms,
convinced as he was that such techniques were not in conformity with the one Buddha-Dharma of the founder Shakyamuni.
Gasan was the first Japanese Soto master to give the Five Ranks a central place in his teaching. He had found the formula in
the Chinese work Jen-t’ien yen-mu (Ninden Gammoku, first published in Japan in 1303), which is basically a compendium on the Five
Houses. Its third book, dealing with the House of Ts’ao-tung, treats the Five Ranks in detail, and includes excerpts from Chinese
commentaries, particularly the commentaries of the Rinzai masters Fen-yang Shan-chao (947-1024) and Shih-shuang Ch’u-yuan (986-
1039), as well as of Chueh-fan Hui-hung (1071-1128), who was part of the Oryo (Huang-lung) line of Rinzai Zen. Fen-yang was the
first to introduce this doctrine, which originated in the House of Ts’ao-tung, into the Rinzai school, and his disciple Shih-shuang
carried on the task of teaching the doctrine’s full meaning to Rinzai students.
Dialectical in structure, the formula of the Five Ranks admits of a variety of explanations and uses. Inspired by Chinese
tradition, especially by the ancient Book of Changes (I-Ching), it is a precise and direct expression of the metaphysics of the Kegon
(Hua-yen) school. Its dialectical formulations make for ready use as a koan. Although Gasan had been carefully trained in the use of
koan, he showed little interest in the practice. In the Five Ranks, however, he found an adequate expression of the Mahayana
worldview of Zen. Following the interpretation of Chi-yin Hui-hung, he changed the terms (which Chi-yin had already altered
considerably) in order to facilitate the realization of the Buddha-Dharma within the phenomenal world. As a Japanese author of the
Soto school sees it, “Under Gasan, the Soto Zen of China took on a Japanese form.”
In Japanese Soto Zen the contents of the doctrine of the Five Ranks are summarized as the “teaching of the Five Ranks of
Tung-shan” (Tojo goisetsu). Essential to understanding this doctrine is the five-stanza formula that has been attributed to Tung-shan
and that the young Ts’ao-shan calls mores simply the “manifestation of the mystery of the Five Ranks” (goi kenketsu, wu wei hsien-
chueh). There is also the formula of the “five ranks of merit” (kokun goi, kung-hsun wu wei). Japanese interpreters interpret the
former as a theoretical statement of a doctrine that finds a practical application in the latter. Far from remaining only on the
metaphysical level, the teaching on the Five Ranks can be applied to everyday life.
In the fourth generation after Gasan the teaching of the Five Ranks was taken up intensively by two Soto masters, Ketsudo
Nosho (1355-1427) and Nan’ei Kenshu (1387-1460). A disciple of Baizan Monpon, who was connected with Gasan through his own
master, Taigen Soshin d. 1370), Ketsudo Nosho was abbot of Koun-ji in Echigo, where he taught his students a somewhat simplified
version of the “manifestation of the mystery of the Five Ranks.” These lectures formed the basis for the three-volume work Toho
ungetsuroku, edited by his disciple Nan’ei Kenshu. In his short treatise Hensho hoi zusetsu kitsunan, Nan’ei criticizes his
contemporary Mujin Shoto of the Rinzai school for showing excessive dependence on the Book of Changes in his Henshogoi zusetsu.
In their own interpretations of the doctrine of the Five Ranks, Ketsudo and Nan’ei rely primarily on the Chinese Rinzai master Shih-
shuang Ch’u-yuan.
Since the time of Gasan Joseki, the Five Ranks have played an important role in Soto Zen, providing the speculative content
capable of responding to the intellectual needs of Soto Zen followers. At times, the Five Ranks took precedence over Dogen’s
masterpiece, Shobogenzo. In the Soto monasteries, a rich literature attempts to explain the Five Ranks – a task that was never really
carried out to anyone’s full satisfaction. In any case, the formulas of the Five Ranks occupy a firm place in the teachings of the
Japanese Soto school. (pg 208-209)
Kagamishima writes: “The science of the Soto school of the late middle ages unfolded with the Five Ranks at its center.” (p.
219)
Given the established sense of tradition of Soto scholars, they were bound to give great importance to the Five Ranks.
Shigetsu E’in (1689-1764), of the line of Gasan, is especially noted for his studies of the Five Ranks. His Funogo hensho goisetsu, a
work reflecting the spirit of Dogen, met with widespread acclaim. Shigetsu may be reckoned among the leading scholars of his time.
Menzan also took up the study of the Five Ranks. The numerous studies on the Five Ranks that the Soto school produced during the
Edo period are of varying quality. From a higher standpoint, Hakuin would bring this Japanese controversy over the Five Ranks to an
end. (pp. 339-340)
151
v) Kirigami Diagram
This is a diagram from a kirigami, or secret initiation document, which employs a set of 5 circle symbols which are also used for the 5
positions (apparently using Hui-hung’s version, but with a turn in the meaning). “Showing this kirigami to Gasan, Rev. Keizan said,
‘Unless you know there is a pair of moons you cannot be a blade of grass of the Soto tradition.’” This kirigami is based on a koan:
“One evening Kin (fourth patriarch Keizan) was enjoying the beauty of the moon when he abruptly asked Gasan sitting behind him,
‘Do you happen to know that there is a pair of moons?’ Gasan replied ‘No.’ Keizan said, ‘Unless you know that, you cannot be a blade
of grass of the Soto tradition.’” (From “Transmission of Kirigami” by Ishikawa Rikizan, pp240-241, The Koan, Texts and Contexts in
Zen Buddhism. Edited by Steven Heine and Dale S. Wright. Oxford: 2000.)
(While I was working on the 5 positions section of this study, I had a dream that Dongshan’s verses were written on mirrors. I was
struggling to sort out which mirrors to include in the study and which mirrors belonged to my one and half year old daughter, Kaya)
Please let me know about mistakes, typos, omissions, etc. and I am sorry there are so many.
Thank you – Charlie P., Dec 2008.
152

Ho Kyo Mirror

Uploaded by

Copyright:

Available Formats

Ho Kyo Mirror

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Ho Kyo Mirror

Uploaded by

Copyright:

Available Formats

What is the Jewel Mirror Samadhi and what is its significance?

What is the Jewel Mirror Samadhi and what is its significance?

What are the Five Ranks and how did they develop in Soto Zen?

What are the Five Ranks and how did they develop in Soto Zen?

JEWEL MIRROR SAMADHI TRANSLATION STUDY

Chinese character Chinese pronunciation of the character

Matthews’ Chinese English

汝 ru3 今 jin1 得 de2 之 zhi1 宜 yi2 善* shan4 保 bao3 護 C2

動 dong4 成 cheng2 窠 ke1 臼 jiu4 差 chai1 落 luo4 顧 gu4 佇 C6

但 dan4 形 xing2 文 wen2 彩 cai3 即 ji2 屬 shu3 染 ran3 污 C8

不 bu4 去 qu4 不 bu4 來 lai2 不 bu4 起 qi3 不 bu4 住 C15

or ; 2 guest or ; 3 Host coming to light or ; 4 guest returning to Host or ; 5 Host in Host or

如 ru2 荎 chi2 草 cao3 味 wei4 如 ru2 金 jin1 剛 gang1 杵 C20

JT: 錯然なるときんば吉なり。犯忤すべからず、 Notes: (“Merging” here is not the same as the

因 yin1 緣 yuan2 時 shi2 節 jie2 寂 ji4 然 ran2 昭 zhao1 著 C25

1. Jewel Mirror Samadhi (寶鏡三昧歌):

Quotes, Definitions and Teachings:

From the Digital Dictionary of Buddhism:

From the Surangama Samadhi Sutra, pg 11-12, trans John McRae

Samadhi ~ Translation: Concentration Dhyana ~ Translation: Absorption

9. Pinyin Pronunciation Guide

Caoshan’s verses 白衣須拜相。此事不為奇。 子時當正位。明正在君臣。 焰裡寒冰結。楊華九月飛。 王宮初降日。玉兔不能離。 混然藏理事。 眹兆卒難明。

COMMENTARY (by Yuanwu)

l) Kodera on the Five Ranks in the development of the Soto School

n) Shunryu Suzuki on the Five Positions

From a talk on Genjo Koan, August 20, 1967 (67-08-20-A):

p) Mel Weitsman teachings on the five positions (from notes)

(Source material and precursors to the Five Positions)

Title Doctrine Dialectical stand Chinese formulation

(Introduction to Five Positions)

(Translations and commentaries)

Therefore, the vajra-pounder could be said to constitute a bipolar

(Diagram exhibiting Yuan-hsien’s understanding:)

This arrangement, which is in accordance with Hui-hung’s interpretation, would

(Later Speculations on the Dialectical Nature of the Five Degrees.)

Thus, the fourth stage is called

(Syncretic Formulations of the Five Degrees: The Neo-Confuicanist Pattern)

(The Esoteric Approach to the Five Degrees of Soto Zen)

(The Reinstatement of Hui-hung’s synthesis of the Five Degrees)

You might also like

Caoshan’s verses 白衣須拜相。此事不為奇。子時當正位。明正在君臣。焰裡寒冰結。楊華九月飛。王宮初降日。玉兔不能離。混然藏理事。眹兆卒難明。