Song of Precious
Mirror Samadhi
Pao-ching
San-mei-ko
By Ch'an
Master Tung-shan Liang-chieh
Contents
Title of the Text
Author of the Text
The Pao-ching San-mei-ko
The Original Chinese Text
The Chinese Text with Japanese
"Current Characters"
Variant Characters in Different Versions
of the Text
Translation of the Text
Japanese Transcription of the Text
Bibliography
Title of the Text
寶鏡三昧歌
Pao-ching
San-mei-ko
(Wade-Giles)
Baojing
Sanmeige
(Pinyin) Bao3jing4 San1mei4ge1
Hõkyõ
Zanmaika
(Japanese)
Literally, Treasure
Mirror Samâdhi Song/Poem
The poem is usually
known as Hõkyõ Zammai (Precious Mirror Samâdhi 寶鏡三昧、宝鏡三昧).
Various Translations
of the Title
1. The Song of the Jeweled
Mirror Samadhi (Toshu John Neatrour, Sheng-yen, Kazu Tanahashi)
2. Song of the Jewel
Mirror Samadhi
3. Sacred Mirror Samadhi
(Daisetsu Teitarõ Suzuki)
4. Samadhi of the
Invaluable Mirror
5. Song of the Bright Mirror
Samadhi
Author of the Text
洞山良价
Tung-shan
Liang-chieh
(Wade-Giles)
Dongshan Liangjia (Pinyin) Dong4shan1 Liang2jia4
Tõzan
Ryõkai
(Japanese)
Tung-shan
Liang-chieh (Tõzan Ryõkai, 807-869) is the founder of the Ts'ao-tung (Sõtõ) School of Zen
Buddhism. He was a contemporary of Lin-chi I-hsüan (Rinzai Gigen, d.866 臨済義玄).
Tung-shan
Liang-chieh is also
known as Wu-pen Ta-shih (Gohon Daishi 悟本大師).
In Japanese, his name (Tung-shan) is pronounced either as Tõzan or as Tõsan.
His sayings and teaching were compiled in Tung-shan Ch'an-shih Liang-chieh Yü-lu (Tõzan Ryõkai Zenji
Goroku 洞山良价禪師語録) (Dainihon Zokuzõkyõ, vol. 2 No. 24 大日本續藏經).
"Tõsan
Ryõkai practiced first under Nansen1 and Isan2, but it was from the master Ungan Donjõ3 that he finally
received the Seal. His manner of instructing and leading his disciples was
mild, without stick or shout. In silent introspection they were to seek the
enlightenment which must manifest itself in the activities of daily life."
(The Development of
Chinese Zen After the Sixth Patriarch 25)
"While Tung-shan
Liang-chih was still a boy a Vinaya teacher made him study the Hridaya
Sûtra4, and tried to explain
the sentence, 'There is no eye, no nose, . . .' But Liang-chih surveyed his
teacher scrutinizingly with his eye, and then touched his own body with his hand,
and finally said, 'You have a pair of eyes, and the other sense-organs, and I
am also provided with them. Why does the Buddha tell us that there are no such
things?' The Vinaya teacher was surprised at his question and told him: 'I am
not capable of being your teacher. You be ordained by a Zen master, for you
will some day be a great teacher of the Mahâyâna.' "
(Essays in Zen
Buddhism – Third Series 237-8)
"Yun-mên5 asked Tung-shan:
'Whence do you come?' 'From Chia-tu.' 'Where did you pass the summer session?'
'At Pao-tzu, in Hu-nan.' 'When did you come here?' 'August the twenty-fifth.'
Yun-mên concluded, 'I release you from thirty blows [though you rightly
deserve them].'
On Tung-shan's
interview with Mên, Tai-hui comments:
How simple-hearted
Tung-shan was! He answered the master straightforwardly, and so it was natural
for him to reflect, 'What fault did I commit for which I was to be given thirty
blows when I replied as truthfully as I could?' The day following he appeared
again before the master and asked, 'Yesterday you were pleased to release me
from thirty blows, but I fail to realize my own fault?' Said Yun-mên, 'Oh
you rice-bag, this is the way you wander from the West of the river to the
south of the Lake!' This remark all of a sudden opened Tung-shan's eye, and yet
he had nothing to communicate, nothing to reason about. He simply bowed, and
said, 'After this I shall build my little hut where there is no human
habitation; not a grain of rice will be kept in my pantry, not a stalk of
vegetable will be growing on my farm; and yet I will abundantly treat all the
visitors to my hermitage from all parts of the world; and I will even draw off
all the nails and screws [that are holding them to a stake]; I will make them
part with their greasy hats and ill-smelling clothes, so that they are
thoroughly cleansed of dirt and become worthy monks.' Yun-mên smiled and
said, 'What a large mouth you have for a body no larger than a coconut!' "
(Essays in Zen Buddhism – Second Series 28)
"While scholars of
the Avatamsaka School6 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'ou7 in his 'Ode on
Identity'8 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'ien9, 'one-sided', and Chêng10, '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-tung11 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." (Essays in Zen Buddhism – Third Series 19)
"Tung-shan's poem,
which was composed when he saw his reflection in the stream which he was
crossing at the time, may give us some glimpse into his inner experience of the
Prajñâpâramitâ:
Beware
of seeking [the Truth] by others,
Further
and further he retreats from you;
Alone
I go now all by myself,
And
I meet him everywhere I turn.
He
is no other than myself,
And
yet I am not he.
When
thus understood,
I
am face to face with Tathatâ."
(Essays
in Zen Buddhism – Third Series 238)
Long
seeking it through others,
I
was far from reaching it.
Now
I go by myself;
I
meet it everywhere.
It
is just I myself,
And
I am not itself.
Understanding
this way,
I
can be as I am.
(Two
Zen Classics 267)
Do
not seek from another,
Or
you will be estranged from self.
I
now go on alone,
Finding
I meet It everywhere.
It
now is I,
I
now am not It.
One
should understand in this way
To
merge with suchness as is.
(Transmission
of Light 38)
Don't
seek from others,
Or
you'll be estranged from yourself.
I
now go on alone—
Everywhere
I encounter It.
It
now is me, I now am not It.
One
must understand in this way
To
merge with being as is.
(Transmission
of Light 167)
Wu-men Kuan (Mumonkan) Case 15 Tung-shan's Sixty Blows 十五 洞山三頓
雲門、因洞山參次、門問曰、近離甚處。
Tung-shan came to study with Yün-men (Unmon). Yün-men asked, "Where are
you from?"
山曰、査渡。
"From Cha-tu (Sato)," Tung-shan replied.
門曰、夏在甚處。
"Where were you
during the summer?"
山曰、湖南報慈。
"Well, I was at the
monastery of Pao-tz'u (Hõzu), south of the lake."
門曰、幾時離彼。
"When did you leave
there," Yün-men asked.
山曰、八月二十五。
"On August 25"
was Tung-shan's reply.
門曰、放汝三頓棒。
"I spare you sixty
blows," Yün-men said.
山至明日却上問訊。昨日蒙和尚放三頓棒。
The next day Tung-shan came to Yün-men and said,
"Yesterday you said you spared me sixty blows.
不知過在甚麼處。
I beg to ask you, where
was I at fault?"
門曰、飯袋子、江西湖南便恁麼去。
"Oh, you rice
bag!" shouted Yün-men. "What makes you wander about, now west of
the river, now south of the lake?"
山於此大悟。
Tung-shan thereupon came to a
mighty enlightenment experience.
Wu-men's Comment
無門曰、雲門、當時便與本分草科、使洞山別有生機一路、家門不致寂寥。
If Yün-men had given Tung-shan the true food of Zen and encouraged
him to develop an active Zen spirit, his school would not have declined as it
did.
一夜在是非海裏著到、直待天明再來、又與他注破。
Tung-shan had an agonizing
struggle through the whole night, lost in the sea of right and wrong. He
reached a complete impasse. After waiting for the dawn, he again went to Yün-men, and Yün-men again made him a
picture book of Zen.
(Two Zen Classics 61-2)
Wu-men Kuan (Mumonkan) Case 18 Tung-shan's "Ma san chin" 十八 洞山三斤
洞山和尚、因僧問、如何是佛。
A monk asked Tung-shan, "What is Buddha?"
山云、麻三斤。
Tung-shan replied, "Ma
san chin!"
(Masagin)
[three pounds of flax].
(Two Zen Classics 71)
Notes
1 Nan-ch'üan P'u-yüan (Nansen Fugan, 748-834 南泉普願)
2 Wei-shan Ling-yu (Isan Reiyû 771-853 溈山靈祐)
3 Yün-yen T'an-cheng (Ungan Donjõ 782-841 雲巖曇晟)
4 The Heart Sûtra (Hannya
Shingyõ
般若心經、般若心経)
Maka Hannya Haramita
Shingyõ
(摩訶般若波羅蜜多心經、摩訶般若波羅蜜多心経)
"Heart Sutra (Skt. Mahâprajñapâramitâ-hridaya-sûtra, Jap., Maka
hannyaharamita shingyõ, roughly "Heartpiece of the
'Prajñapâramitâ-sûtra'); shortest of the forty
sûtras that constitute the Prajñapâramitâ-sûtra."
(The Encyclopedia of Eastern
Philosophy and Religion 128)
5 Yün-men Wen-yen (Unmon Bun'en, 864?-949 雲門文偃)
Also known as K'uang-chen Ch'an-shih (Kyõshin Zenji 匡眞禪師)
6 Hua-yen-tsung (Kegonshû 華嚴宗)
7 Shih-t'ou Hsi-ch'ien (Sekitõ Kisen, 700-790 石頭希遷)
8 Ts'an-t'ung-ch'i (Sandõkai 參同契)
9 One-sided (p'ien, hen 偏)
10 Correct (cheng, shõ 正)
11 Ts'ao-tung (Sõtõ 曹洞)
The Pao-ching
San-mei-ko
The Pao-ching
San-mei-ko is one of the most famous Zen poems. The poem is regarded a sûtra in the Sõtõ Sect, within which it
occupies an important position as a scripture. The text is found in Taishõ
Daizõkyõ, vol. 47, No.
515 a-b (大正大藏經、大正大蔵経).
"One of the Five
Classics, I Jing1 (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-Dong2: "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."3 Indeed, Dongshan's
teaching of the Five Ranks4 can also be understood as a diagrammatic explanation of the
interaction between yin and yang, transposed into a Buddhist context."
Notes
1 I Ching (Ekikyõ 易經、易経)
2 Ts'ao-tung (Sõtõ 曹洞)
3 重離六爻、偏正回互。疊而成三、變盡爲五。
4 Wu-wei (Goi 五位)
The Original Chinese
Text
只潛不臣非木箭藝以以如佛要顛隨先外宗宗今毫細因天錯通正如疊重終婆不如汝如雖爲夜但背動意類銀汝如 寶
能行順奉情人鋒以有有虎道合倒其聖寂通趣有忽入緣眞然宗中荎而離不婆去世是臨非物半形觸成不而碗今是 鏡
相密不於識方相巧驚下之垂古想顛悲内趣分頓之無時而則通妙草成六得和不嬰非寶有作正文共窠在不盛得之 三
續用孝君到歌値力異劣缺成轍滅倒之搖極矣漸差間節妙吉途挾味三爻物和來児渠鏡爲則明彩非臼言齊雪之法 昧
名如不子寧石巧射狸寶如十請肯以爲繫眞即緣不大寂不不挾敲如變偏語有不五渠形不用天即如差來混明宜佛 歌
主愚奉順容女力中奴几馬劫觀心緇法駒常是立應絕然屬可帯唱金盡正未句起相正影是抜曉屬大落機則月能祖
中如非於思起何百白珍之觀前自爲檀伏流規宗律方昭迷犯挾雙剛爲回正無不完是相無諸不染火顧亦知藏保密
主魯輔父慮舞預步牯御馵樹古許素度鼠注矩趣呂所著悟忤路舉杵五互故句住具汝覩語苦露污聚佇赴處鷺護附
The Chinese Text with
Japanese "Current Characters"
In the following text,
the obsolete characters in the original text are replaced with newer,
simplified or slightly altered characters used in contemporary Japanese, known
as Tõyõ Kanji. These newer characters are indicated with gray color. Also, in the Japanese versions of the
text, some Chinese characters are replaced with similar characters. These
characters are indicated with blue color.
只潜不臣非木箭芸以以如仏要顛随先外宗宗今毫細因天錯通正如畳重終婆不如汝如雖為夜但背動意類銀汝如 宝
能行順奉情人鋒以有有虎道合倒其聖寂通趣有忽入縁真然宗中茎而離不婆去世是臨非物半形触成不而碗今是 鏡
相密不於識方相巧驚下之垂古想顛悲内趣分頓之無時而則通妙草成六得和不嬰非宝有作正文共窠在不盛得之 三
続用孝君到歌値力異劣欠成轍滅倒之搖極矣漸差間節妙吉途挾味三爻物和來児渠鏡為則明彩非臼言斉雪之法 昧
名如不子寧石巧射狸宝如十請肯以為繋真即縁不大寂不不挾敲如変偏語有不五渠形不用天即如差來混明宜仏 歌
主愚奉順容女力中奴几馬劫観心緇法駒常是立応絶然属可帯唱金尽正未句起相正影是抜暁属大落機則月能祖
中如非於思起何百白珍之観前自為檀伏流規宗律方昭迷犯挾双剛為回正無不完是相無諸不染火顧亦知蔵保密
主魯輔父慮舞預歩牯御馵樹古許素度鼠注矩趣呂所著悟忤路挙杵五互故句住具汝覩語苦露汚聚佇赴処鷺護附
Variant Characters in
Different Versions of the Text
Line Japanese Version Chinese
Version
□□□□ □善□□ □ X □□ □□□□ Code: &C3-325B 髏之弗齊 □□□□ □□倶□ □□□□ □□□□ □拔□□ □□□□ □□□睹 □不是□ □□□□ □□□兒 □□□□ □□爲□ □□成□ 通宗□□ □□□□ □□中□ □□□□ 羿□□□ □□□□ □□□直 □□□□ □□□□ □□若□ 但□□□ □□□□
2 汝今得之 宜能保護
3 銀碗盛雪 明月藏鷺
4 類而不齊 混則知處
7 背觸共非 如大火聚
10 爲物作則 用抜諸苦
12 如臨寶鏡 形影相覩
13 汝是非渠 渠正是汝
14 如世嬰児 五相完具
19 疊而成三 變盡爲五
30 宗通趣極 眞常流注
31 外寂内搖 繋駒伏鼠
40 藝以巧力 射中百歩
41 箭鋒相値 巧力何預
46 潛行密用 如愚如魯
47 只能相續 名主中主
Translation of the
Text
寶鏡三昧歌
Song of Precious
Mirror Samadhi
如是之法 佛祖密附 The dharma of thusness is
intimately transmitted by buddhas and ancestors.
汝今得之 宜能保護 Now you have it; preserve it well.
銀碗盛雪 明月藏鷺 A silver bowl filled with snow, a heron
hidden in the moon.
類而不斉 混則知處 Taken as similar, they are not the same;
not distinguished, their places are known.
意不在言 來機亦赴 The meaning does not reside in the
words, but a pivotal moment brings it forth.
動成窠臼 差落顧佇 Move and you are trapped, miss and you
fall into doubt and vacillation.
背觸共非 如大火聚 Turning away and touching are both
wrong, for it is like a massive fire.
但形文彩 即屬染汚 Just to portray it in literary form is
to stain it with defilement.
夜半正明 天曉不露 In darkest night it is perfectly clear;
in the light of dawn it is hidden.
爲物作則 用抜諸苦 It is a standard for all things; its
use removes all suffering.
雖非有爲 不是無語 Although it is not constructed, it is
not beyond words.
如臨寶鏡 形影相覩 Like facing a precious mirror; form and
reflection behold each other.
汝是非渠 渠正是汝 You are not it, but in truth it is you.
如世嬰児 五相完具 Like a newborn child, it is fully
endowed with five aspects:
不去不來 不起不住 No going, no coming, no arising, no
abiding;
婆婆和和 有句無句 P'o-p'o han-han – is anything
said or not?
終不得物 語未正故 In the end it says nothing, for the
words are not yet right.
重離六爻 偏正回互 In the hexagram "double
fire," when main and subsidiary lines are transposed,
疊而成三 變盡爲五 Piled up they become three; the
permutations make five.
如茎草味 如金剛杵 Like the taste of the five-flavored
herb, like the five-pronged vajra.
正中妙挾 敲唱雙舉 Wondrously embraced within the complete,
drumming and singing begin together.
通宗通途 挾帯挾路 Penetrate the source and travel the
pathways, embrace the territory and treasure the roads.
錯然則吉 不可犯忤 You would do well to respect this; do
not neglect it.
天眞而妙 不屬迷悟 Natural and wondrous, it is not a
matter of delusion or enlightenment.
因縁時節 寂然昭著 Within causes and conditions, time and
season, it is serene and illuminating.
細入無間 大絶方所 So minute it enters where there is no
gap, so vast it transcends dimension.
毫忽之差 不應律呂 A hairsbreadth's deviation, and you are
out tune.
今有頓漸 縁立宗趣 Now there are sudden and gradual, in
which teachings and approaches arise.
宗趣分矣 即是規矩 With teachings and approaches
distinguished, each has its standard.
宗通趣極 眞常流注 Whether teachings and approaches are
mastered or not, reality constantly flows.
外寂内搖 繋駒伏鼠 Outside still and inside trembling,
like tethered colts or cowering rats.
先聖悲之 爲法檀度 The ancient sages grieved for them, and
offered them the dharma.
隨其顛倒 以緇爲素 Led by their inverted views, they take
black for white.
顛倒想滅 肯心自許 When inverted thinking stops, the
affirming mind naturally accords.
要合古轍 請觀前古 If you want to follow in the ancient
tracks, please observe the sages of the past.
佛道垂成 十劫觀樹 One on the verge of realizing the
Buddha Way contemplated a tree for ten kalpas.
如虎之缺 如馬之馵 Like a battle-scarred tiger, like
a horse with shanks gone grey.
以有下劣 寶几珍御 Because some are vulgar, jeweled tables
and ornate robes.
以有驚異 狸奴白牯 Because others are wide-eyed,
cats and white oxen.
藝以巧力 射中百歩 With his archer's skill, Yi hit the mark at a
hundred paces.
箭鋒相値 巧力何預 But when arrows meet head-on, how could
it be a matter of skill?
木人方歌 石女起舞 The wooden man starts to sing, the
stone woman gets up dancing.
非情識到 寧容思慮 It is not reached by feelings or
consciousness, how could it involve deliberation?
臣奉於君 子順於父 Ministers serve their lords, children
obey their parents.
不順不孝 不奉非輔 Not obeying is not filial, failure to
serve is no help.
潛行密用 如愚如魯 With practice hidden, function
secretly, like a fool, like an idiot.
只能相續 名主中主 Just to continue in this way is called
the host within the host.
寶鏡三昧歌
The Song of the
Jeweled Mirror Samadhi
Translated by Toshu John
Neatrour, Sheng-yen, and Kazu Tanahashi
如是之法 佛祖密附 The teaching of
suchness, is given directly, through all buddha ancestors,
汝今得之 宜能保護 Now that it's yours, keep it
well.
銀碗盛雪 明月藏鷺 A serving of snow in a silver
bowl, or herons concealed in the glare of the moon
類而不斉 混則知處 Apart, they seem similar,
together, they're different.
意不在言 來機亦赴 Meaning cannot rest in words, it
adapts itself to that which arises.
動成窠臼 差落顧佇 Tremble and you're lost in a
trap, miss and there's always regrets.
背觸共非 如大火聚 Neither reject nor cling to
words, both are wrong; like a ball of fire,
但形文彩 即屬染汚 Useful but dangerous. Merely
expressed in fine language, the mirror will tarnish.
夜半正明 天曉不露 At midnight truly it's most
bright, by daylight it cannot still be seen.
爲物作則 用抜諸苦 It is the principle that
regulates all, relieving every suffering.
雖非有爲 不是無語 Though it doesn't act it is not
without words.
如臨寶鏡 形影相覩 In the most precious mirror form
meets reflection:
汝是非渠 渠正是汝 You are not It, but It is all
you.
如世嬰児 五相完具 Just as a baby, five senses
complete,
不去不來 不起不住 Neither going or coming, nor
arising or staying,
婆婆和和 有句無句 Babbles and coos: speech without
meaning,
終不得物 語未正故 No understanding, unclearly
expressed.
重離六爻 偏正回互 Six lines make the double li trigram, where
principle and appearances interact.
疊而成三 變盡爲五 Lines stacked in three pairs yet
transform in five ways.
如茎草味 如金剛杵 Like the five flavors of the
hyssop plant or the five branches of the diamond scepter,
正中妙挾 敲唱雙舉 Reality harmonizes subtly just as
melody and rhythm, together make music.
通宗通途 挾帯挾路 Penetrate the root and you fathom
the branches, grasping connections, one then finds the road.
錯然則吉 不可犯忤 To be wrong is auspicious,
there's no contradiction.
天眞而妙 不屬迷悟 Naturally pure and profoundly
subtle, it touches neither delusion nor awakening,
因縁時節 寂然昭著 At each time and condition it
quietly shines.
細入無間 大絶方所 So fine it penetrates no space at
all, so large its bounds can never be measured.
毫忽之差 不應律呂 But if you're off by a hair's
breadth all harmony's lost in discord.
今有頓漸 縁立宗趣 Now there are sudden and gradual
schools with principles, approaches so standards arise.
宗趣分矣 即是規矩 Penetrating the principle,
宗通趣極 眞常流注 Mastering the approach, the
genuine constant continues outflowing.
外寂内搖 繋駒伏鼠 A tethered horse, a mouse frozen
in fear, outwardly still but inwardly whirling:
先聖悲之 爲法檀度 Compassionate sages freed them
with teaching.
隨其顛倒 以緇爲素 In upside down ways folks take
black for white.
顛倒想滅 肯心自許 When inverted thinking falls away
they realize mind without even trying.
要合古轍 請觀前古 If you want to follow the ancient
path then consider the ancients:
佛道垂成 十劫觀樹 The buddha, completing the path,
still sat for ten eons.
如虎之缺 如馬之馵 Like a tiger leaving
a trace of the prey, like a horse missing the left hind shoe,
以有下劣 寶几珍御 For those whose ability is under
the mark, a jeweled footrest and brocaded robe.
以有驚異 狸奴白牯 For others who still
can manifest wonder there's a house cat and cow.
藝以巧力 射中百歩 Yi
the archer shot nine of ten suns from the sky, saving parched crops, another
bowman hit targets at hundreds of paces:
箭鋒相値 巧力何預 These skills are small to compare
with that in which two arrow points meet head on in mid air.
木人方歌 石女起舞 The wooden man breaks into song,
a stone maiden leaps up to dance,
非情識到 寧容思慮 They can't be known by mere
thought or feelings, so how can they be analyzed?
臣奉於君 子順於父 The minister still serves his lord,
the child obeys his parent.
不順不孝 不奉非輔 Not obeying is unfilial, not
serving is a useless waste.
潛行密用 如愚如魯 Practicing inwardly, functioning
in secret, playing the fool, seemingly stupid,
只能相續 名主中主 If you can only persist in this
way, you will see the lord within the lord.
Japanese
Transcription of the Text
寶鏡三昧歌
Hõkyõ
Zanmaika
如是之法 佛祖密附 Nyoze no hõ Busso
mitsu ni fusu.
汝今得之 宜能保護 Nanji ima kore o etari, yoroshiku
yoku hõgo subeshi.
銀碗盛雪 明月藏鷺 Ginwan ni yuki o mori, meigetsu
ni ro o kakusu.
類而不斉 混則知處 Rui shite hitoshikarazu. Konzuru
tokinba tokoro o shiru.
意不在言 來機亦赴 Kokoro koto ni arazareba, raiki
mata omomuku.
動成窠臼 差落顧佇 Dõzureba kakyu o nashi,
tagaeba kocho ni otsu.
背觸共非 如大火聚 Haisoku tomo ni hi nari. Daijaku
no gotoshi.
但形文彩 即屬染汚 Tada monsai ni arawaseba,
sunawachi zenna ni zokusu.
夜半正明 天曉不露 Yahan shõmei,
tengyõ furo.
爲物作則 用抜諸苦 Mono no tame ni nori to naru.
Moichiite shõku o nuku.
雖非有爲 不是無語 Ui ni arazu to iedomo, kore go
naki ni arazu.
如臨寶鏡 形影相覩 Hõkyõ ni nozonde,
gyõyõ aimiru ga gotoshi.
汝是非渠 渠正是汝 Nanji kore kare ni arazu, kare
masa ni kore nanji.
如世嬰児 五相完具 Yo no yõji no gosõ
gangu suru ga gotoshi.
不去不來 不起不住 Fukyo, furai, fuku, fujû.
婆婆和和 有句無句 Ba-ba wa-wa, uku, muku,
終不得物 語未正故 Tsui ni mono o ezu, go imada
tadashikarazaru ga yue ni.
重離六爻 偏正回互 Juri rikkõ, henshõ
ego,
疊而成三 變盡爲五 Tatande san to nari, henji
tsukite go to naru.
如茎草味 如金剛杵 Chisõ no ajiwai no gotoku,
kongõ no sho no gotoshi.
正中妙挾 敲唱雙舉 Shõchû
myõkyõ, kõshõ narabi agu.
通宗通途 挾帯挾路 Shû ni tsûji to ni
tsûzu, kyõtai kyõro.
錯然則吉 不可犯忤 Shakunen naru tokinba kitsu nari.
Bongo subekarazu.
天眞而妙 不屬迷悟 Tenshin ni shite myõ nari.
Meigo ni zoku sezu.
因縁時節 寂然昭著 Innen jisetsu, jakunen to shite
shõcho su.
細入無間 大絶方所 Sai ni wa muken ni iri, dai ni wa
hõjo o zessu.
毫忽之差 不應律呂 Gõkotsu no tagai, ritsuryo
ni õzezu.
今有頓漸 縁立宗趣 Ima tonzen ari, shûshu o
rissuru ni yotte.
宗趣分矣 即是規矩 Shûshu wakaru, sunawachi
kore kiku nari.
宗通趣極 眞常流注 Shû tsûji shu
kiwamaru mo, shinjõ ruchû.
外寂内搖 繋駒伏鼠 Hoka jaku ni uchiogoku wa,
tsunageru koma, fukuseru nezumi.
先聖悲之 爲法檀度 Senshõ kore o kanashinde
hõ no dando to naru.
隨其顛倒 以緇爲素 Sono tendõ ni shitagatte
shi o motte so to nasu.
顛倒想滅 肯心自許 Tendõ sõmetsu
sureba kõshin mizukara yurusu.
要合古轍 請觀前古 Kotetsu ni kanawan to
yõseba kõ zenko o kanzeyo.
佛道垂成 十劫觀樹 Butsudõ o jõzuru ni
nannan to shite jukkõ ju o kanzu.
如虎之缺 如馬之馵 Tora no kaketaru ga
gotoku, uma no yome no gotoshi.
以有下劣 寶几珍御 Geretsu aru o motte hõki
chingyo,
以有驚異 狸奴白牯 Kyõi aru o
motte rinu byakko.
藝以巧力 射中百歩 Gei wa gyõriki o motteite
hyappo ni atsu,
箭鋒相値 巧力何預 Senpõ aiau, gyõriki
nanzo azukaran.
木人方歌 石女起舞 Bokujin masa ni utai, sekijo
tatte mau.
非情識到 寧容思慮 Jõshiki no itaru ni arazu,
mushiro shiryo o iren ya.
臣奉於君 子順於父 Shin wa kimi ni bushi, ko wa
chichi ni junzu.
不順不孝 不奉非輔 Junzezareba kõ ni arazu,
busezareba ho ni arazu.
潛行密用 如愚如魯 Senkõ mitsuyõ wa gu
no gotoku, ro no gotoshi.
只能相續 名主中主 Tada yoku sõzoku suru o
shuchû no shu to nazuku.
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Bibliography
The Development of Chinese Zen After
the Sixth Patriarch. Heinrich Dumoulin. SMC Publishing, Inc. Taipei, n.d..
The Encyclopedia of Eastern Philosophy
and Religion. Ingrid
Fischer-Schreiber, et al. Shambhala Publications. New York, 1994.
Essays in Zen Buddhism, 3 vols. Daisetsu Teitaro Suzuki. Rider
and Company. London, 1949-53.
Two Zen Classics. Katsuki Sekida. Weatherhill. New York,
1995.
Zen Essence: The Science
of Freedom.
Ed. and trans. by Thomas
Cleary. Shambhala Publications. New York, 1989.