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ii.
, * Abstract
Ikkyu i s one
I t w i l l be demon-
iii
f o r a Japanese audience, one can say he turned l i n g u i s t i c d i s advantage t o advantage, ending with a style of poetry that bewilders
the c r i t i c who would t r y to make a d u a l i s t i c judgement o f "good"
or "bad".
The core of Chapter two i s a c o l l e c t i o n of analyses that concentrate on the functioning of the technique of a l l u s i o n that pervades Ikkyu's poetry.
iv.
The introductory section of the t h e s i s concludes by i n v i t i n g
the reader to investigate Ikkyu's poems f o r himself. Indeed, t o
enable the reader t o do just that, the bulk of the t h e s i s i s given
over to the translations with commentaries of one hundred poems
from the Crazy Cloud Anthology.
V .
Table of Contents
page
Preface
Introduction
vi
1
Chapter One
3&
Chapter Two
^7
Chapter Threel
69
Translations ,
82
Abbreviations
, 311
Footnotes
312
Bibliography
322
vi.
Preface
"Crazy
A sub-
and another
I t attempts to analyse
I extend
The acknowledgment
initially
vii.
inspired me to study Ikkyu s poetry and who
1
due Prof. Shotaro I i d a and Kathy Hansen who took the time t o read
the work through and make h e l p f u l comments.
A l l of the
own.
Chinese and
viii.
of Lin-chi
the
>^
"Blue C l i f f Record,"
ix.
strange and marvelous thing that everyone has the sense of secretly
having met him somewhere before. I s he not perhaps the only one
of a kind i n the h i s t o r y of Buddhism throughout India, China and
Japan?
Yanagida Seizan*
1.
Po Chii-i
not one t h i n g
2.
The " f i r s t
I t sets a l i g h t mood f o r
straightforward reply.
3.
e v i l . . . i s to penetrate i n t o non-duality.^
answer "No" t o
LL\
^ to c l a r -
He had a repu-
I t i s thus f i t t i n g that
Here he explains
The
Much
beyond the d i s t i n c t i o n of good and e v i l , i t i s f a r better to encourage the earnest to do good rather than to allow the misguided to
practice e v i l under the guise of non-duality.
4.
He begins by paraphras-
We are thus
caught thinking retrospectively as we read, " I t must have been something the Elder sang while drunk."
"Elder"
i s a term of
When we read
all
Nest, Po Chu'-i went home, got drunk and then t r u l y awakened to the
words of B i r d Nest?
life"?
5.
points of reference?
s p i r i t of Po Chii-i's poetry?
have a l l
To
way
Artifacts:
6.
discover f o r oneself?
truth i s .
toward the moon, the symbol f o r truth, but they cannot be the moon.
The l i m i t e d role ascribed to words i n Zen i s related t o the
c e n t r a l importance that non-duality has i n Zen philosophy. ' Words
are
a l l distinctions.
7.
distinctions."
The rhetoric of the sutras that i n s p i r e d Zen i s contrived
to discourage that t r i c k - l a y i n g q u a l i t y of the mind with regard to
confusing words with r e a l i t y .
8.
H*
I t s name w i l l appear f r e -
After a long section where the many Bbdhisattvas o f f e r t h e i r i n s t r u c t i o n on the entry t o the gate of non-duality, the Bodhisattva
Maiijusri expresses h i s wisdom on the matter, and then, V i m a l a k i r t i
i s c a l l e d upon t o d e l i v e r h i s pronouncement.
k i r t i responds with silence.
Dramatically, Vimala-
9
duality?"
Hsiieh-tou said, "What d i d V i m a l a k i r t i say?"
said, "Completely exposed."13
He also
Everyone, knowing the passage well, expects to hear, "Vimalak i r t i kept s i l e n t , " f o r that would provide a sense of resolution
by completing the quotation.
We are challenged
We are a l l put
The mimicryof V i m a l a k i r t i ,
He appears t o c a s t i -
He i s not allowed
10.
another assertion, so i t too must, i n turn be torn down and canc e l l e d out.
11.
The Poet
The preceding section outlined the p h i l o s o p h i c a l and soteriol o g i c a l problem of non-duality that i s the center of so much of
Ikkyu's poetry.
reli-
I f the themes
and p r a c t i -
To understand
standards
12
Here i s
shoulders
_
17
I have c a r r i e d the burden o f Sung-yuan's Zen.
The vehement tone that marks his claim to enlightenment and
h i s conviction that he alone bore the burden of transmitting Zen
must be understood i n a h i s t o r i c a l context.
19
shed.
a high proportion o f poems i n Ikkyu's anthology should be expressions of protest and Indignation.
13.
to w r i t i n g a n t i - c l e r i c a l poetry.
As i n the next poem, Ikkyu often holds up the enlightenment of
common labourers as a reproach to the pretentious claims of the
c l e r g y who had f o r g o t t e n the meaning o f simple and f r u g a l l i v i n g .
Ikkyu's own stance i s that of a wandering
beggar.
c a t i o n i s perfect;
What need have they o f the Zen of carved c h a i r s and medit a t i o n floors?
Straw sandals and bamboo s t i c k , roaming the T r i p l e
Sphere,
20
A_ $\ ^
which i s t o say that both Ikkyu and Y5so studied with the same
master Kaso b u t Yoso was Ikkyu's senior.
14.
symbol of s p i r i t u a l s u p e r f i c i a l i t y , a l l the more i n f u r i a t i n g because
he was one of the family, so to speak.
4$fL
3^
22
On the master's face, throws slop water.
Standing opposed to t h i s inspired self-confidence and uncompromising indictment of the s p i r i t u a l i l l s of the monastic communi t y i s Ikkyu's own unorthodox conduct. I f we are to take him at
his word, he ignored two of the fundamental injunctions of h i s
monastic order, temperance and celibacy.
Paradoxically, he bran-
15.
16.
surplice.
The h i s t o r i c a l perspective should not be ignored when considering Ikkyu's poems about brothels.
l a x i t y within the Zen monasteries.
of concubines was
pederasty.^
During t h i s same
17.
r e a l i t y and an attempt to reconcile that r e a l i t y with his
own
r e l i g i o u s views.
In other poems about'brothels,
disappears.
I n s c r i p t i o n f o r a Brothel
A Beautiful woman's cloud-rain, love's deep r i v e r .
Up i n the p a v i l i o n , the p a v i l i o n g i r l and the old monk
sing.
I f i n d i n s p i r a t i o n i n embraces and kisses
And think not at a l l of abandoning my body as though i t
27
were a mass of f i r e .
I n poems l i k e t h i s one, Ikkyu's admission of disregarding the
injunction of celibacy i s s t a r t l i n g because of the dramatically
p o s i t i v e perception of physical d e s i r e .
ing
?8
And then they r e j o i c e , the monks at my meeting.^
Wishing to Thank Mori f o r My Deep Debt to Her
Ten years ago,
18.
One
a kind of touchstone f o r h i s r e a l i z a -
sense o f enlightenment
s p i r i t u a l d i s c i p l i n e was
Ikkyii
when he was i l l .
conduct, notably
two
ill."
Now
how
19.
morality, because fear of karmic r e t r i b u t i o n i s as hard t o reconcile
with the standard conception of an enlightened man as attachment
to p h y s i c a l pleasure.
There i s a koan that Ikkyu frequently alludes to known as
"Po-chang*s wild fox", which centers around t h i s puzzling r e l a t i o n ship of the enlightened man to karma.
i ^L,
and a man
The man said
ignore karma."
20.
Indeed.
21.
In most respects, Ikkyu with his f i e r c e i n d i v i d u a l i t y , uncompromising attitude and unconventional behaviour cuts a figure very
much i n the style of the great T'ang masters.
has valued i t s eccentircs.
and PuvTai
but nearly a l l the T'ang masters had a roguish and iconoc l a s t i c streak.
To my knowledge,
Zen monasteries and to the reformation within the Pure Land school
that sancioned the marriage of monks.
22
seemed an aberration from a t r a d i t i o n a l point o f view.
But i r o n i -
been overlaid with generations of l a t e r commentary, so that discussion of the p r i n c i p l e s of the school had taken on the character of
communication i n code.-^
I n the writings of
23.
formalized r e l a t i o n s within the monasteries.
I t was t h i s ordered and elaborate system that was gradually
transplanted to Japan.
But he
I t should
He was also i n s t r u c t o r i n
someone high
24.
and
r e a l i t y of his own
time.
lifhile
the general tenor of his poetry and many elements i n i t have antecedents i n the Zen poetry that intersperses the records of the C
former masters and the capping of verses i n the koan anthologies,
i t i s very unusual when compared to the Chinese poetry being produced by h i s contemporaries.
The Muromachi period was a very active period f o r the composit i o n of Chinese (kanbun
)Iliterature.
"Literature
This school of
on
the monastic
structure.
Confining my
most of i t i s on
25.
Chinese poetry i n the same way as the Chinese l i t e r a t i , as a t o o l
of s o c i a l intercourse. Thus poems written f o r c e r t a i n occasions,
commemorations, p a r t i n g , t r a v e l and so on are i n the majority.
In
modes.
emotional
t i c expression.
Most of a l l , they were writing with a p r o f e s s i o n a l attitude
towards Chinese poetry.
Ikkyu had had the opportunity to study and l i v e abroad f o r considerable lengths of time, so that t h e i r knowledge of Chinese as
a l i v i n g spoken language, as w e l l as a l i t e r a r y language, was
indeed profound, and t h e i r achievement of the goal of w r i t i n g as
w e l l as the Chinese was correspondingly high.
In contrast, hardly any of the above may be said of Ikkyu.
Only r a r e l y do h i s poems seem to be written to o i l the cogs of
s o c i a l intercourse. As mentioned i n the l a s t section, h i s poetry
rather appears to issue as a response to a deeply f e l t
need.
spiritual
d i s c i p l e s , where again the uppermost aim was to evoke and to provoke the r e a l i z a t i o n of the profound truths of the school.
Furthermore, Ikkyu seems to have been l i t t l e concerned
writing Chinese verse by professional standards.
with
He broke many
26.
to i n the f i r s t chapter.
Han Shan,
foreign to him.
The Audience
Since the c r i t i c a l analyses of a l l three chapters w i l l , i n
one way or another, involve assumptions concerning the reading
experience of these poems by Ikkyu's intended reader, i t seems
appropriate to preface the discussion with a description of who
the members of Ikkyu's audience were and of what kind of knowledge
they brought to t h e i r reading.
Ikkyu's audience was probably very small.
Some prefaces
35
and "presented to
That
27.
Muromachi Society.
Hanazono
&i
and
i-k
& ^ 'f^'f^f
As
mention the obvious here to emphasize that i t was a reading knowledge and not a spoken knowledge.
28.
naturally
level
so much a Buddhist
The famous
metaphor of the "burning house" from the Lotus Sutra that appears
i n poem No. 46' i s an appropriate example of that kind of reference.
For Chinese poetry we have to assume a very extensive but,
i n one respect, c u r i o u s l y l i m i t e d knowledge.
I f we look at the
References are
Tao Yuan-ming
and Huang
29.
cerrted, while a l l u s i o n s are often made t o poems of some of the
l e s s e r luminaries among the T'ang poets, those poems nearly always
are from a single anthology, the San T ' i Shih. which enjoyed an
enormous popularity during the Muromachi period among the students
of Chinese poetry.
that appears
30.
On
the one hand, many people are suffering, on the other, unfeeling
people disport themselves.
ment, "Let i t be, l e t the bright moon sink behind the Western
P a v i l i o n " , conveys resignation and acceptance.
L i I's poem, b e a u t i f u l as i t
31.
recondite q u a l i t y of the a l l u s i o n s to Zen texts that pervade
Ikkyu's poetry, we must assume that Ikkyu's audience knew a great
deal of Zen l i t e r a t u r e by heart.
The above
i s not an exhaustive l i s t , but i t includes the main works represent a t i v e of the kind of material Ikkyu's reader would have i n h i s
mental l i b r a r y .
At f i r s t glance, t h i s seems l i k e a great deal to expect of a
reader, but i t must be remembered that Ikkyu* s readers were active
students of Zen.
32.
spontaneously to d e l i v e r h i s own words of enlightenment on the
koan i n front of h i s master, he was considered to have passed the
koan.
his period 6f t r a i n i n g .
I n f a c t , l a t e r Japanese
This
The
33.
The fact that Ikkyu was writing f o r such a small audience with a
specialized knowledge i s undoubtedly one of the major contributing
factors to the d i f f i c u l t y h i s poetry presents to a modern audience.
The amazing thing i s that even though he wrote f o r such a p a r t i c u l a r
audience, he was also able to compose some poems of immediate
comprehensibility and wide appeal f o r any audience.
"I hate
incense" and the "Crazy madman" poems, quoted i n the section about
the poet, are examples.
I t w i l l be demon-
strated how Ikkyu at times broke the rules of Chinese prosody and
at other times observed them i n ways a native Chinese poet would
not approve of.
f o r a Japanese audience, one may say he turned l i n g u i s t i c disadvantage to advantage, ending with a style of poetry that bewilders the
c r i t i c who would t r y to make the d u a l i s t i c judgment of "good" or
34
"bad".
The core of chapter two i s a c o l l e c t i o n of analyses that grew
out of a f a s c i n a t i o n with the functioning of the technique of
a l l u s i o n that pervades Ikkyu's poetry.
that
It
35.
>
36.
Chapter One
'Those who follow rules are asses, those who break the rules are men"
from No.
128
This s i t u a t i o n
Further-
reading system,
us consider f i r s t
Rhyme has a c e n t r a l
37.
Japanese poetry.
JaJ
Except f o r
While he
was
But,
38.
as rhyme verges on the unthinkable.
thing t o quite strong e f f e c t .
rakan
shutsujin
mushiki
jo
iribo yuga ya t a j o
nahen h i i na hen ze
nossu kufu mabutsu j o
J, the
matter".
39.
that what he a c t u a l l y means by the phrase, "Devil Buddha desire",
i s hard to p i n down.
Arhat Sporting i n a Brothel", hence another possible i n t e r p r e t a t i o n of the l a s t two l i n e s i s , "This g i r l ' s no good, that one i s
f i n e ; the monk's s k i l l i s having the appetite of a D e v i l i s h Buddha,"
The poet may be using l o f t y philosophical language to be lewd, y e t
the d i c t i o n strikes one as nonetheless l o f t y and p h i l o s o p h i c a l .
For the sake o f t h i s discussion, the i n t e r e s t i n the r e p e t i t i o n of the same word at the end of the l i n e i n the rhyming p o s i t i o n
i s that the meaning of the word changes or, at l e a s t , becomes
ambiguous a t the t h i r d r e p e t i t i o n .
Indeed,
i n that p a r t i c u l a r poem not only the rhyme word, but several items
of vocabulary, are repeated up to three times.
mushi mushu ga i s s h i n
40.
No beginning,
the Buddha's w i l d t a l k .
/ < v
shin category.
"heart".
That
gin
g i n "sing", > ^
shin
41.
of poems i s the
ryu category.
"Egad!", one
can hear the Chinese poet say, "What paucity of vocabulary! The
monotony of h i s verse must be t e r r i b l e ! "
I suggest that i n actual experience, Ikkyu's poetry i s not
monotonous at a l l .
"sing", > C
"deep",
I t elicits
words encapsulate something about the poet; his heart was deep and
he sang i t out.
Herein l i e s another key to what gives Ikkyu's use of rhyme a
d i s t i n c t i v e character.
"songs".
42
Yuan-ming equally w e l l .
the same word
||
One i s
son "des-
son "venerate",
'.'the school", ] |
son "venerate",
mon
This matching of
rhyme words i n combination with the sense of the whole poem does
not happen i n every poem, but i t happens often enough to say i t i s
c h a r a c t e r i s t i c of Ikkyu's s t y l e .
of the practice a c t u a l l y i s i n the other of Ikkyu's poetry anthol o g i e s , the Jikaishu "Self-Admonitions", a t i t l e of obvious i r o n i c
intent because the work i s , end to end, a scathing condemnation of
the Zen i n s t i t u t i o n both i n general and i n the person of Daiyu
Yoso, Ikkyu's immediate predecessor i n the Daitokuji l i n e .
I n the
sen "boats", ^
zen "Zen".
43.
a l l the dammed-up indignation, without having to worry about thinking up new rhyming combinations.
In
I r i y a Yoshitaka
3 & vs?
a specialist i n
use of vocabulary, but then he said, "Do you know what i s the very
44.
worst of a l l ?
That i s why
;S ^
.JSL ^
(of) wine, sippedttiree cups.
I JL
JL
s
TL )t
#-
m $-
fA
Ts'ao-shan o l d fellow.
Ported
straightway l a y body,
41
fVj
t
1
0 k a l p a
poor orphan
p f t i n
45.
The t h i r d l i n e here i s an audacious experiment i n breaking up a
Chinese l i n e .
Furthermore, the unit of one, the verb "see", i s a case of enjambement, a verb whose object comes i n the next l i n e .
Enjambement i s
The rhythm i s
In
I 'suggest
46.
the
effectiveness of t h i s l i n e .
world l i t e r a t u r e .
This i s an unusual s i t u a t i o n i n
was
He was at a disadvantage
itself.
Further-
more, i t must not be forgotten that his intended audience was not
Chinese.
They were people who could read Chinese well, but who
47.
Chapter Two
rather
The
48.
informed reader f o r t h i s poetry, which i s assumed t o be quite a
d i f f e r e n t experience from that of a reader of t h i s paper.
A reader of t h i s paper w i l l probably read a poem and end up
with a large number of questions i n h i s mind.
For example, i n
direction.
That
to reread the entire piece, prose and poem, the force of the
unexpected
coming.
49.
the reading of these poems by an informed reader of the time.
In the process of applying t h i s method to the poems i t has
become evident that Ikkyu uses a l l u s i o n i n two b a s i c a l l y d i f f e r e n t
ways.
with convention.
allusion.
On the other hand, Ikkyu often uses a l l u s i o n i n a way that
breaks the contract of conventional understanding between poet and
reader.
a l l u s i v e language f o r ornament.
statements, to say much with l i t t l e which can also have an aesthetic effect.
The purpose d i a l e c t i c a l a l l u s i o n serves i s more complicated
but i n general one might say i t i s to throw the reader off-guard
and force him to re-evaluate h i s sense of what the poem i s about.
Allusion coming i n the l a s t l i n e often brings a contradictory e l e ment i n t o the poem that collapses the frame of reference the poem
has set up.
50.
such a way that the d i s t i n c t i o n between them i s obliterated or at
l e a s t l e f t problematical and unclear. In the confusion, one
glimpses a knowing beyond the d i s t i n c t i o n of d u a l i t y .
The analyses that follow are arranged i n an ascending order
of complexity with regard to a l l u s i o n .
In the i n t e r e s t of saving
107
Lines one and two e s t a b l i s h and develop the theme, the monks
In l i n e three, the
poor and cooking with a broken pot, but the implication i s that
t h i s i s t r u l y virtuous.
51.
self-confidence.
How-
Recognition of that
Ikkyu i s no longer
made i n d i r e c t l y through
allusion.
No. 57
The Plum Ripened
I t s ripening, over the years, i s s t i l l not forgotten.
In words, there i s a f l a v o r but who i s able t o taste i t ?
When h i s spots were f i r s t v i s i b l e , Big Plum was already o l d .
Sprinkle o f rain, f i n e mist, that which was green had
already turned yellow.
52.
name l i t e r a l l y means "Big Plum".
This i s alluded
The question
Line
long have you been here?" with "Four times only have I seen the
mountains turn green and then yellow."
First
53.
poem rewords f a m i l i a r material within a predictable framework
and, because of t h i s , the strategy of cuing the a l l u s i o n e a r l y i n
the poem and then making a more d i r e c t reference at the end i s
particularly effective.
reader
supposition
206
I admonished my followers saying, " I f you are going to drink
sake, then you must always drink muddy sake, and f o r t i d b i t s just
have the dregs.
sake'."
This i s why
'dry
54.
In "The Plum Ripened", a l l u s i o n s t o a single source, i n that
case the account of Ta-mei i n the Ch'uan Teng Lu are sprinkled
throughout the poem.
times.
of that passage.
Disappointed and sorely grieved, CHii Yuan, the slandered but
virtuous o f f i c i a l , resolves to throw himself into the r i v e r .
As
A l l men
lament with some s a l t y wisdom, "A true sage does not s t i c k at mere
things....
Knowing
55.
remark, " a l l men
which relates to CHu Ytian's " a l l the world" and " a l l men",
the words "dregs" which r e l a t e s to "why
and
But i t i s probably
Then the a l l u -
Chinese
56.
This
No.
77
Arhat Chrysanthemums
Tea-brown golden flowers, deep with Autumn's c o l o r .
Breeze and dew
allusion
announces a Buddhist
That
57
"Breeze and dew on the East Hedge" i s the key t o the a l l u Since T'ao Yuan-ming and chrysanthemums are v i r t u a l l y
The
next phrase, "a heart that has l e f t the dust behind", i s a conventional epithet f o r the Arhat; he who s t a r t s on the Path must
f i r s t leave the dust of the world behind.
This phrase i s p a r t i c u -
The next
and onions f o r the Arhats, but the reader i s not surprised; he has
been cued t o anticipate something l i k e t h i s outcome by the a l l u sion i n the second l i n e .
58.
the outcome, but when he reads the l a s t l i n e , he has more of a
f e e l i n g of "So that's i t , " rather than "What's going on?"
Here
i s f i n a l l y unveiled i n the l a s t l i n e .
No. 49
To Hear a Sound and Awaken to the
Way
anticipation
of a laudatory verse i n the same style as the poem about "Big Plum",
For the f i r s t three l i n e s , one's expectations are s a t i s f i e d .
comes Hsiang Yen
/X^
First
59.
enlightened by a sound.
I n the words
Then, we are
remains.
was the odd man out because he never awakened to the Way?
Or
I f he i s p r a i s i n g T'ao Yuan-ming,
i n the t r a n s l a t i o n .
u
Were t h e i r r e a l i z a t i o n s
r i g h t l y so".
that T'ao was the only enlightened Buddha of the three, but i t i s
the confusion over which reading t o take that i s the p o i n t .
Ikkyu
60.
verse.
No. 493
Spreading Horse Dung to Cultivate the Mottled Bamboo
Baked potatoes i s Lan Ts'an*s o l d story.
He d i d not seek fame and fortune, that too was furyu.
Mutual longing without pause.
This Lord's r a i n ;
Yet i n p r a c t i c a l
The second
61.
on the bamboo stalk were the marks of.the tears shed by Lord
Shun's wives as they waited i n vain on the banks of the Hsiang
r i v e r f o r t h e i r l o r d to return.
merely suggests the story of Lord Shun's wives and then follows
i t with another a l l u s i o n that serves a double purpose.
I n the
The
The
allusions together.
62.
The l a s t l i n e
"Hsiang
The reference to
Line three
found
One might
and because of the layering of the image " r a i n on the bamboo" over
63.
the a l l u s i o n "tears on the bamboo", but i t i s ambiguous f o r aesthet i c e f f e c t , an elegant confusion, i f you w i l l , rather than f o r the
sake of disturbing the reader's sense of meaning.
Now
No.
45
Yiin-men addressed a gathering saying:
"The o l d
This
How
composi-
64.
way.
He does so by
on the south side of the mountain make i t rain on the north side?
I t i s a restatement of the o r i g i n a l question posing as an answer
i n the form of a declarative sentence.
Another question, "How did the L i t t l e Bride marry Master
P'eng?", opens the poem.
the
of the Yangtze.
that something else might have gone on between the old Buddha and
here
that, then the next l i n e i n which "cloud r a i n " and "dream" figure,
renders i t obvious.
"Cloud r a i n " i s a euphemism f o r physical love that originates
i n a passage from the Kao T'ang Fu" ^
rt
by Sung-yii
j> ^
65.
I w i l l quote the passage i n i t s e n t i r e t y because the wording of i t
becomes important to the i n t e r p r e t a t i o n of the t h i r d l i n e .
woman.
she said, "I dwell on the south slope of Wushan and the
steeps of Kao-ch'iu. I n the morning, I make the cloud,
i n the evening, I make the rain; morning upon morning,
evening upon evening beneath Yang-t'ai."
I n the morn-
The koan as a
66.
The poet's e r o t i c i n t e r p r e t a t i o n of the koan becomes c l e a r beyond
doubt.
;*=-s
There a
6?.
These both r e f e r to the s e l f - s u f f i c i e n c y and supernatural powers of
an enlightened sage.
Ikkyu may have i n mind here i s what became known as the "ThreePivot Phrases of Daito":
The "bare post" surfaces again, and there appears another v a r i a t i o n of "In the morning...in the evening" that can also be i n t e r preted i n an e r o t i c way.
source of allusion?
to Yun-men?
68.
with questions, d i s t i n c t i o n s between sacred and profane have been
blurred, allusions have been cross-referenced t o the point of confusion.
reputation f o r d i f f i c u l t y .
I t i s almost impossible t o d i s t i l l a
Through a welter of a l l u s i o n s , i t
brings together the sacred and profane, the King and the sorceress,
masters and d i s c i p l e s , T'ien T'ai and Nan-yiieh, Yun-men and Daito;
i f you follow the t r a i l of a l l u s i o n as f a r as Daito"'s k5an even
the old Buddha and the bare post are there.
ground here.
There i s some f a m i l i a r
I t i s just that
69.
Chapter Three
"A night of f a l l i n g flowers and flowing water i s fragrant"
from No. 71
This chapter picks up where the l a s t chapter l e f t o f f . I t
pursues the theme of the d i a l e c t i c a l experience a l i t t l e f a r t h e r .
As noted i n the l a s t chapter, often the technique by which the rug
i s pulled out from under the reader's feet i s the juxtaposition of
opposites i n such a way that the d i s t i n c t i o n between them melts
away.
operation.
I t i s i n this
way
There i s
70.
poems under the j o i n t t i t l e of "The Scriptures are Bum-wipe". I t
was noted i n Chapter one that Ikkyu wrote only the short f o u r - l i n e
form of Chinese verse known as the chueh ch'u.
No. 69
The scriptures from the beginning have been paper f o r
wiping bums.
The Dragon Palace Sea Treasury toys with words and phrases.
Have a look a t the Blue C l i f f Record with i t s hundred cases
Scattered w i l d l y over Breast Peak before the wind and moon.
71.
Rinzai.
This l i n e ,
His e f f o r t s are
rewarded when the Buddha not only bestows a holy l i b r a r y upon him
but also consents to attend the commemoration of i t s i n s t a l l a t i o n .
Buddha, Bodhisattvas, Dragon King and water sprites gather together
to eulogize the scriptures.
When we go on to read
"toys with words and phrases", we see that reverence vanish. The
honorific metaphor with i t s p i c t o r i a l connotations takes on an
i r o n i c note; a l l the noble e f f o r t s of the Dragon King, a l l the
eulogies of the assembled host, were f o r pieces of paper that merely
play with words.
The t h i r d l i n e i n a chiieh chii i s conventionally the "turning"
line.
72.
Record."
question with a p i c t u r e :
The picture i s l o v e l y i n i t s e l f .
One
can see the sheets of paper, radiant whie with reflected moon l i g h t ,
l i f t e d i n t o arabesques by the wind.
The
picture also suggests that t h i s i s what must be done with the Blue
C l i f f Record: i t cannot be spared i n c l u s i o n i n the category of the
"Scriptures"; i t must be cast away too.
of the picture, who,
poem the Blue C l i f f Record had not yet been granted i n c l u s i o n i n the
Tripitaka, the o f f i c i a l Buddhist canon.
73.
poem state:
I t was not c o l l e c t e d i n the great storehouse of sutras,
Up t i l l now,
No.
70
74.
believes a f t e r draining h i s cup that he has swallowed a snake.
second l i n e develops the theme of i l l n e s s .
but we are not t o l d what kind.
begins to make i t s e l f f e l t .
I t i s a new
The
illness,
Why?
He i s
the fourth l i n e .
ill-
consequences.
The l a s t l i n e f u l f i l l s
75.
That connection i s made by way of an a l l u s i o n c a r e f u l l y
camouflaged
pages we saw scattered before the moon at the end of the preceding
poem.
the l i n e ,
Before the old Buddha H a l l , a dog pisses at the sky.
Ikkyu borrows t h i s image and transforms i t .
the Buddha H a l l rather than at the sky.
The phrase,
When I
I wondered why,
I t i s the
76.
recognition, rather than state that the reader and the poet are
trapped i n the words that t e l l them to get free, lead the reader
to experience that entrapment i n the very act of reading the l i n e .
Wo. 71.
Without ado, he f l i c k s h i s hand round and wipes h i s bum,
The master's countenance i s exposed and c l e a r .
On the south side of the mountain, clouds a r i s e , on the
north side, i t r a i n s .
A whole night of f a l l i n g flowers and flowing water i s
fragrant.
I t i s as i f the pages
d i f f i c u l t to reproduce i n E n g l i s h .
A "countenance
77.
There i s a tone of r e s o l u t i o n
the poet w i l l be able to close the poem and the whole series when
he has already run through so much of his i c o n o c l a s t i c ammunition.
One anticipates perhaps a triumphant f i n a l e , one l a s t thrust.
Instead, we meet two l i n e s d a z z l i n g l y multifaceted with associations
and meaning.
Line three i s a quotation from the Blue C l i f f Record.
appears i t was not to be cast away so e a s i l y .
It
I t i s a l i n e from
Yuri-men's koan
that begins, "The old Buddha and the bare post commune with one
another, t h i s i s occasion number what?"
I f one
to t h i s koan.
78.
The forty-seven Saints and s i x Patriarchs look one another
i n the eye.
In the land of the Barbarians, a monk mounts the l e c t e r n .
In the land of great T'ang, they have not yet struck the
drum.
I n pain, pleasure, i n pleasure, pain.
Who says gold i s l i k e shit?
The scatological connection has been made again, and i n the appreciatory verse the leap has been made from the topic of the i n t e r r e l a t i o n of a l l phenomena to the topic of the i d e n t i t y of opposites.
"On the south mountain, clouds a r i s e , on the North mountain i t
rains", c a l l s up another case of the union of opposites, because
p a r t i c u l a r l y i n Ikkyu's poetry, r a i n following close upon cloud
always suggests the c l a s s i c a l euphemism f o r p h y s i c a l love, "cloudrain".
his
Any reader of
and as such commands the reader to face i t as a koan. a philosop h i c a l and s p i r i t u a l problem.
79.
reverberating i n the mind.
of
men's koan.
Picking up
80.
sense would suggest another i n t e r p r e t a t i o n f o r the "flowing fragrant
water"; i t becomes the "lascivious f l u i d s " that are the subject of
others of Ikkyu's poems.
The poet does a l l t h i s so q u i e t l y .
That, I believe,
Conclusion
81.
i n a r h e t o r i c a l mode were examined i n Chapter two.
But t h i s t h e s i s
the harder you t r y to figure i t out and t o put i t i n neat categories of thought, the more unmanageable i t becomes.
As t h i s
As a " f i n g e r pointing
The time
83
one,
The
separate
The
Shiso
based on the Okumura text and most modern scholars have followed
suit i n basing t h e i r research on i t .
tion.
84.
a second part o f 49 go i^jj^
""^J
"poem" anthology to d i s t i n g u i s h i t
Kyounshu are i d e n t i c a l .
there are also series of poems which do not share the same t i t l e
but appear to have been written around the same time and form
an autobiographical narrative.
This sporadic occurrence of sequences o f poems r e l a t e d to the
poet's biography i s due to the f a c t that a loose chronological order
may be observed i n the Kyounshu.
However,
85.
since the presence of a chronological order can be appreciated
only from the view point of the whole, the actual reading experience i s serendipidous i n character.
reluctant to
Furthermore, as i t i s hoped
the c r i t i c a l introduction conveyed, although i t i s possible to describe what the poetry does, one r i s k s doing t h i s poetry a grave
i n j u s t i c e by t r y i n g to explain what i t "means".
I t i s hoped that the reader w i l l be able to discover h i s own
reading experiences i n these poems.
86.
87.
No. 17
Staw Sandal Ch'en
Putting on a sales p i t c h to the people, out dealing them r i g h t
and l e f t
Te-shan and L i n - c h i would have no way t o haggle.
Wielding the s t i c k and r a i s i n g the f l y whisk are not my a f f a i r ,
My fame need only belong to the North H a l l .
88.
No." 17
Notes:
He was noted
"Thirty blows i f
Lin-chi:
(d. 866)
the motions of
formalized Zen.
The North H a l l :
89.
No. 33
&k
& &
# X ^
^t
&
'jkk
M 1 4
&
% % k & 'A
is ^ f
& flA
# ^ 41 ^ ?! Hi -
ft
I'l
f
*f
tiktt
$ ^
it
%>
t l
! t * t i l I
ft
lis
90.
No.
33
" A l l those who would study Zen and l e a r n the Way must be pure
in their daily lives.
his
off
matters which even the Buddhas and the Devils have d i f f i c u l t y even
i n glimpsing, when he repeatedly buries h i s name and conceals
his
raises up the
i n his
This l o t i s not
91.
everyone who has a mouth has t o eat; i f you understand t h i s truth,
how can you boast of yourself i n the world; how can you adulate
high office?
suffer from leprosy and never hear even the name of the Buddha's
teaching.
Oh, t e r r i b l e , t e r r i b l e ! "
92.
No.
33
notes:
situation:
i n others.
This passage i s very
to
4t
here rendered
as " i n turn".
three l i v e s or s i x t y kalpas:
A kalpa
'^T
*R)
founder
93.
as such, Ikkyu was p a r t i c u l a r l y drawn to Tetto's s t e m
of Zen.
style
There
dying of starvation.
Ikkyu seems to
And
Nirvana H a l l :
Metaphorically, i t means
94
No. 35
Peach Blossom Waves
11
>1
?1
JL
fit
it
tit
it
Jet-
A it
& 01 4~ g.
4&
95.
No.
35
notes:
peach blossom waves:
Those who
jf ^
to attempt
dragons.
The phrase
f ^
(d. 9 ^ 9 ) .
This
"The
One
Barrier and the Three Phrases, How many people have red
dust i n t h e i r eyes?"
how
he
Record:
96.
"This s t a f f turns i n t o
Then where
The
97.
No.
37
0 If it
UK
It
&
m
t
98.
No.
37
notes:
Addressed to an Assembly on the Winter S o l s t i c e :
Of the
importance
day of the whole year and from the next day the days lengthen,
i t i s c a l l e d the return of the yang.
an
No.
99.
No. 40
The Buddha's Nirvana
He crossed over to e x t i n c t i o n i n India, old Shakyarauni.
In another b i r t h , he emerged i n t o the world, to whose house d i d
he go?
The tears of two thousand three hundred years ago
S t i l l sprinkle i n Japan, the blossoms of the second month.
ti
it
f'l
if
)l
IK
100.
No. 40
notes:
The Buddha's Nirvana:
incarnation as a man.
S t i l l sprinkle, i n Japan, the blossoms of the second month:
The
101
No.
kk
A monk a s k e d Y e n - t ' o u ,
bigfish."
i t like?"
eats
"What i s i t l i k e
Yen-t'ou
said,
"The s m a l l
said,
when t h e o l d s a i l
fish
swallows
i t i s h o i s t e d , what
" I n t h e b a c k g a r d e n t h e donkey
grass."
Cold,
hot,pain, pleasure,
t i m e t o be ashamed.
Ears
f r o m t h e b e g i n n i n g a r e two p i e c e s
One,
two, t h r e e ;
ahi three,
two, o n e .
Nan-ch'uan w i t h a f l i c k o f t h e w r i s t ;
I*
Iff
10
A-J
of skin.
killed
tA
m
i. It
A It
i
the c a t .
2:
IM
&
a ^ t
#
102.
No. 44
notes:
A monk asked...the donkey eats grass:
poem i s a koan.
The introduction to t h i s
13
Lei-chu
Jt - ^ 4
Hsu-t'ang J^__ )_
He assigned i t to Daio
14
@$C ( 1 0 6 7 - 1 1 2 0 ) .
See No. 2 0 9 :
Pain and pleasure, adversity and prosperity, the way l i e s
i n the middle.
ashamed of myself,
remorseful.
"going
103.
16
That i n t e r p r e t a -
"Ears are
two
two
According to Hirano,
17
one:
two,
three, four, five".- then caps "In the back garden the donkey
18
eats grass".
although
an a l l u s i o n
63:
104.
Nan-chuan
105
Ih
fl
TtL
ft
h
F4
&
jl
it
ii
&
106.
No. 45
notes:
Yun-men addressed a gathering...:
The introduc-
" L i t t l e Bride" i s a
21
of the landscape together as man and wife.
cloud-rain:
T'ang Fu * S %
by Sung-yii ^
j .
"Sorcer-
The King
dwell on the South slope of Wu-shan and the steeps o f Kaoch'iu v^7
107.
and c a l l e d I t "Morning C l o u d s . "
cc
This
One l a y e r of a l l u s i o n , then i s
At the same
108.
~y%
( a mountain
24
i n China).
I n another place i n h i s commentary t o t h i s poem, Professor
Yanagida further suggests that there may be a connection
25
here t o the "Three Pivot Phrases of Daito".
Daito was a
Daito"'s "Three
Phrases"begin:
109
No. 46
Pleasure i n Pain
"You drank three cups o f wine and s t i l l your l i p s are unmoistened."
Thus, that o l d fellow Ts'ao-shan comforted the poor orphan.
Just l a y your body down i n a burning house and see
I n the space of a moment, ten thousand kalpas of pain.
- t i
I'l
ii
5?P
^
>g
Ik
% #
Z-
110.
No. 46
notes:
Pleasure i n pain:
Ts'ao-shan said,
111.
originates with the parable of the burning house i n the Lotus
29
Sutra.
This same theme i s taken up by Ikkyu i n a sermon included i n the
Kyounshu", No. 6 5 4 .
When your whole body f a l l s i n t o a f i e r y p i t , you see
minutely, the pleasure i n p a i n .
112.
No. 47
Pain i n Pleasure
This i s what Gautama experienced,
Hemp garments, s i t t i n g on the grass, h i s condition f o r
s i x years.
One morning, observing minutely, he came to see
The desolate loneliness of h i s name a f t e r the passing of
his body at Vulture Peak.
t &
% it
t %
f i t
^ a & t t
%
&
<
\\ k
113.
No.
47
notes:
see notes to No. 4 6 .
Pain i n Pleasure:
Gautama:
enlightenment.
an oblique
The enjambement
here, however, presses us forward to take "the immense s t i l l ness and solitude of h i s fame" as the object of the verb
"to see".
V u l t u r e Peak:
sutras.
114.
115.
No. 49
To Rear a Sound and Awaken t o the Way
Striking bamboo one morning, he forgot a l l he knew.
Hearing the b e l l at the f i f t h watch, h i s many doubts vanished.
The ancients a l l became Buddhas r i g h t where they stood.
Tko Yuan-ming alone just k n i t h i s brows.
X.
it
it
ft
r -- f
it
f
ft
fir
4
116.
No. 49
notes:
To hear a sound and awaken t o the way:
yet
an a l l u s i o n
__h
an a l l u s i o n to Master Fu
31
Dharmakayawhen he heard the b e l l at the f i f t h watch.
f o r the world.
117.
T'ao Yuan-ming associated with Buddhists and may have been
influenced by them although the i n t e r n a l evidence of h i s work
points to Taoist influence alone.
Yet, rumours p e r s i s t .
In
"knits h i s
118
No. 52
There was a t o r t o i s e around Ta-sui's hermitage.
A monk
119.
No. 52
notes:
There was a t o r t o i s e . . . :
Here i s the
Chao-chou took o f f h i s
I t has
fi^'wind" and
I f we concentrate on the
Fishermen,
120.
The l i n e ,
Perhaps the d i f f i c u l t y
I t i s a characteris-
Furyu
121.
amazingin other words, " f a r out". Poem No. 140 i s a similar
case.
122.
No. 54
Lin-chi Burned the Meditation Plank and Desk
This fellow i s the number one master of Zen i n the school.
"Take away subject, take away object", "The mystery within form."
A safe f i r m l y established l i f e , where i s i t ?
A catayclismic f i r e w i l l l a y waste to, and burn, the Great Thousandf o l d World Sphere.
4-
123.
No.
54
notes:
Lin-chi burned the armrest and desk:
Lin-
("Meditation plank" i s a l i t e r a l
to L i n - c h i .
follows:
One day, L i n - c h i was taking leave of Huang-po.
Huang-po asked him, "Where are you going?"
L i n - c h i said,
Huang-po, thereupon, t r i e d to s t r i k e
Instead.
37
124.
Ikkyu followed
of enlightenment.
Take away subject, take away object:
The t h i r d proposition of
Lin-chi
11
41
man, take away object".
physical form, that i t seems so palpable and " r e a l " but can
be absolutely "taken away".
Great Thousandfold World Sphere:
JL
7^.. 4
% .
125.
I n f i n i t e sense.
A cataclysmic f i r e w i l l l a y waste t o , and bum,...:
an a l l u s i o n
Ta-sui
"Innate
43
Buddha-nature."
126
No. 5 7
Th Plum Ripened
I t s ripening, over the years, i s s t i l l not forgotten.
I n words, there i s a f l a v o r but who i s able t o taste i t ?
When h i s spots were f i r s t v i s i b l e , Big Plum was already o l d .
Sprinkle of r a i n , f i n e mist, that which was green had already
turned yellow.
It A f ft
&
&
h
A.
ii
&.
M
&
JL
&
127.
No.' 57
notes:
The plum ripened...:
of Ma-tsu
Teng Lu:
Ma-tsu sent a monk to inquire of Ta-mei, "When you saw
Ma-tsu what i s i t you understood that then you should
come t o dwell on t h i s mountain?"
The
"These days he also says, 'Not the mind, not the Buddha.'"
Ta-mei said, "That o l d r a s c a l , the day w i l l never come when
he ceases to bewilder people."
45
ripened."
...that which was green had already turned yellow:
allusion
on t h i s mountain?
128.
No. 66
The Great Master Yuan-wu Strikes a Harmony with the Cosmic Organ
Quietly humming a l i n e from a love song,
Launching heaven and earth into motion, he harmonizes with the
magnum organum.
I f we compare him with him who heard bamboo struck or him who
saw a peach blossom,
He i s the stone t o r t o i s e at the foot of Mt. Sumeru.
129.
No.
65
notes:
Wu-tsu Fa-yen
a l l u s i o n to Yiian-wu* s enlighten-
Zen:
Yiianher
suddenly enlightened.
Yiian-wu was
130.
he who heard bamboo struck:
Ling-Tun jg? ^
( c . 8 2 0 ) , a student
^ M
48
peach blossom.
obviously of
No. 68
132.
No. 68
notes:
Fish Basket Kannon:
category
She puts
50
of the wedding.
life.
133.
Nos. 6 9 , 70, 71
134.
Nos. 6 9 , 7 0 ,
71.
135.
Nos. 6 9 .
70,
71.
notes:
a l l u s i o n to L i n - c h i ' s state-
69
records the
scriptures.
rainfall.
The Blue C l i f f
I t was
compiled
66.)
136.
compiled the Blue C l i f f Record.
No. 70
The bow's r e f l e c t i o n i n the guest's cup:
f o r seeing things amiss.
a proverbial expression
Thinking i t bad to
At that time, Yueh
r e f l e c t i o n of that bow.
137.
was i n the wine again
i s just as before."
was,
or not.
an a l l u s i o n to the Blue
a l l u s i o n t o the Blue
This
138.
No. 77
Arhat Chrysanthemums
Tea-brown golden flowers, deep with Autumn's color;
Breeze and dew on the East hedge, the heart of one who l e f t the
dust behind.
The miraculous powers of the 500 arhats o f Mt. T ' i e n - t ' a i .
Cannot touch one fragment of verse from T'ao Yuan-ming.
1
M
ff
m
A
%
Jl
m
%
139.
No. 77
notes:
Arhat Chrysanthemums:
hills:
140.
T'ao Yuan raing: See the notes to poem No. 49.
141.
No. 78
Chrysanthemums:
it
4s
%%
1
%
&
T
#.
ir
it
m
%
hi
41
it
hi
ft
142
No. 78
notes:
an Arhat:
The arhat i s
Yang K u e i - f e i :
emperor HsUan-tsung
Marquis Pi-Yang:
He i s , then, the c l a s s i c
60
sycophant.
f e i flourished.
143
No. 79
Snowball
Heaven and earth buried, the gates and b a r r i e r s gone.
Roll i t up and now i t i s the Himalayas.
At that time, the crazy vagabond comes; i t turns to powder.
The Great Chiliocosm arises and disappears i n the space o f a moment.
&
t
%k
&
in % n
%\
#
is.
'
%
No. 79
notes:
snowball:
brother?"
i f b l i n d , t a l k as i f dumb."
At t h i s point, Hsueh-tou
145
No. 91
Instructing the Cook i n the Mountains
Kuei-tsung's one f l a v o r could be enjoyed day a f t e r day and
have more to give.
Cook, here i n the mountains, your s k i l l i s not i n v a i n .
Stop seeking f o r Vimalakirti's Feast of Massed Fragrances.
When s h a l l we have just two t a s t y f i s h on the t a b l e .
SB
fa
If
H
44
%
ii
it
e
in
ill
still
146
No.' 91
notes:
Instructing the Cook i n the Mountains:
The
and Kameoka
1*^?
)^
^ t i
and moved
there were a l l the sort who could forget there own comfort
for
t i
They worked d i l i g e n t l y
147.
Kuei-tsung's one f l a v o r :
Kuei-tsung asked,
Kuei-tsung
"I underJust as
I n the Chapter e n t i t l e d
assembled
V i m a l a k i r t i conjures up an i l l u s o r y
As they
c a l l e d "Li-kan's house"
About to eat the two t a s t y f i s h ,
Who would look f o r the heaviness of other flavors?
149.
No. 107
One of Nine Poems Composed on the Day o f the "Double Yang" F e s t i v a l
iff is? if
ii
it
&
I
t
il
M
fit
150.
No. 10?
notes:
the "Double Yang" f e s t i v a l :
I t explains
(Arntzen, p. 92)
Because of p o l i t i c a l trouble
Daito:
Now, i f there i s one who p r a c t i c e s righteousness i n the
wilds, who i n a l i t t l e hut passes h i s day eating vegetables
b o i l e d i n a broken-footed cauldron, who has completely
penetrated and c l a r i f i e d h i s own nature, such a one day by
day looks t h i s o l d monk i n the eye and returns the favor
of my teaching.
151.
Nos. 110, 111,
ft
0 t f
H
<a
ft
-St
0.4
l/\D
it
t
it
152.
Wind B e l l
two poems
No. 110
In the s t i l l n e s s i t echoes not, i n movement i t rings;
I s i t the wind or the b e l l that has a voice?
Waking up t h i s o l d monk from h i s day-time nap,
What need i s there t o sound the midnight watch at noon?
No. I l l
The realm o f the senses i s outrageous.
B e a t i f u l t h i s c l e a r sound, f a i n t l y i n the c o l d .
Old Rascal P'u-hua had l i v e l y t r i c k s ;
Harmonizing with the wind, i t hangs above the polished
balustrade.
153
No. 110
notes:
Is i t the wind or the b e l l that has a voice?:
a l l u s i o n to t h e
Eui-neng
^Ht( 38-713);
6
The other
allusion
therein,
154.
No. I l l
notes:
f a i n t l y i n the cold...Old r a s c a l P'u-hua:
"I've f i x e d
"Lin-chi f i x e d me up a
155.
The news immediately got about.
71
i n the sky, f a i n t l y receding i n t o the distance...'
Harmonizing with the wind, i t hangs above the polished balustrade:
This l i n e as a whole i s taken from a sermon by Hsu-t'ang, who
In turn had borrowed the l i n e from a poem by the Five Dynasties
poet Hsu Chung-ya
^ f l t . Hsu-fang's sermon:
difficult.
A hundred i r o n b a l l s scatter.
Harmonizing
72
balustrade.
No. 113
Half a Cloud
(name f o r a study)
One wisp, rootless, s h i f t i n g , a spot i n the blue sky;
Any safe f i r m l y established l i f e i s j u s t therein.
Dream s p i r i t l a s t night i n the r a i n at Wushan;
The singing stops, morning comes, one fragment remains.
t
ft
<
A it
u
Ik
157.
No. 113
notes:
Any safe, f i r m l y established l i f e :
sion.
Dream s p i r i t , l a s t night i n the r a i n at Wushan:
No. 4 5 .
158.
No. 115
Monastic l i b r a r i a n Shoen i s measuring up the ground and s i t i n g
his
The plaque
159
No. 115
1
notes:
Monastic L i b r a r i a n Shoen:
an unidentifiable person.
"^f
and Wen-chun X_
7k
l i v e d i n a f t e r eloping.
As cool as a tree nest i n summer...:
75
table house.
a description of a comfor-
160.
No. 117
Straw Raincoat and Hat
(name f o r a hermitage)
Woodcutters and fishermen, t h e i r understanding and a p p l i c a t i o n i s
perfect;
What need have they of the Zen of carved chairs and meditation
floors?
Straw sandals and bamboo s t i c k , roaming the Three-thousandfold
World Sphere,
Water-dwelling, wind-eating, twenty years.
it
ii
,
161.
No.
117
notes:
See the
Ikkyu uses t h i s
bridge.
6/5
&
fa
ti
fffj
4-
ih
TV
H % t
II
%L it
I)
% ii
>#
ft
4r
s
si
If
.
4f 1
163.
I t i s already more than twenty years since Master Kaso
veiled his l i g h t .
No.
120
times.
No.
121
164
No. 120
notes:
Master Kaso:
||?
Daiyu Yoso:
No. 3 3 .
Tsu-hsii, i n the evening,..:
I n order to s a t i s f y h i s
165.
No. 121
notes:
A c o l o r f u l legend, however,
78
166
No.
126
Praising P'u-hua
How could Topshan and L i n - c h i match h i s conduct?
At h i s mad antics on the street and i n the market place, the masses
were alarmed.
Of a l l the Zen monks who died e i t h e r s i t t i n g or standing, few could
equal him.
Harmonious sound, f a i n t l y , a jeweled b e l l .
167.
No. 126
notes:
P'u-hua:
Te-shan and L i n - c h i :
To
168.
No. 128
f*1
fa
m
it
t
A
it
169.
No.
128
notes:
Under one's feet, the red thread:
Is a p a r t i a l quotation of the
This
170.
Nos. 140, 141.
171.
On Tiger Mount, the Snow F a l l s on Three Grades of Monks
two poems
No. 140
The p i l e d snow at Shao-lln placed i n the mind,
The koan completes i t s e l f f o r the upper rank fellow.
The one i n the monk's quarters composing poems i s a layman with
a shaved head;
The one who i s hungry and t a l k s o f food i s also furyu.
No. 141
The meditator and the poet are both stupid.
The three grades of monks on a snowy day, so much controversy.
I f Miao-hsi had a heart of great compassion,
The monk who spoke of food would have got a Feast of Massed
Fragrances.
172.
No. 140,141.
notes:
On Tiger mount the snow f a l l s . . . :
(1089-
wrote:
The Second P a t r i a r c h
"Master
Bodhidharma
I ' l l p a c i f y i t f o r you."
"There,"
173
Miao-hsi:
of Ta-hui.
great compassion...Feast of Massed Fragrances:
a l l u s i o n to the
91.
174.
No. 145
Addressed to a Monk i n the H a l l of Long L i f e
When the k i l l i n g demons of impermanence are before you,
To whom can you speak about the f i n a l prison?
A hundred a f f a i r s are Impossible t o s t i l l , the f i v e desires are
noisy,
You want to bar the s i x windows of the senses, but the eight
winds blow them open.
&
if &.
4L M %
(A it
L ii
&
fL
175.
No.
145
notes:
The H a l l of Extending Longevity:
l i k e Nirvana H a l l , a name f o r
176
No. 153
jfskyamuni P r a c t i c i n g Ascetic D i s c i p l i n e
For s i x years hunger and cold pierced h i s bones to the marrow.
Ascetic d i s c i p l i n e i s the mysterious teaching of the Buddhist
patriarchs.
I am convinced there i s no natural Sakyamuni1
Now i n the world patch-clad monks are j u s t r i c e bags.
'ft
T n
If
%
/l
- V
if
ty
tl
177.
No. 153
notes:
Sakyamuni p r a c t i c i n g ascetic d i s c i p l i n e :
s'akyamuni, the h i s t o r i -
depicting
178.
No.
161
Composing a Poem on the Dragon-Gate P a v i l i o n to
Congratulate the Reconstruction of the Tenryuji.
>W -
&
41
fa
I 1
H
\\
ft
it
v\
Jil
p
^
4K
the
179
No. 161
notes:
$\ ilk
river.
on the upper reaches of the Yellow River where the carp were
supposed to gather to attempt the f a l l s and become dragons.
See the notes to No. 35.
t h i s school's founder:
(1275-1351)
rugged Saga:
Saga
means "rugged".
86
turn i n t o dragons."
black cloud chains:
yueh Chi wherein comes the l i n e , "The ten thousand foot Dragon
an
Gate, chained i n black cloud."
180
No. 166
v.-rC?
d
it
if
el
i
ft
real.
181
No. 166
notes:
Dharma Master Tz'u-en K'uei-chi:
K'uei-chi ( 6 3 2 - 8 I ) i s the
transmission
sutras
88
c a r t s f i l l e d with the sutras, wine, food and women."
Hence, he became known as the "Three-Cart Monk".
Stanley
89
Weinstein, i n a biographical study of K'uei-chi,
virtually
sources
He
182
Such an i n t e r p r e t a t i o n i n v i t e d f i e r c e c r i t i c i s m
Welnstein
183
No. 1?6
Addressed to a Monk a t the Daitokuji
Many are the men who enter Daito's gate.
Therein who r e j e c t s the veneration of the master role?
Thin r i c e gruel, coarse tea, I have few guests;
A l l alone I sing drunkenly and f a l l over kegs o f muddy sake.
^ it A
I t ft A
ii L t t
in % n
ii
M & % if
% &
is
<
184.
No.
180
Po-chang Fasting
ih
JL
%%
il
il
m it
il
ii
M
185.
No. 180
notes:
Po-chang f a s t i n g :
His d i s c i p l e s could
Thereupon he stopped e a t i n g .
the King of H e l l .
186
No. 184
Presented to a Congregation
As f o r the Immortal of Forbearance and the Bodhisattva NeverDisparaging,
The f r u i t of t h e i r enlightenment
n
XL
If
%
Ah
18?.
No. 184
notes:
The Immortal of Forbearance:
Within
93
Buddhasl"
188
No. 187
h 41
it
71C
^7
If
ft
I-
fa
it
3!
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ft
ik
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if-
7]C
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&
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It
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tn t
l\
189.
No.
187
Master Sung-yuan rose to l e c t u r e and presented t h i s case.
Patriarchs
Pa-ling
I would say i t d i f f e r e n t l y :
me,
us
ourselves.
19.0.
No. 18?
notes:
Master Sung-yuan rose to lecture:
presents
of T'ang Dynasty monk, Pa-ling, one of the numerous f i r s t generation progeny of Yun-men, then the view of Po-yiin (10251072), an e a r l y Sung monk some s i x generations before Sungyuan himself i n the same l i n e .
No. 188
Nirvana H a l l
The eyes' l i g h t f a l l e n to the earth, Nirvana H a l l
Remorse and shame, a soup with a crab i n i t ;
Seven arms, eight legs suffer ten thousand kalpas o f p a i n .
The k i l l e r demons of impermanence are busy with t h e i r burning
chariots.
192.
No. 188
notes:
Nirvana H a l l :
resembles
193.
No. 203
I n Choroku i n the l ? t h year of the sexagenery cycle (1460)
the 29th of the 8th month, there was a great Typhoon and flood;
the people are a l l suffering.
Yet tonight
someone i s having a
Unable to l i s t e n t o i t , I
m &
A ^ it
T
0 ii
A 4
*
I
I'L
f
It
tit
A
Off
fifl t
<
194,
No. 203
notes:
Let i t be, l e t the bright moon...:
195.
No. 205
\h ^ x &
%>14L%WM
I>A$ &
^
"
l
i
p
I ;
A Ii
%AiM
&
Ufa
. 196.
No. 205
Po Chii-i asked Master B i r d Nest, "What i s the broad meaning
of Buddhism?"
Po
able to say i t but there are eighty year-old men who cannot p r a c t i c e
it."
Old Master Ryozen used to say:
197.
No. 205
notes:
Po Chii-i (772-84):
Master B i r d Nest:
Niao-k'e means l i t e r a l l y
The record
"Drunk-
The term
198.
No. 206
I admonished my followers saying, " I f you are going t o drink
sake, then you must always drink muddy sake, and f o r t i d b i t s j u s t
have the dregs.
sake ."
1
guts?
m 11
7A A
ft
\3
ii
1>L
199.
No. 206
1
notes:
muddy sake:
"Songs of Ch'u"
Why
200.
'mere
the Sands."
....
201.
202,
No. 209
In the Three Reflections of Master Fo-yen Ch'ing-yuan, i t i s
said:
remorseful."
203.
No. 209
notes:
the
The "Three
I am ashamed of myself:
s e l f t o be caught up i n the v i c i s s i t u d e s of l i f e .
T r i p l e Sphere:
sents i t , follows:
On a wide p l a i n a man, encountering a great f i r e and
chased by a mad elephant, took refuge i n a dry w e l l .
the
Above
well.
Moreover, two
rats, one black and one white, were gnawing away at the
vine.
204,
honey drop i n t o his mouth. Craving more honey, the man
forgot a l l h i s troubles.
205,,
No. 210
Composing a Poem and Trading i t For Food
As one goes to and f r o i n the KLgashiyama d i s t r i c t , o l d
times are as though now.
When you are starving, a bowl of r i c e i s worth a thousand
pieces of gold.
For the l i c h e e s , old Ch'ing-su returned the Buddha Devil
koan.
I am ashamed to sing of l y r i c a l f e e l i n g , o f wind and moon.
Ok
A
1
it
it
41
tip
b,
206.
No.
210
notes:
the Higashiyama d i s t r i c t :
He missed
certifica-
Here i s
"^p
Ch'ing-su happened t o
Ch'ing-su
Tou-shuai said,
20?..
experienced.
Ch'ing-su says:
realm of the Buddha but you are not yet able to penetrate
the
AW
208.
No. 216
Fisherman
Learning the Way, studying Zen, they run afoul of the Buddha's
o r i g i n a l mind.
One tune from the fisherman i s worth a thousand pieces of gold.
Rain at dusk on the Hsiang r i v e r , the moon among the clouds of
Ch'u.
Furyu without end, night a f t e r night singing.
It
f
A.
it
4?
If
4- 4A & Ay
209,
No. 216
notes:
fisherman:
Ikkyu inherited t h i s t r a d i t i o n .
210.
No. 2 2 3
Addressed to a Monk Who K i l l e d a Cat
In my group, there i s a l i t t l e Nan-ch'iian;
With a f l i c k of the wrist he k i l l e d the cat, the koan i s complete.
Mistaken, he regretted that, i n p r a c t i s i n g t h i s teaching;
He disturbed i t s nap under the peony blossoms.
1!
ft
H
T
M
A
ft
211,
No. 223
notes:
Addressed t o a monk who k i l l e d a c a t . . . L i t t l e Nan-ch'uan:
notes to No. 44 and No. 52 f o r the Nan-ch'uan koan.
See
One can
an a l l u s i o n to a dialogue
recorded i n the
No. 234
About Disturbances at the Daitokuji
The Zennists f i g h t over Zen, the poets over poetry;
On the horns of a s n a i l appear safety and danger.
The knife that k i l l s , the sword that makes men l i v e Only the l o v e l y lady of Ch ang-hsln knows.
1
Jus
it
% A. >i
At 1\
4
L
X 4f
&
<
4 "J
it
ii
213,
No.
234
notes:
On the horns of a s n a i l :
On top of i t s
This phrase
108
of
Hirano
214.
No.
240
Congratulating E l d e r Ki on the New Construction of
Eagle T a l l Monastery and Inquiring a f t e r His Leprosy.
iK
Ax
JL jt
in
215..
No. 240
notes:
Elder K i :
a d i s c i p l e of and s p i r i t u a l h e i r to Y5so.
leprosy.
as w e l l .
I translated
216,
No. 244
notes:
furyu:
hence,perhaps
112
This poem i s the seventh i n the same series as No. 240. Here
E l d e r K l i s attacked f o r lechery.
I t i s interesting that
The
No. 2kk
So furyu. admitting nuns to h i s c e l l ;
I t makes one think of Tz'u-ming's narrow path.
One i s rent by the graceful hand put f o r t h ,
Secretly humming the " l i t t l e love song".
No.
249
Thanking a Man f o r the G i f t of Salty Soya Sauce
cup;
No. 251
Beautiful feast, who w i l l prepare the p a i r of fishes?
The love song koan, useless i n d a i l y p r a c t i c e .
A body singing l u s t f u l tunes, white snow on my head,
Before my eyes, weeds not yet plowed.
221.
No. 251
notes:
p a i r of f i s h e s :
222.
No. 254
Picture of an Arhat Sporting
at a Brothel
tt *P #
5 "il
# *z
ft
;l
223.
No. 254
notes:
Arhat:
Sporting at a brothel:
This
224.
No. 280.
225.
No. 280
notes:
Seven flowers
Hell
226.
No.
291
fk M
1L ii
i&
if ^ 1 A
f
X
227
No. 291
notes:
the road of Heaven:
Particularly
In
The great
228.
No.
292
The Correct S k i l l f o r a Disorderly Age
ii
~l
Vi
iL
il
fi
i i jE.
il
229
No. 293
Reducing Desires and Knowing Contentment
"A thousand mouths are none too many," so the r i c h family complains;
For the poor family i n hardship, even one i s too many.
The carp i n the r i v u l e t wished only f o r a l a d l e f u l o f water.
Next morning, a winter fan f l o a t s on the wide r i v e r .
ft
*
IS ft t
H 1
&
% O
f
% ?9
- is
X 1 M &
&
&
X
23.0.
No. 293
notes:
a thousand mouths are not enough...:
carp i n the r i v u l e t :
an a l l u s i o n t o t h e E x t e r n a l Things"
u
of course!
I ' l l soon be
Will
that be a l l right?
Chuang Chou flushed with anger and said, "As I was
coming here yesterday, I heard someone c a l l i n g me on the
road.
the
of course\
I'm
and
1231.
Yuehjl$ .
send i t i n your d i r e c t i o n .
W i l l that be a l l right?"
The
element!
store."
1 1 8
once autumn c h i l l s
the a i r .
To begin I cut f i n e s i l k of c h ' i ,
White and pure
as f r o s t or snow,
232.
233.
No. 306
Mutual Contradiction
The second month, when the Buddha entered the quiescence of
Nirvana,
A single sword stroke severed both mind and body.
Unborn, undying, the Buddha i s impossible to f i n d ;
The flowers are bound to a spring where being and non-being
contradict one another.
,-
'A it
ii ii
4 ik
jl
0L
%i
234.
No. 306
notes:
the second month...quiescence of Nirvana:
-235.
No. 308
is
'A
Ml
A
7
til
ft
236.
No. 308
notes:
the four mindfulnesses:
237.
No. 315
The Gentleman's Wealth
The poet's wealth i s elegant phrases;
In the world of scholarly elegance, days and months are long.
Plum blossoms outside the window, the exaltation of poetic chant;
The b e l l y c h i l l s :
238.
No. 332
The Last Chrysanthemum i n the South Garden
Late chrysanthemums by the East hedge, fading c o l o r i n autumn;
As I face the Southern h i l l s f o r a while, my thoughts are f a r
f a r away.
The "Three E s s e n t i a l s " , the "Three Mysteries", I do not understand
at a l l ;
The joy i n T'ao Yuan-ming s song i s my kind of furyu.
1
8A
3>
239*
No.
332
notes:
chrysanthemums b y the East hedge...southern h i l l s :
No.
See notes to
77.
stand f o r Lin-chi's
teachings.
The Master further said:
How do a l l of you
understand t h i s ? "
1 2 2
I do not understand at a l l :
The l i n e i n T'ao
A l b e i t only a
No. 343
Subject and Object, Recollection of the Past
Object i s mindless, the stone lantern land bare post;
Subject distinguishes pearls from clods of earth.
One night sing of f i f t y years ago,
The waning moon over green mound, the r a i n on Wu-shan.
241.
No. 343
notes:
subject and object:
post once i n Yiin-men*s koan about the old Buddha and the bare
post.
unfortunate
the r a i n on Wu-shan:
242.
No. 334
Two pieces of skin and one set of bones.
Birds, bugs, horses and cows, furthermore Mara and Buddha.
When the primordial chaos was not y e t separated, the darkness was
p i t c h black.
The clouds and moon knew f o r whom they were b e a u t i f u l .
No.
344
notes:
two pieces of skin and one set of bones:
44.
;244.
No. 352
Taking a Metaphor f o r R e a l i t y
For t h i s o l d coot, a d a i l y p r a c t i c e since ages past, and now
The koan " p r i v a t e l y carriages pass" confuses c l e a r and muddy.
Last night, to the f a l l i n g leaves s t r i k i n g against the window,
Forlorn, I l i s t e n e d and composed a poem about the sound of r a i n .
245,
No. 352
notes:
d a i l y practice:
s i g n i f i i.cance.
246.
No. 376
Within a hut, q u i e t l y singing beside the lamp;
Following h i s own bent, unbound by any teaching, t h i s poet-monk;
A sad man inspired with spring, yet the night i s cold,
On the figured s l i p s of paper i n my sleeve the plum blossoms have
frozen.
A
4-
fa
247.
No.
376
notes:
a l l u s i o n to a koan of Hsiang-lin
However,
figured s l i p s of paper:
'248.
No.
381
Recollecting the Past
249.
No. 383
The S t i c k
How p a i n f u l , when p h y s i c a l attachment i s very deep;
Suddenly everything i s forgotten, prose and verse;
I never knew before t h i s natural happiness;
S t i l l d e l i g h t f u l , the sound of the wind soothing my thoughts.
% f
ft #
No. 3 8 3
notes:
the stick:
awakening.
251.
3?
Ax
ft.
252.
No. 384
notes:
dream of Wu-shan:
Shan-ku^C^L^
(1037-1101), Huang
Su Tung-po
(1045-1105), L i Po ^
(712-770) and or Tu Mu
great T'ang and Sung poets.
(701-726), Tu Fu
No. 385
Deluded Enlightenment
No beginning, no end, t h i s mind of ours;
I t does not achieve Buddhahood, the innate mind.
Innate Buddhahood was the Buddha's wild t a l k .
The beings' innate mind i s the path to delusion.
&
jt
*F
& &
it
& 4 i% 48.
i l 4% <\ U
% & &
; X
jA
41
254.
No. 385
notes:
Buddhahood:
i n t h i s case,/Vj>
"mind".
c i t y of imagination that, given the wealth of Chinese vocabul a r y , one should have to use the same word twice i n a short
poem.
255..
Nos. 3 8 8 , 3 8 9 , 390
I
41
4
4
ii
t
^1
256.
Addressed to a Monk Who Burned Books
three poems
No. 388
Shih-wang distinguished by nature the f a l s e from the true;
The demon's curse, as i f seen i n the palm of the hand
Have a look when the cataclysmic f i r e l a y s waste the universe,
Books have an i n d e s t r u c t i b l e diamond nature.
No. 389
Under a tree, on top of a boulder, i n a l i t t l e rush hut,
Poetry, prose, the commentaries and digests a l l dwell together.
I f you want t o burn the old manuscripts i n your bag,
You must f i r s t forget the books i n your b e l l y .
No. 390
I n the b e l l y , h e l l takes shape;
Immeasurable kalpas of passion.
Wild f i r e burns but never destroys i t ;
The spring breeze blows and the grass grows again.
257.
No.
388
notes:
Shih Wang:
China.
without successors.
i n d e s t r u c t i b l e diamond nature:
54.
130
No. 390
notes:
Wild f i r e burns...:
Comment:
259.
No. 394
Lamenting Soldiers Dead i n the War
Red-faced asuras, rank with the s p i r i t of blood,
Screaming i n s u l t s , i n w i l d movement, demolish heaven and earth.
When they lose a b a t t l e , t h e i r s k u l l s are s p l i t .
Immeasurable m i l l i o n s of kalpas t h e i r ancient s p i r i t s s h a l l roam.
U
X
H
ii]
Iff
It
if] it
<07
it
260..
No.
394
notes:
asuras:
No. 441
Hell
In the T r i p l e Sphere, there i s no s t a b i l i t y ,
I t ' s just l i k e a house on f i r e .
"Here, Master?"
Jui-yen answered, "Yes."
i & ^
262;
No. 441
notes:
T r i p l e Sphere:
l i k e a burning house:
209.
Jul
263
Nos. 4 9 3 , 495
- f
Hi
fi M M
ii
ill
)&
IB
4%
M
Spreading
No.
493
furyu.
This Lord's r a i n .
No.
494
265.
No. 493
notes:
mottled bamboo:
i t Is
f o r evermore.
dung f o r f e r t i l i z e r .
furyu:
"This Lord":
Shu.
He (Wang-huei
JL fjjiyv) was
266.
"How can I l i v e a day without This Lord.
s Lord's rain:
134
267.
No. 494
notes:
Swallows, sparrows, pigeons and crows: an a l l u s i o n t o a statement
man to lead a revolt against
the Ch'in Empire i n 209 B.C. When h i s fellow farm labourers
mocked him f o r h i s ambition, he said, "Oh well, how could
you l i t t l e sparrows be expected to understand
the ambitions
of a swan?"*"^
L i n - c h i planted pine...:
268.
the Nempu as w e l l .
South of the vegetable bed, Ikkyu had planted bamboo
which had grown i n t o a grove that was good f o r keeping
cool.
269.
No. 512
Praising Master L i n - c h i
Katsu, katsu, katsu, katsu, katsut
Meeting the occasion, he e i t h e r k i l l s or gives l i f e .
Devil demon eyes,
Bright, bright as the sun and moon.
Ik
-u, 4
ii
it
270.
No. 512
notes:
katsu:
L i n - c h i was famed f o r h i s
"Sometimes a shout i s l i k e
How do
There i s a powerful v i s u a l
No. 544
ii
H f
B
& $
^ m & u
\-\ n u &
It
iS
f #.
%
&
272.
No. 544
notes:
Lady Mori:
139
the paramour of Ikkyu*s l a t e r years.
a b u t t e r f l y plays:
Suddenly
273.
No. 545
A
it a.
A.
%
i'\
U A
m
ii
274
No. 545
!
notes:
"Dream Chamber" i s another of Ikkyu's sobriquets.
(See the
275.
No. 555
The Fisherman
By the r i v e r , the sun sets; the water flows i n t o the distance;
The l i n e hangs obliquely, autumn on the Han.
Furyu by the r i v e r or the sea, with whom does he speak?
Between heaven and earth, rocking to and f r o , a f i s h i n g
fc ;1
k&
it
&
\i
4 *
/AU
/v
/7v
/vi^
8 % He ft
Jff t l
it it
boat.
276.
No. 555
notes:
...on the Han:
V_ ,
277.
No/ 572
Po Luo-t'ion
Catching the elegance of words f o r a hundred m i l l i o n springs,
A thousand words, ten thousand phrases swelling i n newness,
Throughout ancient and modern times he alone attests to never
growing old;
The world admits he i s one who pushed h i s head beyond heaven.
278.
No.
572
notes:
Po Luo-t'ien:
a sobriquet of Po Chti'i.
205.
279.
No. 593
Cause and E f f e c t f o r a L u s t f u l Monk
Cause to e f f e c t , e f f e c t t o cause, on what day w i l l i t end
Among the inmates of the prison of transmigration i n the T r i p l e
Sphere?
Night comes with eight m i l l i o n four thousand thoughts;
The cloud-rain o f Wu-shan blows over the p i l l o w .
it
it
ii
\
0
iX
a
X
No.
593
notes:
T r i p l e Sphere:
cloud-rain of Wu-shan:
209.
45.
281
No.
604
Retreating from Mikanohara and Going t o Nara
282.
No. 6 0 4
notes:
Retreating from Mikanohara and Going t o Nara:
t h i s event:
In the seventh month, the troops of the West army (the
Yamana f a c t i o n i n the Onin War) entered Takigi ^
Ikkyu f l e d t o the J i s a i a n
the
)ft $L
Mikanohara.
On
Mikanohara
<7
Furthermore,
and not l i v a b l e .
Ikkyu's 7 6 t h year, 1469.
Tu-ling:
Tu-Fu.
141
822.'
283.
727, 728,
268,
269.
poet i s manifestly c l e a r .
284.
No.
605
Would that i t were the realm of Gods and Immortals or some Heavenly
mansion.
On earth there are bands of evil-doers, the roads are not passable.
Thereupon I thought of Tu Ling's flowers sprinkling tears;
Autumn fragrant yellow chrysanthemums, earth's a c r i d smell i n the
wind.
285.
No. 605
notes:
Tu-ling's flowers sprinkling tears:
"Spring View" ^
_yf
286
Nos. 6 3 9 , 640, 641
-fp
ft
fa
-JL
-k
10 f t
fa
4-
4$
til
1 '
Sac
1 ^
i
it
^3
ft
ii
II 4.
it
ii
i
287,
No.
639
No.
640
No.
641
No.
288.
639
notes:
The second year of Kanshio:
While there
i s a rough chronological order to the Kyounshu, i t may be n o t i ced that the order i s not always adhered to, as here poems
related to the period before the war follow poem ,604,
which
I n the Nirvana H a l l :
suffering
143
from an i l l n e s s ,
these l a s t two
No.
lines.
640
notes:
hungry ghosts:
Mount Sumerus:
54.
289.
No. 647
The thirteenth day of the eighth month of the f i r s t year o f
Bunsho ( 1 4 6 6 ) , soldiers from the various provinces f i l l the c a p i t o l .
The members of my school do not know i f i t i s peace or war.
might be c a l l e d "mindless
11
clerics.
They
battle.
-t
ii
Al
'l
1}
f $
A
>f
/I
it
A
-)
it
.290,
No. 647
notes:
f i r s t year of Bunsho, 1466: This i s the year before the outbreak
of the Onin war.
"mindless":
l i t e r a l l y "no mind".
meaning i n Zen.
edge of a sword?"
"path followers":
c a l l s up a dialogue i n the
pun on "path".
There i s an entry i n the Nempu. which may r e f e r t o t h i s poem:
Ikkyu's 74th year, f i r s t year of Onin, 1467
In the sixth month there was an uprising.
Both
No
291.
one c ould t e l l whether " L i u " ^1
foothills.
or "Hsiang" jf[
would
He
147
292.
No. 690
Sea Cloud
Last night, there was no wind, the waves were huge;
Rolling i n , r o l l i n g out, there i s a road, f o r whom does i t pass?
I f the place to which a hundred streams return knows^contentment,
A l i t t l e piece of cloud athwart the sky would wipe out empty space.
293.
No. 690
notes:
Sea Cloud:
by Ikkyu upon h i s p u p i l s .
As might be expected,
294.
No. ?15
4L & to &
g? t
A;
&
B
f t %
$ x f
&
^
&
/Il
It
ft
^f1
Jb
4
/ V
if
4 1
295.
No. 715
Sonrin "Forest of Venerability"
I nurtured a l i t t l e sparrow and loved i t very much.
day i t suddenly died.
One
296.
No. 715
notes:
Sonrin:
a d e s c r i p t i o n o f the Buddha's
body.
When he entered Nirvana...:
149
of the Buddha.
No. 771
On a Spring Outing t o the Tomb of the Retired
Emperor Gokomatsu at Unryoin i n Sen'yuji
In elevated conversation with a monk you forget t o enjoy the
distinguished amusement.
The blossoms f a l l , the b i r d s sing, the mountains deepen,,.
New grass, o l d moss, r a i n before the ancestral tomb,
How may times has spring come round, how many times autumn?
298.
No. 771
notes:
Emperor Gokomatsu:
29.9
Prose introduction to Nos.
819,
820,
821,
822
300.
Prose introduction t o Nos. 819, 820, 821, 822
I f one i s cold,
302.
No. 819
Talk i n the thatched hut reaches the Palace of Shou-yang;
The b u t t e r f l y elegantly sports, excitement never exhausted.
On the pillow, a plum blossom; outside the window, the moon,
A singing soul, night a f t e r night, entwined with the spring breeze.
No. 820
C h i l l e d singing, elegant phrases i n the l a s t month of winter;
Once one i s drunk, the cup of wine i s heavy before the cask.
On the pillow, f o r ten years, no night rain;
The moon sinks; Chang-lo at the fifth-watch b e l l .
303.
Nos. 821, 822
at
it
ii
2L
ix
i
it
hi a4
304.
No. 821
In the depths of the boudoir, how much poetic i n s p i r a t i o n .
Sing before the wind-blown flowers of the p u r i t y of the fragrant
feast.
Cloud-rain on the p i l l o w , the f e e l i n g of r i v e r
and sea.
No. 822
The r a i n drops of Wu-shan f a l l i n t o a new song;
Passionate furyu, i n poems and passion too.
The whole wide world and Tu Ling's tears;
At Fu-chou tonight, the moon sinks.
.305.
Prose introduction to Nos. 819, 8 2 0 , 821, 822.
notes:
Muso "Dream Window":
involved
Zen p r e l a t e .
Musu "Dream High":
TSfukuji
Musu Ryoju ~f
it # *
&
% L j
(<* 1281) of
5f- ^
(d. 1 3 6 8 ) , also of
Tofukuji.
306,
No. 819
notes:
The l i n k
reference to Chuang-tzu's b u t t e r f l y
No. 820
notes:
Ch'ang-lo:
The l i n e c a l l s up a couplet
307.
No. 822
notes:
Wu-shan rain:
furyu:
an a l l u s i o n to the
ones,
308.
No. 839
fc
i -
3 X . ^
<B 'L
&
309.
No. 839
When Ikkyu was old, he contracted the i l l n e s s of diarrhoea.
He would recover and then contract i t again, two or three times i n
succession.
But when a f f a i r s
Yesterday,
As a
Then he composed
He was j u s t
copying the poem and had not yet f i n i s h e d f i l l i n g the paper when
the i n k suddenly
words.
appeared.
h i s preference would be a s t i c k of i n k .
his shoes
suffers,
310.
No. 839
notes:
prose preface:
Here f o r example,
Ikkyu's l o s s of hoarded
ink was just one more pounding of the mortar that purges
desire.
311.
Abbreviations
Note:
CZS
et a l .
^ ^ ^ ^ . ( P ^ i l l c h i k a w a
Tokyo:
Hakugen
lA^!
Iwanami Shoten, ^
^7 ,
1972.
KZ
Kyounshu Zenyaku
Tokyo:
SP
ST
, Hirano So jo
, 1976.
Shunjusha ^ftjNU
^^^M
If H I J C
Shang hai:
. 1936.
Shang hai:
c i a l Press J l > l j j ^ j
T;'
1936,
jfljl i f f ^ ^jf
(reduced p r i n t edition)
^.3? .
/..
%\\
Tokyo:
, 1922.
Zoku Gunsho
.
1927.
T o k
i f - \J]
AL
Ruiju Kanseikai
ZZ
Shang-hai Commer-
ZGR
1946.
by the Hong
312.
Footnotes
*Yanagida Seizafl,"Ikkyu no Shiso t o Sono Shogai," Daihorln, 1 9 7 6 ,
p. 1 0 7 .
Preface:
1.
2.
3.
Introductory Essay:
1.
2.
3.
4,
5.
I n the o r i g i n a l
Stanley F i s h , S e l f-Consuming A r t i f a c t s , p. 1 .
8.
313
9.
10.
Ibid.
11.
Ibid.
12.
I b i d . , p. 551
13.
Lamotte,
L'Enseignment,
Lamotte, p. 158-59.
1
Lamotte, p.
317.
Thomas and J.C.
Ibid.
Cleary, p. 542.
15.
Ibid.
16.
CZS, No. I 5 6 .
17.
Arntzen, p. 97.
p. 209 b.
Cleary, p. 541.
19.
I b i d . , ; 74
20.
21.
I b i d . , No. 454.
22.
I b i d . , No. 121.
23.
I b i d . , No.' 176.
24.
25.
26.
Ichikawa, p. 77-78.
27.
28.
29.
30.
31.
I b i d . , No. 2 5 0 .
u Teng Hui Yuan, r o l l 3. ZZ, v. I 3 8 ,
Arntzen, p.'91.
115.'
p. 474, ab.
314.
<32;
See note 8.
33.
34. ' For more information about Gozan Bungaku see the recent p u b l i c a t i o n Poems of the Five Mountains, by Marian Ury.
35.
wL^-^L^
not translated
36.
37.
CZS No.
j ^ L ^
203.
No. 170,
^ J I L ^ ^ C N O . 134,
38.
39.
^i^from
herein,
not translated
herein.
When a poem i s referred to by number i n the body of the i n t r o ductory essay, i t i s the number the poem bears, i n CZS and
also i n the t r a n s l a t i o n section of t h i s paper.
Translations:
1.
2.
Wu
3.
CZS,
4.
I b i d . , p.
5.
P. 291-292.
a.
283.'
284.
6.
7.
CZS,
8.
KZ, p.
9.
No. 10.
!
Arntzen, p.
a.
45.
11.
b.
36.
10.
KZ, p.
11.
12.
Lotus Sutra, T. 9, p. 15 W
See also Leon Hurvitz, Scripture of
the Lotus Blossom of the Fine Dharma, p. 75.
16.
315
13.
14.
KZ, p. 41.
15.
16.
KZ, p. 41-42.
17.
Ibid.
18.
Ibid.
19.
20.
I b i d . , p. 208-209 c.
21.
22.
23.
KZ, p. 46.
24.
25.
26.
27.
28.
29.
Lotus Sutra, T. 9, p. 12 b c.
30.
T. 51,
31.
b.
32.
33.
KZ, p. 46.
34/
Hsu-t'ang Lu, r o l l 7,
c.
p.
1-2.
222.
ab.
T. 48, p. 294
T. 47,
12.
a.
Hurvitz, p. 58-60.
p. 284 a.
p. 1034
b.
316.
35.
36.
37.
L i n - c h i Lu, T. 4 7 , 505 c.
38.
39.
L i n - c h i Lu. T.
40.
41.
KZ p. 5 2 .
42.
Pi-yen Lu, T. 4 8 , p. I 6 9 , a.
43.
44.
45.
46.
Ibid.
47.
48.
I b i d . , r o l l 4 , ZZ, v. I 3 8 , p. 7 1 7 b.
49.
47,
p.
T. 5 1 . p. 2 8 4 a.
497isa.
50.
51.
IAn-chi Lu, T. 4 7 , 4 9 9 c.
52.
53.
54.
55.
56.
I b i d , , p. 2 0 9 a.
57.
58.
James Hightower,
chi p. 6 3 .
T'ao Yuan-ming,
p. 130.
Wang-yao,
T'aoYuan
317.
59.
60.
61.
62.
KZ p. 85.
63.
64.
65.
V i m a l a k i r t i Sutra, T. 14, p. 5 3 2 f f .
66.
Ch'ou c h a o -
67.
Hirano, p. 107.
Arntzen, p. 9 7 .
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
Shih-Chi, SP, r o l l 6 6 , p. 5.
78.
CZS, p. 4 2 9 .
79.
80.
81.
KZ, p. 24.
82.
p. 2.
318
83.
84.
KZ, p. 140.
85.
86.
87.
entitled
, part 2 , p. 39.
88.
89.
90.
Ibid.
91.
92.
93.
94.
95.
96.
97.
98.
99.
7.7., v. I 3 8 , p. 4 7 6 a.
100.
101.
102.
KZ, p. 93.
103.
104.
'if His
not avai-
319.
105.
KZ, p.
106.
107.
108.
109.
KZ, p. 210.
110.
111.
197.
T. 48, p. 294 b.
112.
KZ, p. 5.
113.
L i n - c h i Lu, T. 4 7 .
114.
115.
116.
KZ, p. 249.
117.
Hsu-t'ang Lu. r o l l 8 , T. 4 7 ,
118.
p. 496 b.'
p. 1045 b.
1-2.
119.
KZ, p. 249.
120.
121.
Mao Shih SP r o l l 3 , p. 1 5 .
Vasubandhu, v. 6 , pp. I 5 8 - I 6 2 .
122.
L i n - c h i Lu, T. 4 7 ,
123.
I b i d . p. 497 a.
124.
I b i d . , p. 500 b.
125.
126.
L i n - c h i Lu, T. 4 7 ,
p. 497 a.
p. 5>6 b.
115.
320.
127.
T. 48, p . 157 b.
128.
129.
130.
131.
132.
133.
ZZ, v. 1 3 8 , p. 115 a.
p. 1 .
134.
135.
136.
L i n - c h i Lu. T. 4 7 .
505 a.
137.
Nempu, ZGR, v. 9 .
138.
L i n - c h i Lu, T. 4 7 , 504 a.
139.
part 2 , 7 6 4 - 7 6 5 .
Hirano, p. 115-116.
Watson, p. 4 9 .
141.
142.
143.
144.
145.
146.
L i n - c h i l u , T. 4 7 , p. 497 a.
147.
148.
Hirano, p . 1 1 5 .
321
149.
150.
15'51.
Mochizuki, p. 3008 a.
152.
153.
154.
155.
322.
Bibliography
Section I:
4f ?tLlf
Ch';.an-lin Lei-chu
ZZ, v. 117.
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Osaka:
Chin Shu # ^
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second p r i n t i n g , 1975.
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T. 81.
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, T. 8.
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Tokyo:
Third p r i n t i n g , 1975.
Hsu-t'ang Lu ^
1 5
T. 4 7 .
T. 3 .
, T. 8.
Iwanami Bunko e d i t i o n .
1933.
J L 4 / , 1977.
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Iwanami Shoten y
323
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Hiroshima:
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Kuei-t'ien L u | | |J ^
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1976.
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ZZ, v. 118.
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136.
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Tokyo:
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ZZ,
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Kichudo ^
ZZ. v. 138.
1952.
Bellingham:
/U_'!r
Tu Shao-llng Chi
T'ai-p'ei Shu-chu^; ^ j j |
Fit
I966.
Boulder and London:
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New York:
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J?f
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Tokyo:
^ tt
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undated.
Shih-chieh
' Shang-
, 1931.
jl
Tokyo:
Nihon Hoso
^70.
^ t n j ^ j j .
New
1976.
. Ikkyu ~- /^_.
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1976.
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Tokyo:
No. 41.
Nara:
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I967.
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1964.
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Tokyo:
Kodansha International,
1971.
Louvain:
Publica-
tions Universltaires, 1 9 6 2 .
La Vallee-Poussin,
L'Abhidharmakosa de Vasubandhu.
Buxelles:
New York:
Harcourt, Brace
"Jfi. A ^ If
jt.Kyoto:
Bukkyo D a i j i t e n ^
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Ph.D.
t h e s i s , Harvard University,, 1 9 7 2 .
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Tokyo:
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Columbia University
Press, 1 9 6 8 .
Chinese Lyricism.
Press, 1 9 7 1 .
327
&x ^
Yamada Kodo
Hit
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Yanagida Seizan
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Zenshu J i t e n
1916.
Tokyo:
Koyukan
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